Vol. 110
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Full Pelt Magazine
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White Lies
Night Light
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WHITE LIES – NIGHT LIGHT – ALBUM REVIEW
White Lies have always been a difficult band to pigeonhole into a specific genre and that’s ultimately what has helped to set them apart. They have their own identity and each record released tends to show a degree of evolution.
It shouldn’t be much of a surprise then that their new seventh studio album, ‘Night Light’, continues their ambitious path of growth and finds itself as another uniquely crafted set of songs. It’s worth noting that whilst it is of course a set of nine different songs, the album is greater than the sum of its parts and feels purposefully crafted as a singular piece of work.
The opening track, ‘Nothing On Me’ feels like it’s welcoming us to the town of Hawkins before exploding into a bombastic synth-laden groove which soon segues into the more melancholic ‘All The Best’.
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Each track then flows elegantly into the next and mixes the various elements of their sound at different times. This is overarchingly however a slower more methodical record with hypnotic capabilities.
You won’t find yourself rocking out to these songs like you can much of their more front-footed work. No, instead you’ll want to seal yourself off in a dark room and allow yourself to get lost in the music.
There is much to take from this album as a listener even if actually in the context of their entire career it may not receive the acclaim they are used to. Fans of their more exuberant work will feel this is a bit flat, but that doesn’t make this a bad record – in fact it’s a very good one!
If every band stayed static in their sound then music would be boring, so fair play to White Lies for continuing to strive for something bigger and bolder.
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Finger Eleven
Last Night On Earth
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FINGER ELEVEN – LAST NIGHT ON EARTH – ALBUM REVIEW
Twenty years ago, Canadians Finger Eleven were making waves with a string of radio-rock favourites including tracks featuring on movie soundtracks and a handy affiliation with WWE. Truth be told though in 2025, they aren’t a band on many people’s radars anymore.
Indeed, it’s been ten long years since they released their last album, but their 2023 ‘Greatest Hits’ release stirred something – particularly the success of a new track, ‘Together Right’. Subsequently the band entered the studio and the first fruits of their labour ‘Adrenaline’ whetted rock fans appetites last year.
That track kickstarts new album ‘Last Night On Earth’ and helps to give the record a real solid foothold alongside ‘Blue Sky Mystery’ which features Filter vocalist Richard Patrick. The first half of the album incorporates glimpses of their old-school sound but in a somewhat more strait-laced rock package.
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As the album progresses it’s clear that the band have put a lot of love into the making of the record and are looking to both pay homage to their past but make something modern and worthy of their resurrection.
Interestingly the standout tracks tend to be the slower numbers such as the centrepiece title-track, the piano-led ballad ‘Wall Dogs’ and the Floydian ‘Body and Mind’. This ultimately becomes one of their most ambidextrous collections.
The only real oddity is concluding the record with a second version of ‘Blue Sky Mystery’ without Patrick which just feels unnecessary. That aside, ‘Last Night On Earth’ is far better than a Finger Eleven album in 2025 has any right to be and hopefully will jumpstart a new era for the band!
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Vol. 109
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Florence + The Machine
Everybody Scream
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FLORENCE + THE MACHINE – EVERYBODY SCREAM – ALBUM REVIEW
The promotion of Florence + The Machine’s last album, ‘Dance Fever’, ended abruptly amongst heartbreaking loss and a scary life-threatening medical emergency for Florence Welch.
Artists will often find catharsis in their creation, so it should be no surprise to anybody that their sixth album, ‘Everybody Scream’ tracks the theme not just of loss but also of recovery and hope. This naturally makes this an incredibly personal record for Welch and one that many will find solace in.
Welch has always oozed pure charisma however and this album is also able to get you moving with a grittier sound which is embellished by the presence of IDLES genius Mark Bowen. The more driven layers that have been added to the sound are hypnotic which ties in nicely with the majestic signature sound of the group.
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Lyrically poetic and sonically expansive this isn’t just some of the most personal material Welch has created but it’s some of the very best also… and that’s saying something given the credibility of her back catalogue.
Just shy of fifty-minutes long this is a mesmeric release for a number of reasons but more than anything it’s just great to hear Welch again unleashing her special talents in such a focussed and rewarding way.
A collaborative album with many parts to the machine both old and new this is an album well worth investing your energy in, so give it a go and everybody scream!
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Creeper
Sanguivore II: Mistress of Death
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CREEPER – SANGUIVORE II: MISTRESS OF DEATH – ALBUM REVIEW
In 2023, Creeper didn’t just release their third album – they became the album. Embracing a love for the theatrical stylings of Jim Steinman, ‘Sanguivore’ led a vampiric ascension of the vision and ambition of a band always looking to push themselves.
The result was a stunning record which we felt compelled to christen our Album of the Year. The usual relentless touring followed, and the band honed fully into the aesthetics of the release. In May this year, some of their fanbase appeared ready to move onto the next era for the band constantly reinventing themselves. Many attended Camden’s KOKO to celebrate the final death of the album’s thrall.
