There has always been a mystique surrounding Slipknot, from their early days as unknown masked maniacs through to present day’s constant speculation on their future. The latter was fuelled further by the title of their seventh album, ‘The End, So Far’.
This album signals the end of their working relationship with Roadrunner which started way back in 1998. The purposefully triggering title however will leave fans wondering what the future holds. Promotional tactic, genuine end in sight, or just fun and games, perhaps not even the band themselves know.
What we do know however is that we have just shy of an hour of new Slipknot music to sink our teeth into, and as demonstrated by interesting album opener, ‘Adderall’, we also know this will be another divisive album for fans old and new.
Bands the size of Slipknot almost always become a victim of their own success. For some they can do no wrong, for others they can do no right. The reality, as is usually the case in life, is often somewhere in the middle.
‘The End, So Far’ is one of those albums. There are some stunning moments, some weaker moments, some songs built for their old school fans and some material so far removed from the realms of Slipknot that it may alienate portions of their fanbase.
Ultimately Slipknot have always been anti-establishment in terms of the music industry, and they remain so now even if they’ve become that establishment! Slipknot are going to do whatever they want to do and they’ve earned that right.
The question to ask here is perhaps if this (which is very unlikely) is the final stand of Slipknot, does this album do them justice. The answer is yes, there is more than enough quality on this record to ensure this isn’t in the bottom few of any ‘All Slipknot albums ranked’ lists.
Almost predictably at this point in their career, it’s also not going to trouble the top of that list; which brings us back around to that point of the truth often being in the middle! Fans just need to enjoy this album for what it is, and make the most of the band whilst they are still around.
2021 saw The Snuts snag a surprise number one album with their debut, ‘W.L’. Since then the band has hit the road hard, touring all over and gracing plenty of festival main stages. If world domination isn’t their aim, then they may want to slow down!
That however is very unlikely to happen as the band return with sophomore album, ‘Burn The Empire’. This is a naturally important release for the band, and not just because of good old fashioned second album syndrome.
No, ‘W.L’, whilst a huge hit for the band was a collection of tracks from the bands career thus far, honed and crafted on the road. This is the band’s debut album in terms of writing and recording in a short period of time. This may then be the first true snapshot of the group’s talent and potential longevity.
Starting with the politically charged duo ‘Burn The Empire’ and ‘Zuckerpunch’, it’s clear that this also signifies a shackles off moment for the band. Having recently also called out their own record label, clearly The Snuts have no fear, and that’s refreshing considering the often maligned, play it safe culture in music these days.
The themes that run through the album feel particularly relevant right now and the band certainly get credit for their open and direct dialect. They also deserve credit for their musical bravery, showing a willingness to experiment away from the lad rock that has got them this far.
For a band to grow and evolve they need that willingness to experiment and can be forgiven for the odd misstep, such as ‘Cosmic Electronica’, which doesn’t quite hit the spot that they were no doubt aiming for.
All too often when bands have a highly successful debut, subsequent albums only require a hit or two to add to the bands legacy with the rest of the album often instantly forgettable. ‘Burn The Empire’ definitely provides a handful of hits to bolster the setlist, but whilst there is the odd tedious moment the rest of the album also holds up well.
This album will do exactly what it needs to do for The Snuts, as they continue their momentum towards world domination. We’ve needed a new breakout indie band for a while now, and don’t put it beyond this band to be the one to do it!
Roger Waters reveals UK ‘This Is Not A Drill’ dates
The legendary Roger Waters also had UK Tour news on offer this week as he revealed three dates for next Summer on his ‘This Is Not A Drill’ Tour.
“This Is Not A Drill is a groundbreaking new rock and roll/cinematic extravaganza, performed in the round, it is a stunning indictment of the corporate dystopia in which we all struggle to survive, and a call to action to Love, Protect and Share our precious and precarious planet home. The show includes a dozen great songs from Pink Floyd’s Golden Era alongside several new ones, words and music, same writer, same heart, same soul, the same man. Could be his last hurrah. Wow! My first farewell tour! Don’t miss it”. Love R.
