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Razorlight

Razorlight

Planet Nowhere

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RAZORLIGHT – PLANET NOWHERE – ALBUM REVIEW

On the back of their first two albums, you would have expected Razorlight to go on to be a sustainable big hitter in the industry. Alas, everything started to go down hill thereafter and eventually would lead to frontman Johnny Borrell being the sole remaining original member and their record label refusing to release their much delayed fourth album.

After a decade of decline, Borrell managed to commence CPR on the lifeless corpse of Razorlight around 2018 with the release of ‘Olympus Sleeping’ coming at a good time for indie nostalgia. Subsequently the gradual re-introduction of the classic line-up raised the groups stock once again; and bigger and better shows followed as a result.

With that nostalgic feeling assisting, the question mark remained however over whether that original magic could be recaptured in the studio. ‘Planet Nowhere’ is the first new album from the classic Razorlight line-up since 2008. Meaning that despite numerous attempts, ‘Olympus Sleeping’ now sits as the only Razorlight album not to feature the line-up of Borrell, Andy Burrows, Björn Ågren and Carl Dalemo.

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Razorlight – ‘Zombie Love’

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Despite that sixteen-year gap, it’s evident from opening track, ‘Zombie Love’, that the quirky charm that set Razorlight apart from many of their contemporaries remains intact. As the album progresses it’s interesting to note that feeling of recaptured magic, mixed with an expected aura of added maturity.

It would be disappointing if this was just a rerun of their best work, but equally as off putting if it was an escape from what brought them to fame. You have to say that the quartet have done well to find a balance between past, present and future.

Their renewed vivacity is clear, and this is a fun album which is helped by the relatively short track list and run-time. That said this is no masterpiece and won’t even be regarded as the best album to be released this week, let alone trouble any of the album of the year lists that are peering over the horizon.

‘Planet Nowhere’ is a jolly romp and that’s really all that it needs to be. Lapsed fans of the band won’t regret allocating some time to check this album out, but odds are ‘Up All Night’ will be back on the record player soon after.

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Amyl and the Sniffers

Amyl and The Sniffers

Cartoon Darkness

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AMYL AND THE SNIFFERS – CARTOON DARKNESS – ALBUM REVIEW

The rise of Amyl and The Sniffers hasn’t exactly been meteoric, but with their biggest headline show booked and tickets flying out, it would appear that finally the band are breaking through and getting the attention early fans knew that they deserved.

Their fun pub rock sound is thankfully intact on their new third album, ‘Cartoon Darkness’. There is an expansion of their sound however and at the risk of sounding cliched this is undoubtedly their most accessible release yet!

Cynics would say that the timing smacks of selling out as their star rises, but realists will credit them for striking while the iron is hot. The fact that their identity is still eccentrically showcased throughout these thirty-four minutes of intensity is evidence that they remain true to themselves despite the newfound attention on these Aussie heroes.

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Amyl and The Sniffers – ‘Big Dreams’

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Big riffs, danceable rhythms and biting lyrics continue to dominate these thirteen tracks as the group explore further a sound that has garnered them a reputation as one of the best live bands on the planet.

It’s within the likes of the slower burning ‘Big Dreams’ though where you step back and admire the giant leap forward that the band have taken. Songs such as this are destined to carry the band to the biggest stages where you just know that their live prowess will ensure they become a big-time act. Let’s just hope that they retain your inimitable charm when they are up there.

‘Me and the Girls’ is a fantastic closing track and punctuates the record perfectly. This is Amyl and The Sniffers taking things to another level and ready to take over the world!

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Meryl Streek

Meryl Streek

Songs for the Deceased

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MERYL STREEK – SONGS FOR THE DECEASED – ALBUM REVIEW

Stirring punk agitator Meryl Streek has been making a name for himself through a series of captivating live shows, but by his own admission has neglected the recorded side of things. ‘Songs for the Deceased’, his second album, puts that right!

