The Treatment – Waiting For Good Luck – Album Review
‘Waiting For Good Luck’ is an apt title for the fifth studio album from Cambridge rockers The Treatment. Since bursting onto the scene and being hailed as the next big thing, the band have suffered a somewhat Spinal Tapesque rotation of members.
Unlike that group, it’s not the drummer that’s the problem! Dhani Mansworth being one of only two original members left from their 2008 foundation. Together with guitarist Tagore Grey, Mansworth has seen a revolving door of members including latest addition, bassist Andy Milburn.
This has included three singers, with current vocalist Tom Rampton joining in 2017. Completed by Tao Grey on guitar, the band will be hoping for some stability and good luck moving forward. They will hope that ‘Waiting For Good Luck’ is the start of that process.
From the beginning of opening number ‘Rat Race’ onwards, you grow a sense that they may be in luck after all. Whilst this album delivers exactly the sound that you would expect from The Treatment, it delivers it very well.
Watch ‘Rat Race’ on Youtube!
There are plenty of songs on this album that rate amongst the best that the band has produced. ‘Take It or Leave It’, ‘Lightning in a Bottle’, ‘Hold Fire’ and ‘Wrong Way’ lead the way but the rest of the album isn’t far behind.
You almost wait for a dip in quality that thankfully doesn’t come. From start to finish ‘Waiting For Good Luck’ delivers on the promise that has always surrounded The Treatment. The hope now has to be for that good luck to arrive and for the band to be able to push ahead as a group.
After all fans of Tuckman’s Theory of Group Development know that to perform you need to work through the forming, storming and norming stages. (I bet you didn’t expect to see Tuckman reference in a music review!).
With this fifth album you finally feel that The Treatment are ready to deliver their best performance!
The release of The Snuts debut album really has been a long time coming. The band initially hoped to release the album once the pandemic was over. Of course that appears some way off, and having released the first single ‘All Your Friends’ back in May 2019, the time has come for ‘W.L.’.
The Snuts have steadily built a solid fanbase and ‘W.L.’ will only continue the upwards trajectory of these young Scots. Whilst much of the album was already ‘out there’ due to the prolonged release, this is still a significant milestone for a band with great potential.
‘W.L.’ is a strong debut album that lays the foundations of what will likely be a long and successful career. The album is packed full of charm and idiosyncrasy which helps to distinguish it from being just another indie record.
The likes of ‘Juan Belmonte’, ‘Somebody Loves You’ and ‘Glasgow’ are destined to grace setlists for years to come. That said it’s hard to single out tracks for praise due to the overall quality of the album.
The deluxe edition of the album features four additional unreleased tracks which help to ensure that ‘W.L.’ feels fresh. In total across the seventeen tracks there is plenty to get your teeth around and savour.
This does feel like the start of a great journey for the band. Expect The Snuts to continue to grow when they are able to take this album on the road. Then, who knows, perhaps we won’t have to wait as long for album number two!
The Fratellis – Half Drunk Under A Full Moon – Album Review
Since returning from their three year hiatus in 2012 The Fratellis haven’t been shy about releasing new music. Whilst many bands of their generation are now happy to milk the nostalgia cow, The Fratellis have now released four albums in eight years.
The case of The Fratellis is an interesting one when you consider that upon their break in 2009 they were on the cusp of bigger things. They had worked towards the top of major festival bills and were playing larger and larger shows.
Their break coincided with the peak of the indie boom of the mid-2000’s, and the band returned when the world was declaring guitar music dead. It does make you wonder where the band would be without that break.
The quality of the bands releases since their reconvention has been high but, probably more as a sign of the times, they haven’t enjoyed the same mainstream success. Listening to their latest effort ‘Half Drunk Under A Full Moon’, it’s a different listening experience to that of their first two albums. That isn’t a bad thing however.
In reality it seems that the band are writing for themselves now. There are no megahits such as ‘Chelsea Dagger’ to be found and that feels as though it’s by design. The Fratellis aren’t a nostalgia band but they also aren’t a band striving for the bright lights. They appear comfortable in their own shoes and that allows them the freedom to create quality music without needing to be pigeonholed.
‘Half Drunk Under A Full Moon’ is able to suck you in and hold your attention. You get lost in the pleasant and subtly upbeat tempo of the title track, ‘Strangers In The Street’ and ‘Living In The Dark’. These songs are perfect for a late afternoon festival slot, sat with a drink, tapping your foot. There isn’t anything to really get you up and bouncing, but let’s face it The Fratellis have those songs in abundance.
This album is a lovely addition to the catalogue of a band happy to be different. It may not break any doors down but it doesn’t need to. Where would The Fratellis be without that break? Probably not here, but here is where they seem comfortable and happy, which is actually a pretty good description of this album!
It’s that age old question. What do you get when you put Iron Maiden guitarist Adrian Smith and the much travelled Richie Kotzen in a studio together? Well, perhaps not; the answer however is magic!