Fontaines D.C. share video for ‘The Couple Across The Way’
Fontaines D.C. shared the video for their single, ‘The Couple Across The Way’, this week and you can check it out above.
Speaking on the track and video, frontman Grian Chatten says, “I was living in a tiny little flat in North London with my girlfriend and there was this Hitchcock – esque view of an elderly couple across from us. They had these blazing arguments that sent pigeons flying around, and after each one the man in the couple would come out onto this little balcony he had and just breathe for about 10 minutes. I couldn’t help but imagine it as a reflection of myself and my girlfriend in years to come, and ourselves as a reflection of a younger, happier version of them”
Skid Row also had a new single to share this week, and you can check out, ‘Time Bomb’, above.
The track comes from new album, ‘The Gang’s All Here’ which is available October 14th.
The video for ‘Time Bomb’ was helmed by director Dale ‘Rage’ Resteghini who Rachel Bolan sought out to realize his artistic vision for the song about humanity’s continuing struggles with self-indulgence and monotony.
“What would it be like to be in that position?” Rachel asks. “Just be completely going about life, your normal everyday thing, but you’re thiiiiis close to just completely losing your shit?”
The Murder Capital share new single ‘A Thousand Lives’
We continue our News Report with The Murder Capital. The band this week debuted new single, ‘A Thousand Lives’, which you can check out above.
The band also revealed that their second album, ‘Gigi’s Recovery’ will be out January 20th.
Front man James McGovern had the following to say about the themes behind the new single:
“Knowing that the day is only X-hours long, alongside my understanding of how love can be the true restorative seed, means that if and when you are so lucky to find it (and it is true) the seemingly small glance that is our lifetime could never contain enough of those days or those hours. Even a thousand of those lifetimes would never be enough.”
The band had the following to say about the new album and next year’s tour:
“For us, having worked on Gigi’s Recovery over the past two-plus years, now knowing every detail of every room in this house that we have built together, all we want to do is invite everybody in. We can’t wait to reveal more and more of what we’ve been creating with this record, and eventually in the new year, to reveal the full story.
The greatest thing about making a record is touring a record. The connection we make and the energy created at our live shows is the highest point for us. We can’t wait to meet new faces in the crowds, and to see this record under the new light that each and every one of you will shine on it. No better place to be than in the centre of it all.”
October Drift will soon release their second album, ‘I Don’t Belong Anywhere’, with the record available on October 14th.
This week the band revealed the video for their single, ‘Waltzer’, which you can watch above.
Regarding the video the band say, “We wanted to make a video which visually encapsulated what the song was about. We knew we wanted to film it at an empty seaside location, so we got up at 3am and drove to a beach in Dorset to shoot at sunrise. Somehow we roped a friend into getting up that early to pour the water over Kiran, but managed to misjudge the sunrise so ended up standing around in the dark for two hours before it was light enough to film anything. Not sure how many takes we did in the end, but it was enough to give Kiran mild hypothermia.”
Courting have just released their debut album, ‘Guitar Music’, and this week shared the video for new single, ‘Famous’, which you can check out above.
Speaking on the new song, frontman Murphy-O’Neill says, “Famous is about growing up, finding comfort in smaller things, It is a song about nights forgotten and days of just watching sitcoms with your friends. Musically, we wanted to create something truly euphoric, something we could cry to. We intended for this song to be the centerpiece of the record, a bit like a carousel.”
Our News Report turns now to PVA who this week share the video for their recent single, ‘Bad Dad’, which you can watch above. The track comes from new album, ‘Blush’, which is out October 14th.
Speaking on the themes of the single, Ella Harris says “Bad Dad explores the internal world of a new father checking in on his son at night, afraid of the lineage of masculinity and how it might impact someone so untainted.”
Set to support Incubus on their UK Tour, Softcult this week shared their new track, ‘One Of A Million’.
On the track Mercedes says, “Originally, I was writing from a frustrating perspective, expressing my feelings about the people in our society who think they are the exception and can justify repeating selfish actions, no matter who they harm in the process.
As the song began to take shape, it also became about my own personal insecurities and fear of being ordinary and unexceptional, but the more I thought about it and wrote about it, I realized that accepting how similar we all are as human beings is a comforting sentiment, if not a vital one.