Born and raised in Dublin, Streek is unapologetic in his love for his home, unashamed in highlighting various injustices that poison the world and is wholly unrelenting in delivering these truths with his unique sonic expansion of the punk rock genre.

One thing is for sure, Meryl Streek isn’t going to sit quietly and follow the herd. Be it in his insightful and thought-provoking words, or in his unfiltered requiem of noise Streek is undoubtedly a mould breaking and generation defining artist.

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Meryl Streek – ‘Counting Sheep’

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Over the course of the fourteen tracks that make up ‘Songs for the Deceased’, Streek locks into personal, political and societal themes, tackling historical tragedies and modern concerns. Nobody and nothing is off limits with even the music industry itself rightfully coming under fire!

Whilst Streek uses these songs to tell different stories, the thread that weaves throughout is the thread of injustice. On ‘Songs for the Deceased’, Streek employs his intelligent lyricism to stand up as a voice for the voiceless. In a world bereft of fairness and equality, voices like that of Streek become increasingly vital, and this album acts as his grand statement to all those that will listen.

“Things won’t change unless the young generation stand up” says one of many samples featured on the album, and you sense that the voice of Meryl Streek will be one of those daring to stand up. Both musically and in the grander merits of this record, ‘Songs for the Deceased’ is a massive album from an artist ready to disrupt the status quo!

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Jerry Cantrell

Jerry Cantrell

I Want Blood

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JERRY CANTRELL – I WANT BLOOD – ALBUM REVIEW

Given the magnitude of his day job with Alice In Chains, it can be easy to forget the some of the solo work completed by Jerry Cantrell. 2021’s ‘Brighten’ was his first solo effort in almost twenty years and reminded fans that he has more strings to his bow (or guitar in this case).

His 2002 solo album ‘Degradation Trip’ was a hidden gem of an era dominated by nu-metal. It offered the familiar roots of his AIC work but branched out into the popular styles of the time.

Mike Bordin and Rob Trujillo were both key components of that record and they are back for his new release, ‘I Want Blood’, alongside the likes of fellow previous collaborators Duff McKagan, Greg Puciato, Gil Sharone and Lola Colette.

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Jerry Cantrell – ‘Vilified’

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It’s perhaps not a surprise then that this record feels like it has taken the best from each of his previous solo releases, a dose of AIC and a little pinch of experimentation to achieve something of a best of mix.

Indeed, if you are a fan of any of his previous work – you are going to fall in love with this album! If on the other hand you’ve never been a fan, then don’t expect this album that change that.

Either way though there are many worse ways that you could spend forty-six minutes, and you’ll undoubtedly leave with a renewed respect for this iconic musician.

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Skegss

Skegss

Pacific Highway Music

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SKEGSS – PACIFIC HIGHWAY MUSIC – ALBUM REVIEW

The trio that was a four-piece is now a duo as Skegss release their third album, ‘Pacific Highway Music’. Whilst these changes have all been amicable, there has been a regular theme of change and storm in their now decade long existence.

That does make you wonder if the lyrics “one day I’m gonna get out of my way” in the record opening ‘Tradewinds’ is going to be something of a self-fulfilling prophecy. The remaining duo are after all the two original school friends who started the whole thing – Jonny Lani (drums) and Ben Reed (vocals, guitar, bass).

As this record kicks off with strong vibes of prime Strokes, you certainly feel that if they can enter a period of consistency and stability then perhaps Skegss can become the latest Aussie export to make big waves overseas.

They have after all already had great success on home turf with their last album, ‘Rehearsal’, going one better than their debut ‘My Own Mess’ by achieving number one in the prestigious ARIA Charts.

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Skegss – ‘High Beaming’

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Recorded in iconic studios, produced and demoed alongside leading figures, and written with new freedom, ‘Pacific Highway Music’ is undoubtedly the bands most sonically ambitious and formed release to date.

The likes of ‘Spaceman’ show a real maturity whilst maintaining their playful surf rock roots. Across these eleven tracks, there are emotions, there are sun-soaked guitars, there is playful lyricism and there is a sense of unshackling the past and looking to the future.

