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Editors

Editors

EBM

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EDITORS – EBM – ALBUM REVIEW

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.

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Editors – ‘Heart Attack’

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‘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.

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The Amazons

The Amazons

How Will I Know If Heaven Will Find Me?

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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.

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The Amazons – ‘How Will I Know?’

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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.

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Ozzy Osbourne

Ozzy Osbourne

Patient Number 9

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OZZY OSBOURNE – PATIENT NUMBER 9 – ALBUM REVIEW

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.

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Ozzy Osbourne – ‘Patient Number 9’

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.

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Panic! At The Disco

Panic! At The Disco

Viva Las Vengeance

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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.

Panic! At The Disco – ‘Don’t Let The Light Go Out’

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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!

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Yungblud

Yungblud

Yungblud

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YUNGBLUD – YUNGBLUD – ALBUM REVIEW

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.

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YUNGBLUD – ‘Memories’

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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!

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Pet Needs

Pet Needs

Primetime Entertainment

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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.

Read our review of ‘Fractured Party Music’

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.

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Pet Needs – ‘Get on the Roof’

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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!

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‘Discover’ New Music Podcast – Episode 15 – Pet Needs
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Muse

Muse

Will of the People

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MUSE – WILL OF THE PEOPLE – ALBUM REVIEW

It always feels like a momentous occasion whenever superstar rockers Muse release a new studio album. The otherworldly act are shrouded in the grandiose with their over the top visual presentations.

‘Will of the People’ is the groups ninth studio album and has seen the band mix up their approach slightly with the first glimpse of new music coming on social media in a video filmed in frontman Matt Bellamy’s car. A handful of festival appearances and shows have followed as promotion has been ramped up, but really there hasn’t seemed to be the usual sense of anticipation.

That is until the play button is pushed and the opening of ‘Will of the People’ instantly grabs hold of you and screams that Muse are back! Second track ‘Compliance’ serves as confirmation that the over the top and grandiose soul of Muse is in full effect.

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Muse – ‘WON’T STAND DOWN’

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‘Liberation’ shows that ‘Will of the People’ isn’t a one trick pony before ‘Won’t Stand Down’ escalates the intensity as the album continues to ebb and flow. Yes, the various musical identities of Muse are seemingly all present and correct on this all encompassing record.

The hard rocking, symphonic, galactic, political and quite frankly absurd sonic buffet on offer will surely be enough to please Muse fans of all ages. It really does feel like the band have just thrown everything at the wall to see what sticks like a maniacal splatter painter in the midst of a moral breakdown.

‘Killed or Be Killed’, whilst a standout track could also be the bands motto at this point, and there is no way that they will allow themselves to be killed! Sit back, strap yourself in and enjoy the majestic lunacy of Muse at full throttle!

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Lauran Hibberd

Lauran Hibberd

Garageband Superstar

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LAURAN HIBBERD – GARAGEBAND SUPERSTAR – ALBUM REVIEW

Lauran Hibberd has spent the past few year’s releasing a steady stream of singles and playing an endless run of shows and festival slots. During this time she has built a solid following and garnered much praise from those taking notice.

With a firm groundwork beneath her and anticipation high, it’s now time for her to unleash her debut album, ‘Garageband Superstar’, and complete her world conquering mission.

Despite that stream of pre-album singles, ‘Garageband Superstar’, was always going to be a major hurdle for Hibberd. A debut album for any artist is a statement and whilst there are some famous exceptions, this first impression is often make or break for artists.

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Lauran Hibberd – ‘Still Running (5K)’ feat. DJ Lethal

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Hibberd manages to navigate this hurdle with ease, with her debut album an all out statement of intent. ‘Garageband Superstar’ is brash and in your face yet also vulnerable and relatable. This highly accessible thread runs throughout album standouts such as ‘Still Running (5K)’, ‘Average Joe’ and ‘I’m Insecure’ and adds layers to the pure enjoyability of the album.

Musically the album captures everything that helps Hibberd standout live with a bouncy indie pop vibe making this a very fun record. Lyrically ‘Garageband Superstar’ is brutally honest and completely unashamed. This combination feels like a winning one, with the early hype now justified and that anticipation more than met.

This is no doubt the first step in a very long and prosperous career for the talented garageband superstar!

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Pale Waves

Pale Waves

Unwanted

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PALE WAVES – UNWANTED – ALBUM REVIEW

Pale Waves only released their second album last year, but with momentum in their favour they are back already with album number three. ‘Who Am I?’ was a huge release for the band, taking them to number three in the charts and taking them into larger venues and bigger festival slots.

Eighteen months later and the band are ready to capitalise on their hard work and push for greater success. With a date already set for the legendary Brixton Academy this November, could new album, ‘Unwanted’, be set to push them into arenas?

Well, opening with the epic, ‘Lies’, is a very good start for the album, and the pace doesn’t really ease as the group let their pop punk side out!

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Pale Waves – ‘Lies’

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Across their three albums the band has now shown strong evolution and confidence in creating an eclectic mix of sounds. That being said each album has been distinctively a Pale Waves album with a familiar sonic undertone throughout.

With Heather Baron-Gracie at the helm their sound continues to feature an uplifting element despite the often dark and personal themes. This album fits a continued narrative of relatable music which helps to create a strong connection between band and listener.

Tracks such as ‘The Hard Way’, ‘Jealousy’ and ‘Reasons To Live’ have given a accurate view into the make-up of ‘Unwanted’ as a whole. If you’ve enjoyed the pre-release singles then you’ll love this uninterrupted tour de force of an album.

If ‘Who Am I?’ was the album to put Pale Waves on the map, then ‘Unwanted’ is raising their flag aloft and stating their ambitions for world domination!

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Kasabian

Kasabian

The Alchemist’s Euphoria

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KASABIAN – THE ALCHEMIST’S EUPHORIA – ALBUM REVIEW

To say that Kasabian’s seventh studio album, ‘The Alchemist’s Euphoria’, comes with a burden of added pressure would probably be an understatement. When one of the biggest bands in the country loses an iconic member then eyes will naturally be on what comes next, this is amplified when that iconic member is the singer!

Not to mention that it’s the nature of the world that we live in that those eyes watching are bound to be highly critical. No doubt, there will be many looking on and hoping to see Kasabian fail for various reasons.

Thankfully for the band they have already taken the time out to prove the doubters wrong in the live setting, with the band confirming that they are still one of the best live acts on the scene, the question is now turned to their studio output.

One of the reasons for Kasabian’s success over the years has been their adaptability and willingness to experiment. This works in their favour when reflecting on ‘The Alchemist’s Euphoria’, as whilst it doesn’t give the band a free pass it certainly allows extra freedom to explore their sound.

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Kasabian – ‘CHEMICALS’

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With guitarist Serge Pizzorno moving to the vacated lead vocals position, some clearly wondered if he would take the band down the more electronic route of his SLP side project. Alternatively would the band return to their early sound or maybe just continue on the path of 2017’s ‘For Crying Out Loud’.

The answer here is the one that probably should’ve been expected from the start – all of the above!

You can certainly feel the Pizzorno influence taking a bigger hold, there are nods to the early lad-rock leanings of the band and there are some playful festival favourites the likes of which emerged from the albums predecessor.

To an extent this is clearly Kasabian pressing the reset button. With ‘The Alchemist’s Euphoria’, the band has reassured fans that the past isn’t forgotten but the future remains one of exploration just as it would of done.

This album does what it needs to do to shore up the ship, but it almost leaves you now asking what’s next. This isn’t a forgettable album but it is a cleansing album to purge the difficulties of recent years and set up what’s to come.

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