The more we relate to each other and acknowledge our similarities, the more empathy and compassion we will have for one another. The more divided we are, the longer these issues get drawn out instead of solved. It’s important to not only celebrate our diversity and unique-ness, but also to remember that at a very basic level we are all more the same than different.”
No Windows – ‘Shout (Red Song)’
Edinburgh duo No Windows share their new single, ‘Shout (Red Song)’, from newly announced debut EP ‘Fishboy’.
Morgan had the following to say about the themes behind the track:
“Shout (Red Song) felt loud, thrashy and noisy – which to me felt most like the colour red. Red reminds me of things that are intense like anger or love which, and while neither of those things are explored directly, they feel present as an undercurrent in the melody and sonic set-up of the final recording.”
noyou – ‘Love is Enough’
Synthetic Pop-Rock band noyou have dropped just dropped their debut EP ‘This Game We Started’ amd alongside the EP comes new single ‘Love Is Enough’.
“’Love is Enough’ explores the challenges often faced in the world of an independent artist. Whether it be battles with egos, gigs to no one or overwhelming self-doubt, the song is a reminder to ourselves and to anyone who can relate to soldier on and keep doing what it is you enjoy, for as long as you continue to enjoy it.” – Connor Jobes
Editors debuted the single, ‘Heart Attack’, back in April with the announcement of Benjamin John Power joining the band. New album, ‘EBM’ was set for release and a number of subsequent singles have hinted that Power’s arrival on keys, synths and electronics coincides with a focus on such from the band.
Born in the indie landfill mid-noughties, Editors always stood apart and above from their contemporaries by infusing an electronic element into their dark guitar-centric sound. Throughout the next decade or so they’ve continually evolved with the times and that has seen guitars and synths swap places in the mix.
What has helped Editors both grow their audience and retain their core following is that they’ve done so well with quality music at the forefront. They’ve never abandoned their beliefs for the glory of chart success, but have found chart success nevertheless.
The shift of focus almost fully into the world of electronics hinted at in the pre-album singles is fully borne out on ‘EBM’. This is now far removed from the all out indie rock of debut album, ‘The Back Room’. It helps that the transition has been gradual and not the instant transformation that many bands have tried and often failed to enact.
‘EBM’ feels like an honest record from the band, in that this is clearly what the band want to be doing. Sonically this is Editors being themselves, after all they’ve never been the pandering type of band. For some of those indie rock fans that bought into the band early doors this may prove to be a step too far, but for those that have enjoyed the journey this is another collection of solid tracks.
Whilst some fans may be turned off, this isn’t a bad album. This also isn’t a great album. When you’re consistently unique, you eventually are bound to become generic. You either die a hero or see yourself become the villain. The tests of time will ultimately judge ‘EBM’ on Editors’ behalf, and I feel they are unlikely to be either cruel or kind. Again, when all your work is memorable, eventually parts of it become forgettable.
Pet Needs have just released their sophomore album, ‘Primetime Entertainment’, and this week they announced the obligatory headlining tour to accompany the release.
Support for these shows comes variously from Tundra and Bridget..
The tour finishes in their hometown Colchester on December 16th with special guest Sean McGowan plus Ecto Peach and Oxbowlake!
Speaking about the show, Johnny says: “We’re headlining a 400-capacity venue in our hometown Colchester at Christmas. I moved here 7-8 years ago now. For local bands, if you play Colchester Arts Centre, you’ve got credibility. I never thought we’d headline that venue and If we can sell it out, that’d be incredible.”
This week Black Star Riders shared the latest look at new album, ‘Wrong Side Of Paradise’, which is out January 20th. You can check out new single, ‘Pay Dirt’, above.
Frontman Ricky Warwick comments: “Rock’n’Roll is my lover, friend, enemy, ally, religion and saviour. Rock’n’Roll is my life.Christian Martucci and the late Todd Youth wrote the music for this. And when I heard it, it stank with defiance and attitude. It didn’t need changing, just some words to echo the power of the chords.It’s an ode to Rock’n’Roll… But also a dig at those that don’t learn their art and don’t play from the heart!”