What this album lacks in terms of potency when compared to fellow exports The Chats and Amyl and the Sniffers, it makes up with its honest charm. Less the album to mosh to in the pub, more the record to chill out to on the beach with afterwards!

There is clearly something about Skegss, they wouldn’t have made it this far if there wasn’t. Perhaps now though it’s time for them to get out of their own way in order to realise their full potential.

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BERRIES

BERRIES

BERRIES

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BERRIES – BERRIES – ALBUM REVIEW

2022’s ‘How We Function’, introduced us to the colourful world of BERRIES, and now the trio are ready to take their quirky sound to another level on their self-titled sophomore release.

With a slight tweak to their line-up and releasing through the always reliable Xtra Mile Recordings, it’s great to hear the band really homing in on what makes them special. Equal doses methodical and chaotic, these ten tracks are another sonic rainbow of delicate melodies and rousing riffs.

There is a plethora of influences and genres represented within the tracks, but whilst sometimes that makes a record feel disjointed – the uniqueness of BERRIES instead makes the record an exhilarating rollercoaster. There are plenty of twists and turns, lulls and peaks and an overarching sense of urgency.

WATCH THE VIDEO FOR ‘WATCHING WAX’
BERRIES – ‘Watching Wax’

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Working with renowned production wizard Adrian Bushby, who mixes the album with an equal sense of ferocity, clearly adds a layer to this second album.

It is the sublime musical eccentricity and honest and pressing lyrical prowess of the band however that means that somehow they have manged to top what was a fantastic debut record.

You can’t really go wrong with this collection and it’s certainly more interesting than 90% of new music. The trio have a daring attitude and the talent to back it up and with two superb albums kickstarting their career, you can’t help but be excited to hear what the group do next!

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The Offspring

The Offspring

SUPERCHARGED

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THE OFFSPRING – SUPERCHARGED – ALBUM REVIEW

When The Offspring released their tenth album ‘Let The Bad Times Roll’ in 2021 we commented, “Was anybody craving a new album from The Offspring in 2021? Perhaps not, but actually in this messed up world we live in, maybe, just maybe, we needed it!”. The album was their first in nine years and they’d long been presumed to be fully on the nostalgia bus.

Now they dispel those speculations completely with their second album in three years, ‘SUPERCHARGED’. This new era has sparked even more interest in the band and they find themselves in something of a renaissance period.

Working again with producer Bob Rock, there is a back to basics feel about this record with the band clearly focusing on delivering what the fans have lapped up in years gone by. That worked well for them on the surprisingly good ‘Let The Bad Times Roll’ and does ensure that this new momentum is continued.

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The Offspring – ‘Make It All Right’

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Fans of the band will feel at home with these songs and at just over the half hour mark this is an easy listening experience. Ultimately you do feel though that there is a big lack of standout singles and much like its predecessor you suspect these tracks won’t last long in the bands setlists.

They are good enough however to deserve a chance, which ‘Let The Bad Times Roll’ sadly seemed to lack as the band stuck to that nostalgic approach with their live shows. Naturally, they can’t win here because fans will moan if they leave out old favourites or if they fail to play these songs. Thus is the joys of stardom hey!

Much as we said in 2021, this album is far better than a new Offspring album in 2024 has any right to be and that should mean this record is heralded as a great success. Unfortunately, though the band will always be compared to their best work, and it would be hard for them to ever hits those heights again!

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Myles Kennedy

Myles Kennedy

The Art of Letting Go

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MYLES KENNEDY – THE ART OF LETTING GO – ALBUM REVIEW

Across his various ongoing projects Myles Kennedy is nothing short of prolific with the frequency in which he lends his incredible voice to new albums. Full Pelt has only existed for four years and in this time he has already released albums with Slash, Alter Bridge and under his own name.

‘The Art of Letting Go’ marks his second solo release in this time and his third overall, and as with any release on which he features, it is his intense voice which is the greatest instrument!