Yes, all too often much heralded partnerships or so called supergroups are over hyped only to under deliver. That isn’t the case here as Smith and Kotzen combine for the creatively titled Smith/Kotzen. Together they have created an album of superb blues infused hard rock, equally creatively called ‘Smith/Kotzen’!
Perhaps all their creativity was used up in recording this brilliant album and when it came to promotion they were all out of ideas! Seriously though, this is an impressive collection of songs that echoes the shere talent involved.
It feels as though the duo complement each other perfectly. They are able to stretch their legs without stepping on each other’s toes. Smith excels from the comfortable confines of house Maiden and Kotzen demonstrates his unrivalled talents.
From the openings of ‘Taking My Chances’ all the way to the closing moments of ‘Til Tomorrow’, there isn’t much let up in quality. Smith and Kotzen can be proud of what they have achieved on Smith/Kotzen; even if they can’t be proud of their naming abilities!
Evanescence are an interesting entity. Officially a group for over 25 years but with only three all original studio albums if we don’t include 2017’s ‘Synthesis’. Amy Lee remains the only original member, and only member to survive from 2003’s breakthrough debut album ‘Fallen’.
It can’t be argued that the band are not absolutely huge despite this lack of new material. In fact, you are left to wonder what a more prolific band could have achieved. Now in 2021, the band are back with their first all new studio album since their self-titled 2011 release.
What should we expect from the band? Can they produce anything as good as their early albums? Well, it’s evident from very early on that this is a return to form for the band. There is plenty of what we have come to expect from Evanescence but there is also a good deal of experimentation. Certainly enough to keep the album interesting as it progresses.
‘Feeding The Dark’ and ‘Better Without You’ remind you how gloriously heavy yet anthemic the band can get. Meanwhile ‘Use My Voice’, ‘Take Cover’ and ‘Far From Heaven’ help to explore the versatility of the band.
Having gone ten years since their last album you could be forgiven for questioning the bands drive. With a release like ‘The Bitter Truth’ however you must now question what could have been had the band managed a more regimented release schedule.
What ‘The Bitter Truth’ does is make you remember just how good Evanescence can be, and hope that it’s not another ten years before they follow it up!
Black Honey arrived on the scene about five years ago full of swagger and energy, and their second album, ‘Written & Directed’ does exactly the same. The record bursts into action from the very start with ‘I Like The Way You Die’ and ‘Run For Cover’ packing a huge punch.
If their 2018 self-titled debut album was a statement of intent, then ‘Written & Directed’ is the band delivering on their promise. The band manages to maintain their unique throwback sound that has been their trademark since their 2014 inception, whilst ensuring that there is demonstrable progression.
That is achieved through adding a grandness to songs such as ‘Beeches’ and ‘Believer’. While much of the bands early work managed to sound huge in small venues, you sense on this album that many of these songs are born to engulf much larger spaces.
What is great to see here is a band that refuses to compromise. They are also a band that are hard to pigeonhole by any particular genre. They produce a distinctive sound that can only be classed as Black Honey. Thankfully that identity is embraced fully here as they navigate that sometimes troublesome second album.
‘Disinfect’ is fantastic example of a song that could have gone various routes. Instead it manages to merge these elements to great effect, creating a sonic blast to your ears!
Black Honey are a rare talent that have now reinforced their passion and ability to create great music for anybody who wants to listen but without concession on their vision. ‘Fire’ and ‘Gabrielle’ close ‘Written & Directed’ out perfectly and bookend this short but powerful release from a band growing in confidence.
The trend of festivals selling out continues following the recent government roadmap announcement. We again start our News Report this week with the pick of the festival news.
Up first is Slam Dunk Festival. The organisers had already announced that the twin event would move to the 4th and 5th of September at Leeds Temple Newsam and Hatfield Park. Now they have unveiled a line-up that includes headliners Sum 41 and Don Broco!
Also on the festival bill is a collection of some of our favourites including Reel Big Fish, A, Dream State, Normandie and Wargasm. Pick up your tickets here.
Another event cementing their 2021 line-up this week is Bloodstock Festival. Having lost Mercyful Fate from the Saturday headline slot, the organisers have moved quickly to bring in Kreator to fill that spot.
They join the already announced Judas Priest, Skindred and Saxon. Pick up your ticket here.
Steelhouse Festival reveals their final three
We also saw this week the final three acts announced for a fantastic looking Steelhouse Festival. The Wildhearts, Bernie Marsden and Wayward Sons join the likes of Anthrax, Europe, Phil Campbell And The Bastard Sons, Therapy? and Those Damn Crows.
Our final festival coverage this week goes to a stunning line-up from Black Deer Festival in Kent. The event is set to feature performances from Van Morrison, Saving Grace, Frank Turner, Imelda May and Emily Barker.
Enter Shikari reveal rescheduled tour with new dates added
It isn’t just festivals maneuvering in the wake of the governments roadmap. Tours have been also been adjusting to those plans. This week has seen more rescheduling from the likes of Biffy Clyro and Enter Shikari. The latter even adding in five additional dates!