About the album Ricky adds: “I am very proud of this record, Black Star Riders’ fifth release and the first with our new and exciting relationship with Earache Records. As with all BSR albums, ‘Wrong Side Of Paradise’ is an anthemic statement of intent, driven by ferocious guitars and thundering drums. I can only write about my own personal experiences, my families, my friends and how I see a world that is unraveling and changing faster than we can comprehend. That being said, I’m a firm believer in the power of positivity, something that echoes throughout this album”
In addition to the new record, Black Star Riders will embark on their 10th Anniversary tour, starting from 13th February 2023.
Ricky Warwick further comments: “Can you believe 2023 is 10 years of Black Star Riders? … How time flies while you are having fun! We decided to do something special to commemorate this occasion. For the UK tour only, to coincide with the album’s release, we will be bringing back the legendary Scott Gorham (guitar) and Jimmy DeGrasso (drums) for the dates to make them extra special!”
Our News Report continues with the latest single from The Cult, ‘A Cut Inside’, which you can listen to above.
The track comes from new album, ‘Under The Midnight Sun’, which is out on October 7th.
Leading to 2020, The Cult had been on a rolling cycle of releasing albums, touring, and recording. As the world shut down and everyone was forced to reprioritise the way they approached life and work. “When the world stopped, I had this moment to write in real time, to calculate,” says Ian Astbury.
When lockdown lifted and the group could meet to record, they teamed up with Dalgety. “I was compelled by this vision, this anomaly, this memory, of being under the midnight sun. Tom helped us bring a new musical shape and frequency to our process.”
Pixies up next in our News Report as they shared new track, ‘Dregs of the Wine’, this week, which you can listen to above.
The track comes from upcoming new album, ‘Doggerel’, which is out September 30th.
BlackFrancis says the song is about, “Living in Los Angeles in the ‘90s with my then-wife, hanging out with Joey and his ex-wife, lots of trips to Las Vegas, a lot of drinking, little bit drug taking, some genuine good times.”
Flashforward to the present day. Joey Santiago was jamming at home on his guitar and the initial idea behind the song may well have been lost to the moment.
He recalls, “I guess I was in kind of a zombie state, just playing. After I stopped playing I put it down and went, ‘Well, that was a fucking waste of time, what a piece of shit I am.’ I beat myself up a lot, but my girlfriend, unbeknownst to me, was recording me. She played it back to me and I go, ‘Fuck! Hold on a second here! This stuff is good!’”
Smith/Kotzen release ‘Got A Hold On Me’ live video
The duo of Adrian Smith and Richie Kotzen will release ‘Better Days… And Nights’ on September 16th.
This week they shared the live video for ‘Got A Hold On Me’, which you can check out above.
Adrian Smith comments, “I think everyone in the band was extremely happy with how our very first tour turned out. We were all naturally a little anxious as we’d never played live together before but once we got out there, everything fell into place really easily and we all had a tremendous amount of fun. I can’t wait until we can do it again and get to play in many more places next time round.”
Richie Kotzen adds, “We spent a lot of time discussing which of the songs from the live show to include on this CD. We wanted to capture an accurate snapshot of the special vibe we all felt on the tour and I think we’ve achieved this in the songs we’ve selected, and hope our fans will agree. We’re looking forward to seeing everybody again on future tours.”
This week also saw Maximo Park share their latest single, ‘Merging Into You’, which you can check out above.
Singer Paul Smith comments on the song:
“Merging Into You’s organ sound reminds me of some of our early songs, which ended up on the flipside of our first singles. The song is a romantic look at the first, tentative moments of a relationship, enhanced by Du Blonde’s brilliant voice. We’re all fans of Beth’s music and she added a different texture to our sound, along with Faye MacCalman’s swooning sax that carries the song to its close.”
Stray From The Path share video for ‘Needful Things’
Stray From The Path celebrate the release of new album, ‘Euthanasia’, with the debut of the video for ‘Needful Things’.
The band will shortly play an intimate UK Tour to celebrate the album release even further.