His debut solo release, ‘Year of the Tiger’, found Kennedy showcasing a stripped back blues-tinged sound before 2021’s ‘The Ides of March’ brought a straighter rock sound to a world emerging from the pandemic.

WATCH THE VIDEO FOR ‘MISS YOU WHEN YOU’RE GONE’
Myles Kennedy – ‘Miss You When You’re Gone’

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On this new record, Kennedy rachets things up another notch or two with some heavier, bolder riffs making this by far the most Alter Bridge adjacent solo release thus far. A big positive of this is of course that you find Kennedy in familiar territory and therefore the release is an easy digest for his followers.

On the flip side, it has been nice to see the different sides of Kennedy and this release therefore can feel a little safe. Still, any gripes are soon blown away by the sonic onslaught that delivers as many big moments as any Kennedy featuring release to date.

You would imagine that after some nineteen studio albums for various projects, Kennedy would be struggling for ideas, but instead after three decades of songwriting Kennedy shows that he is still thriving.

Indeed, it’s undeniable that this is Kennedy at his very best and that is saying something because Kennedy has long established himself as one of the artists of his generation.

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FEVER 333

FEVER 333

DARKER WHITE

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FEVER 333 – DARKER WHITE – ALBUM REVIEW

Intrigue was always going to surround the first FEVER 333 release post their extensive line-up shake-up which left frontman Jason Aalon Butler as the sole original member.

In truth though this group has always been a vehicle for the charismatic singer and the pre-release singles certainly didn’t lead anyone in to thinking that ‘DARKER WHITE’ would see any substantial change in direction.

As you delve into the fourteen tracks on this album, you’ll find a familiar sonic explosion of rap, rock, punk and more. Yes, FEVER 333 have always carried an element of the genre-defying, and they’ve again captured a smorgasbord of influences and explorations.

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FEVER 333 – ‘PIN DROP’

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Aalon Butler is in typically ferocious form as he continues to call out social injustices and personal experiences within his biting lyricism. As a writer Aalon Butler has always been as fearless as he has as a performer and that conviction helps to maintain the impetus of the new look groups sound.

There may be those that feel given the propensity of Aalon Butler to push boundaries this is something of a safe release and maybe this is all overly familiar despite those line-up changes; but the counterargument would be that this collection is exactly what FEVER 333 needed to deliver.

Fans can be assured that everything they value in the output of FEVER 333 remains as potent as before. Perhaps with that some excitement can build in wanting to see where they go next!

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Chubby and the Gang

Chubby and the Gang

And Then There Was…

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CHUBBY AND THE GANG – AND THEN THERE WAS… – ALBUM REVIEW

Chubby and the Gang are another one of those fateful acts that made their mark at the wrong time. History will show any band releasing their debut album in early 2020 were given a rather big hill to climb, but whereas many have subsequently disappeared – Charlie Manning aka Chubby still drives forward with this one.

Despite a few false starts, the band are now sharing their third studio album, ‘And Then There Was…’, and it’s another hefty mix of attitude, swagger, rage, reflection and vulnerability.

Sonically the sixteen tracks encompass a plethora of punk sub-genres which are tied up with a pub rock style bow. This helps to make Chubby and his Gang connect with the working classes in our constant struggle to survive.  

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Chubby and the Gang – ‘To Be Young’

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You do get the likes of the slow burning ‘To Fade Away’ in that mix to provide a little relent from the punk rock onslaught but in the main this is another set of ready-made punk anthems. Not paint-by-numbers by any stretch, but there is obviously a formula to Chubby and the Gang and hey, if it’s not broke then why fix it!

It does just feel like Chubby is having fun and that adds a lot to the brash charm of this album. It probably is a tad long in terms of both runtime and track volume but then it’s not like Chubby and the Gang are trying to win the Mercury Prize.

This album doesn’t need to be perfect. These songs will get audiences moving at shows, which is ultimately what you feel they are designed to do, and that makes this collection a resounding success!

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