Lincoln, Hull, Bristol, Liverpool and Leeds will now also get to witness the majesty of Enter Shikari with Dinosaur Pile-Up and Nova Twins in tow. Grab any remaining tickets here.
Fatherson plan huge UK tour
Another tour announced this week will see the incredible Fatherson hit the road for a lengthy trek around the UK. This promises to be one not to miss and you can pick up your tickets here.
Korn has announced details of a massive global livestream event taking place on Saturday 24th April 2021. Announcing the event frontman Jonathan Davis said “We hope you take part in this experience with us. And though it is not the same as performing live with you here, we still want to bring you some great music and a fun show.”
The show promises “hits, rare and sought-after deep cuts and select tracks from their latest album”. The event will be shot in downtown LA on the set of Stranger Things! Interest piqued? Grab your tickets here.
We move now into our new music section of our weekly news roundup. This week we were treated to the second single from the upcoming second album from Yonaka. ‘Ordinary’ is further evidence that the new album will be very special.
Finally this week, news from Danko Jones. The band will be releasing their tenth studio album, ‘Power Trio’, on August 27th. In announcing the album, the band also unveiled the first single ‘I Want Out’.
Pet Needs hail from the ancient town of Colchester, and their debut album features the ancient sound of punk rock. Let’s face it, we all have plenty to be angry about right now and the band capture that angst perfectly on ‘Fractured Party Music’.
But whilst the mood of the nation’s youth is represented in the musical and lyrical content, don’t assume this album is just another angry, shouty record. There is plenty of depth on this album taken from a wide range of influences.
One thing that raises this album above its contemporaries is its knack for catchy pop driven choruses that wouldn’t feel out of place on a mid-noughties indie anthem. With that said there is much more substance on this album than you’d expect from those indie by numbers hit makers.
That is what’s great about this record. Whilst it’s unashamedly brash punk rock at its heart, it journeys through many terrains to reach its peak. If we look simply at Pet Needs Xtra Mile Recordings labelmates, you get elements of Mongol Horde, Skinny Lister and Sean McGowan on this album.
This is anything but one-dimensional but it flows sweetly from the opening track ‘Outline’ to its finale ‘Embers’. ‘Fractured Party Music’ feels like a statement of intent from a group that has masses of potential.
With singles like ‘Tracy Emin’s Bed’, ‘Toothpaste’ and ‘Pavlovian’ bursting out of the album, it won’t take long for people to stop and take notice of this great young band. ‘Fractured Party Music’ promises to be just the start for Pet Needs.
Rob Zombie – The Lunar Injection Kool Aid Eclipse Conspiracy – Album Review
You have got to love the length of Rob Zombie song and album titles. I’ll be approaching my word count by simply saying that his new album ‘The Lunar Injection Kool Aid Eclipse Conspiracy’ features both ‘The Triumph of King Freak (A Crypt of Preservation and Superstition’ and ‘18th Century Cannibals, Excitable Morlocks and a One-Way Ticket on the Ghost Train’!
Seriously though, we’ve come to expect the weird and wonderful from Mr. Zombie. So, anybody expecting otherwise on his seventh studio album would be gravely mistaken. This is over the top, crazy and full on Zombie at his best.
It’s not like we want anything else from Zombie either. We have thrashing guitars, thumping drums, bizarre lyrics and plenty of bells and whistles to emphasise his brilliantly quirky musicianship.
Whilst this is definitely an album that deserves a full play through due to its strength from start to finish, it also has standout moments. ‘Shadow of the Cemetery Man’, ‘The Eternal Struggles of the Howling Man’ and the slow burning ‘Boom-Boom-Boom’ are fantastic and showcase Zombie perfectly.
This album is up there with the best that Zombie has produced. So sit back, strap in, and let Rob Zombie take you on a wild ride!
Kings of Leon – When You See Yourself – Album Review
Anyone looking for Kings of Leon to reinvent the wheel on their eighth studio album should probably temper their expectations. Whilst ‘When You See Yourself’ may be the bands first record since 2016, they haven’t spent the intervening years perfecting a new sound.
This is Kings of Leon doing exactly what Kings of Leon do. The good thing for the band is that what they do is create music for the masses, and they are very successful at it. Single ‘The Bandit’ gives you a flavour of what to expect from the album. It’s standard Kings of Leon stock. It’s trusted stock that people will buy in bulk.
A once very exciting young band, Kings of Leon have reached a level of success that is unattainable to all but a very select few. The fact is the band could rest on their laurels and simply rely on their back catalogue. It should therefore be applauded that the band, albeit sporadically, feel the need to get creative.
Whilst remarking that they haven’t broken the wheel, it should be noted they that also haven’t “phoned it in” as it were. This is a very Kings of Leon record, but it’s also a very good Kings of Leon record that will sit well within their back catalogue.
There are plenty of moments on the album that remind you just why you fell in love with the band. ‘Golden Restless Age’ in particular manages to stand out as just as good a song as the band have produced.
This is more unoffensive output from the band. Stick it on in the car on a Sunday afternoon leisurely drive and let Kings of Leon remind you who they are.