Speaking of tour, guitarist, Tom Williams, says “We are stoked to return back to the UK and mainland Europe to do some small and intimate album release shows for our new record, ‘Euthanasia’. By the time we get there, it will be almost three years since we’ve been back. We’ve dropped ‘Guillotine’ and ‘III’ and our UK/EU people have been wanting us back ASAP, I’m glad we can get back there for them. We’re bringing with us a brand new album, two amazing up and coming bands in Vatican and Guilt Trip, and three years of too much time spent away from some of our favourite places on earth.”
As our News Report continues we look towards Wednesday 13 who this week debuted new single, ‘Insides Out’, which you can check out above.
The track comes ahead of 9th album, ‘Horrifier’, which is out October 7th.
About the track, Wednesday 13 says: “Our latest single ‘Insides Out’ is a very heavy song, so it only made sense to make a video to match the sound! Torture and violence is the main theme of this song, and we continue along the lines of the last music video with another horror movie theme here too.”
Beth Orton is another artist with an imminent album release. Her latest effort, ‘Weather Alive’ is out September 23rd, and this week she released her latest single. You can check out ‘Fractals’ above.
Orton says of the song, “The track is a beautiful example of the nature of collaboration, where people come in as they are,” she says. “You’re hearing the first take. I would never have been able to conjure that music without these musicians.”
Oakman have announced that their new EP, ‘SCP’, will be out September 30th. This week also saw the band share the video for the title track, which you can watch above.
“It is finally the end of a period. We are very excited to be able to give you the last pieces of this new baby,” says lead singer, Marine, about the new EP. “The last few months have gone by quickly and have been quite intense but it’s also a relief because we cannot wait to get our heads into what will be the next part of Oakman. We hope you enjoy this EP and we hope you can feel the sincerity of the emotions we wanted to share with you. Soon, this EP will belong to you.”
About the song, the band says, “Marine was watching a show during lockdown called “Crazy Ex-Girlfriend”. The main character reminded her of a character she had played when she was doing theater. After the foundation of ‘SCP’ was written, she wrote the lyrics about these two characters. ‘SCP’ is a sarcastic and second degree track about the fear of loneliness and not being loved at all costs with a neurotic side.”
Grave Goods share the song ‘Die’ from their debut album, ‘Tuesday. Nothing Exists’, out now!
Speaking of the single, drummer Sarah Grimes said, “Lois sent us the idea for DIE as a sort of electronic track, and when we were all together we worked out how to make it into a live band sound and add our own stamp to it. Whilst recording at Invada we felt that the build up towards the end of DIE needed more layers, so Lois and Phil tried out a couple of synths and settled on a sound that worked – it’s the only song that has synth.
During the last 15 minutes of our recording time Phil added extra layers by messing around with some guitar feedback – the final sound to be recorded on the album, which is kind of special when you think about it especially as DIE is the closing track of the album.”
Harpy – ‘Medicine’
Harpy is back to share her brand new single, ‘Medicine’!
“Sometimes we don’t want to be saved. Sometimes we want to feel the pain, to revel in the misery. We do things that are bad for us, because sometimes they feel good… so good that we go back to them again, and again, and again. That’s what Medicine is about.” – Harpy
Creature Cult – ‘ughly’
Creature Cult are a duo from Colchester, Essex consisting of Connar Ridd (vocals/guitar) and Jonn Downham (synths/backing vocals). The present their latest single, ‘ughly’.
Explaining the track further, Connar said, “I had to leave a job recently because I was told I didn’t dress the way they wanted me to when I was dressed perfectly fine. If someone without piercings and tattoos and bleached hair would have worn the same thing I doubt there would have been an issue. I’m bored of being made to feel like an alien for just trying to be who I am, this song is exactly about it. It’s about paranoia to leave the f*cking house because you’re thinking about what homophobic comment someone is gunna say when you’re queuing in the corner shop. About feeling exhausted to be yourself because people try and make it hard for you to be. But there is a community for people who stick together and stand tall, a community where difference is celebrated and we are all ‘freaks’ together, and this song is a f*ck you to the people who try to take that away.”