Instead, a spectacular finale revealed that the album will see a hauntingly conceived sequel – ‘Sanguivore II: Mistress of Death’! Frontman Will Gould (aka William von Ghould) has explained the concept as a vampire touring band being hunted by the eponymous Mistress of Death.
This is of course another big, brazen statement from a band seeking to deliver something greater than the sum of its parts. Therefore, as with its predecessor, you again need to invest your time listening to the record in its entirety to devour it as intended.
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This album however is easier to consume than the first. Rather than beginning with a near ten-minute rock opera, instead this album begins with a minute long intro track and an early run of familiarity with the three pre-release singles ‘Blood Magick (It’s a Ritual)’, ‘Headstones’ and ‘Prey for the Night’.
The relatively small selection of pre-heard material helps to bring a sense of intrigue as you work through this twelve-track / forty-two-minute collection. The likes of Hannah Greenwood led ‘Razor Wire’ add fascinating new layers to the record and held to ensure that whilst very much a continuation of the first album, this record works well also as a standalone piece.
Overall, across ‘Sanguivore II: Mistress of Death’, Creeper have doubled down on their goth/glam rock hybrid sound but with added drive ala the classic metal of Maiden or Priest. That makes the album more accessible but still quirky and outlandishly fun.
No doubt the pursuant touring will see the band further exploring the possibilities of the genre, so it’s good that there are plenty of tracks on this album which are ready for feverish consumption. Halloween is the perfect day to release this record and now is the perfect time to sacrifice yourself at the altar of Creeper!
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Vol. 107
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The Last Dinner Party
From the Pyre
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THE LAST DINNER PARTY – FROM THE PYRE – ALBUM REVIEW
Last year’s stunning debut album, ‘Prelude to Ecstasy’ was monumental for The Last Dinner Party. The record made the band household names and brought about numerous prestigious awards all proclaiming them the next big thing.
With this attention however comes pressure to maintain that momentum. Many eyes will therefore be on their sophomore release, ‘From the Pyre’ which arrives some twenty months later.
With two of the albums pre-release singles (‘Second Best’ and ‘This is the Killer Speaking’) having already been previewed live last year, a degree of mystique remained for the album as a whole. The record however picks up pretty directly from its predecessor.
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Indeed, ‘From the Pyre’ feels like a true continuation of ‘Prelude to Ecstasy’ yet somehow even more ambitious! Yes, the five-piece are able to take the words bold and innovative to new heights on this enchanting collection.
In a time of short-form media and low attention spans, the fact that the band have doubled down on their dynamic and mesmeric songwriting is commendable. With eight of the ten tracks nearing or surpassing the four-minute marker this album is very much substance over style.
The fact that the album credits spotlight nearly forty additional musicians show a glimpse of the layers crafted into the fabric of this album. The core group all get their moments to shine however and you do have to say that they are greater than the sum of their parts.
Anybody doubting their ability to follow up their sensational debut has been shut up with a new album arguable even fuller and grandiose than the original. The Last Dinner Party are no longer the next big thing, they are the now and they are going to be massive.
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Vol. 106
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Cyan Kicks
Come Hell, Come High Water
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CYAN KICKS – Come hell, come high water – album review
Since releasing their debut album, ‘I Don’t Love You’ in 2019, Finnish alt rockers Cyan Kicks have been slowly turning heads with their eclectic sound. Their 2023 sophomore release, ‘I Never Said 4ever’, garnered greater attention from further afield and led to a series of shows and festival appearances in the UK.
Those catching either the groups full throttle Forest Stage performance or their stunning acoustic renditions in the campsites of 2000trees were instantly converted. Now those fans have their first taste of new music to really sink their teeth into as the band share their third studio album, ‘Come Hell, Come High Water’.
They album wastes no time in unleashing their anthemic modern metal stylings with opening trio ‘From the Bottom of My Heart’, ‘Echo’ and ‘Middle of a Breakdown’ all fantastically fun.
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Nailing Cyan Kicks down on a genre isn’t easy with electronic elements, pop sensibilities and an alternative rock sound built for the biggest stages. We’ve never been fans of pigeonholing music however, and we suggest instead of trying to label the band, you should instead just enjoy the madness that is Cyan Kicks!
There are ferocious riffs, driving rhythms and the incredible instrument that is the vocals of singer Susanna Alexandra; and the results are unashamed rock ragers full of emotion and unrelenting energy.
Every song on the record deserves its own shout out but to preserve our word count we’ll just point you to the finale of a rousing Heart cover (‘Alone’) and the Dan Lancaster produced hit, ‘Dancing With Demons’.
The entire album though is a really great listen and one of those that just makes you want to experience these songs in a live setting. Hopefully more shows will be coming and even more people can then discover this superb band.
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