Jonn adds, “I was recently sitting at a bus stop and had a group of guys hurling the foulest homophobic comments at me simply because I was wearing makeup and dressed in a faux-fur coat. It’s both crazy and sad that there are people who still have these sorts of views towards others simply for being or looking different to what’s considered ‘normal’. It’s not okay”
THE AMAZONS – HOW WILL I KNOW IF HEAVEN WILL FIND ME? – ALBUM REVIEW
Reading rockers The Amazons are back with their third album, ‘How Will I Know If Heaven Will Find Me?’.
The band burst onto the scene with their 2017 self-titled debut and quickly established themselves as one of the hottest young rock bands in the country. Follow up ‘Future Dust’ was far from a flop, but probably didn’t build on their momentum as well as they’d have hoped. It will be interesting then to see how ‘How Will I Know If Heaven Will Find Me?’ fares and what impact it will have, if any, on the group’s career trajectory.
WATCH ‘HOW WILL I KNOW?’ FROM THE AMAZONS ON YOUTUBE
Making their name for out all arena rock anthems, this new record follows a path hinted at on its predecessor with a more melodic sound. Sombre and delicate, the harder side of the band only makes rare appearances as they explore their softer capabilities.
Whilst there will certainly be some fans slightly alienated by this, there will be many more that will welcome this change of pace; after all the band have successfully shown this side in past.
When we look beyond the aesthetics of the album, blinker ourselves from their past output and focus solely on the eleven tracks that make up ‘How Will I Know If Heaven Will Find Me?’, then we are looking are a superb record. A delicately crafted collection of melancholic glory!
Yes, The Amazons may be evolving before our eyes, but they are also proving themselves to be the future superstars that their debut album promised.
When we caught The Amazons supporting Royal Blood in arenas recently, we speculated that they would soon be headlining such venues themselves. With this album the band have ensured that trajectory remains.
After a ten year wait between ‘Scream’ and 2020’s ‘Ordinary Man’, Ozzy Osbourne is already back with new album, ‘Patient Number 9’. This is something of a miracle given the ongoing health concerns surrounding the iconic rocker, so it’s with a sense of relief that we press the play button.
The title track and opening campaign single, ‘Patient Number 9’ starts us off and showcases the first of many guests featuring on this album in Jeff Beck. Zakk Wylde, Tony Iommi, Mike McCready, Eric Clapton, Josh Homme, Dave Navarro, Robert Trujillo, Duff McKagan, Chris Chaney, Chad Smith and the late great Taylor Hawkins all have credits on this collaborators dream of an album.
WATCH ‘PATIENT NUMBER 9’ ON YOUTUBE
You may think that such an eclectic mix of stars would contribute to the album feeling disjointed and lacking cohesion. That would it turns out be an incorrect preconception as in fact the record flows well and is distinctively an Ozzy Osbourne record. That said each guest adds personal touches and influences and enables this to be some of Osbourne’s most diverse work.
The critical acclaim that adorned ‘Ordinary Man’ will undoubtedly bleed into ‘Patient Number 9’ with Ozzy Osbourne showing that there is life in the old dog yet.
The only possible criticism would be that perhaps at a little over an hour the record is a song or two too long, but ultimately at this stage of Osbourne’s career we should be grateful for everything we are able to get.
Question marks remain over his ability to tour again, but if ‘Ordinary Man’ and ‘Patient Number 9’ ultimately represent the finale of his distinguished career then Ozzy can enjoy his well earned retirement safe in the knowledge that his career finished as authoritatively as it began.
PANIC! AT THE DISCO – VIVA LAS VENGEANCE – ALBUM REVIEW
Panic! At The Disco was a vessel for frontman Brendon Urie years prior his total custody of the moniker as an all out solo project. Recent releases have seen Urie fully embrace the spotlight and allow his ego to run untapped.
Often this is a bad thing, but in the case of Urie he possesses that flamboyance and je ne sais quoi that only a handful of musicians do. No matter the project or outlet he would naturally become the centre of attention, so in this case it’s only right to let that creativity and showmanship loose.
New album, ‘Viva Las Vengeance’, is everything that you’d imagine that it will be. To some that would be a bad thing, this is modern day Panic! At The Disco by numbers to many extents after all.
But importantly there is one sonic element that Urie has incorporated that helps keep things interesting and gives fans a taste of something a little different. That component is the outpouring of love for 70’s glam rock! This album is a love letter to T-Rex, Queen, Bowie et al, and Urie is able to pull it off with utter panache.
The title-track, ‘Middle Of A Breakup’, ‘Don’t Let The Light Go Out’ and ‘Local God’ all lead the charge before the likes of ‘Star Spangled Banger’ and ‘God Killed Rock And Roll’ unashamedly and theatrically drive the point home.
Panic! At The Disco aren’t breaking any moulds these days, in fact they are something of a safe bet. Again, to some this is a boring and uninspired trend over recent albums, but others will argue if it isn’t broke then don’t fix it.
What is clear on ‘Viva Las Vengeance’ is that Urie is having fun, he is doing what he wants to do and for him that’s all that matters; and hey if doing so can keep him headlining festivals and playing the biggest arenas in the world then he’d be mad to change at this point!
Few artists have the momentum that YUNGBLUD has right now. Having burst onto the scene in 2018 with his debut album, ‘21st Century Liability’, there has been no slow in pace since then with a new third self-titled album now upon us.
2020’s ‘weird!’ not just continued the impetus of ‘21st Century Liability’ but instead strapped a jetpack to this young musicians back. The question here then is does this third effort suffice to keep the train rolling?
Simply put, yes! Seemingly that momentum is relentless and YUNGBLUD is once again able to not just capitalise on his successes but fully build on them. His distinctive vocal presence ensures that all his work is easily identifiable, which almost allows some additional freedom to experiment musically.
Surrounded by talented collaborators such as WILLOW on single, ‘Memories’; YUNGBLUD is able to push boundaries whilst not alienating his pre-amassed and incredibly loyal fanbase.
The snobbish gatekeepers of rock music will be disgusted to hear that this hugely talented musician described as the future of rock but whilst dinosaurs like Gene Simmons continue the tired trope that rock music is dead we need to evolve and unshackle ourselves from our preconceived notions of what rock music is!
The difference between YUNGBLUD and some of the posers that have trod this path is that he has the musical substance to equal his powerful aesthetic. He achieves his admiration through a total package and that sets him apart from many of his contemporaries.
This self-titled album is exhibit number three in the case for YUNGBLUD as the future of rock, and the jury are ready to return their verdict of guilt!
PET NEEDS – PRIMETIME ENTERTAINMENT – ALBUM REVIEW
Eighteen months ago, mid-pandemic, Colchester punks Pet Needs burst onto the scene with their debut album, ‘Fractured Party Music’. An all or nothing exercise for a band at a crossroads in their career, the album permeated into the consciousnesses of the Xtra Mile Recordings scene of bands and their hardcore fans.
The catchy pop hooks and rambunctious rock and roll energy of the album established the band their own dedicated fanbase and took them on an adventure of a lifetime touring the world.
Now the band are once again ready to unleash a smorgasbord of musical pleasure into the wild as they follow up that debut with their oh-so important sophomore record, ‘Primetime Entertainment’.
Picking up where their debut left off, the record bursts straight into life with ‘Lost Again’, ‘Ibiza In Winter’ and the anthemic ‘Get On The Roof’. Listeners are left in no doubt about the direction of the band as they hoist their punk rock mast again.
Like predecessor ‘Fractured Party Music’, ‘Primetime Entertainment’ is also produced by Frank Turner. His fingerprints are all over the album with the sonic growth of Turner’s latest effort ‘FTHC’ also present on this album.
‘Spirals’ is an incredible rip-roaring track which pushes everything the band offers to the extreme. Given the energy and passion of Pet Needs live, ‘Spirals’, is surely destined to be a highlight of their upcoming tour.
Thematically speaking, ‘Primetime Entertainment’, is Pet Needs at their honest and reflective best. There’s plenty of the tongue in cheek lyrics which made ‘Fractured Party Music’, such a fun record, but there’s perhaps a greater sense of seriousness this time around.
When the world is in a bad way, and you just want to lose yourself in some loud guitars and singable songs; don’t fear Pet Needs are here again to service your needs with another liberating release of energy!