For his second album Sean McGowan has unshackled himself from expectation and bet on himself. The stunning results speak for themselves as eleven songs spread over 31 minutes showcase one of the UK’s finest songwriters as his brutally honest best.
McGowan has always had a knack for capturing a true indictment of the current climate and with our country in a constant state of turmoil in recent years it’s no surprise that on ‘Who On Earth’, McGowan manages to articulate a fair few home truths.
More than just the odd fleeting jibe, McGowan’s lyrical outpouring is consistently relevant and sincere. Nothing is off limits it would seem as McGowan paints an accurate picture of Britain in 2023, and with his ability to rejuvenate the listener rather than drag them down, ‘Who On Earth’ is a statement of resistance rather than a message of surrender.
Throughout his career McGowan has always shown his lyricism to be fresh and frank, but on this album we get to experience a more expansive sonic frame for those words. The focus on making the most of his musical freedom is clear for all to hear and the likes of ‘On The Up’ and ‘Casanova’ are amongst the best work McGowan has ever produced.
It’s a difficult climate for musicians to navigate at the moment and ‘Who On Earth’ isn’t just brave from a business sense it’s bold and daring from a musical perspective. For an artist such as Sean McGowan to continue to surprise at this stage of their career is special and that just confirms McGowan as the extraordinary musician those familiar with his work have always known him to be.
A new Metallica album has become quite the event these days due to the timeframes between releases. ‘72 Seasons’ represents the first new album in almost seven years and only the third album over the past twenty years since the much maligned ‘St. Anger’.
Realistically Metallica have reached a point in their career where they don’t need to release any new music. Their legendary status is secured and fans will flock to see them live regardless of new material.
They have however lived something of a renaissance with their last two albums, ‘Death Magnetic’ and ‘Hardwired… to Self-Destruct’, both being very well received and termed by many as a mythical “return to form”.
It may be then that rather than a need to release new music, the band want to release new music. That again is a right that they well and truly earned and realistically no matter what they do musically, they are never going to lose stature because of any missteps – awful 2011 Lou Reed collaboration ‘Lulu’ proved that.
What does all this mean then for ’72 Seasons’? Well to an extent free reign for the band to indulge. What we get however is a continuation of the previous two albums, which in many ways is a good thing, after all both records were Metallica at their very best. And that is arguably what we have again here, Metallica doing Metallica incredibly well.
Over the length of their career though some of their finest (and yes agreed worst) moments always came when they pushed the parameters a little. That is perhaps where ’72 Seasons’ finds itself lacking slightly and risks it being “just another Metallica album”, albeit a very good one!
When you also factor in the 77 minute runtime, it’s rather monotonous listening. It’s all very good as I say but that consistency somehow ends up hurting the album as nothing in particular stands out.
If you’re a diehard Metallica fan, you’ll pick up this album and thoroughly enjoy it. If you are a fair weather fan then there is nothing to hate but you’ll likely stick to listening to the ‘Black Album’ on repeat after your first listen.
The band didn’t need to release this album, and whilst I’m glad they did, given how little appears to be left in the tank before retirement, it would’ve been nice to be given one more curveball from them. That said and to drill the point home this is still a very good Metallica album!
FALL OUT BOY – SO MUCH (FOR) STARDUST – ALBUM REVIEW
20+ years, eight studio albums, the highest of highs, the lowest of lows, a hiatus, a reunion and a steady stream of hit singles. Yes, the career of Fall Out Boy has been an entertaining follow over the years, but right now the band appear to be at the peak of their commercial powers.
Nobody can argue that they’ve taken their live show to the next level and that’s why you find them regularly selling out the largest venues in town. Their studio output however has always been a target for critics, with previous effort ‘Mania’ being particularly picked apart and written off.
Admittedly, even I would say beyond a handful of fun tunes that album lacked any real depth and felt slightly like a band going through the motions. Last time Fall Out Boy felt like that they went on a lengthy hiatus before returning better than before.
There has been not hiatus this time, but as the band geared up for the release of their new album, ‘So Much (For) Stardust’, you did get a sense of maturity from the group. You’d argue a band two decades into their career should take themselves seriously, but then Fall Out Boy have always been a band that appeal to younger generations of music fan.
What we get then on this record is a balance. The band deliver a fresh album which appeals to fans old and new. The opening trio of ‘Love From The Other Side’, ‘Heartbreak Feels So Good’ and ‘Hold Me Like a Grudge’ are right up there with the best the band has ever produced, and there are a number of great tracks scattered around the album which instantly provides greater strength in depth then ‘Mania’.
The pace of the album works well and keeps you engaged even in the weaker moments. Overall this is probably the ideal answer to anybody questioning the band, even if it won’t be held in the same esteem as some of their earlier work. A good number of the tracks will sound huge live and add to the bands momentum as they continue their path to world domination.
With the release of their latest studio album, ‘Dinosaur’, Theory of a Deadman continue a streak of releasing a new album every three years that started back in 2002. That self-titled release feels a long time ago, because it is! 20+ years in fact, but as we arrive at album number eight, Theory of a Deadman feel more relevant than ever.
The band have always been rather marmite, you know – you either love them or hate them. They’ve been maligned by many doubters over the years but through this they’ve still managed to amass an impressive catalogue of hits.
There has always been an element of juvenility to their lyrical content but for those that enjoy the band that has been a large aspect of the charm of the band. On ‘Dinosaur’, the opening song and title-track of this record, you’re instantly struck by the maturity and seriousness of the subject matter.
Thematically and sonically, this album is the straightest and most genuine and mature offering from the Canadians yet. Both the simple hard rock formula on the heavier tracks and the standard approach to the more melodic moments suits the album well.
Whilst overall you get a more grounded Theory of a Deadman, there is also plenty to occupy the fans of the over the top nature of their past work.
On ‘Dinosaur’ it may well be that a band who are always having their identity questioned have found their true sound. This is indeed an ideal mix that will satisfy fans old and new, and demonstrate that unlike the subject matter of the lead single, there is plenty of life left in these old rockers yet!
“You either die a hero, or you live long enough to see yourself become the villain”
The juvenile lyrical content and ability to mimic whatever the popular music of the scene is of the time is ultimately what endeared All Time Low to their legion of fans in their early years. Their knack for jumping on trends and still producing solid musical output has allowed them far greater longevity then perhaps they could’ve expected when they broke through.
Whilst, like many others from that scene, they have evolved musically, they also feel like the one band still desperate to cling to the past. It’s this mismatch of philosophies that makes their new album, ‘Tell Me I’m Alive’, so disjointed and well, just plain cringey.
The lyrical content alone feels like its purposefully devolved back into the infantile and over-simplistic work of kids lacking life experience. The band feel like a creepy caricature of themselves on this record which is just odd and uncomfortable.
Musically they still seem to be reaching for whatever they feel will sell to the youth of the day. This is a sound business technique and it’s served them well in the past, largely due to their ability to pull this off better than most of their contemporaries. This time though it feels like that charm has worn off, and we are left with another re-tread of tired old tropes.
Over the course of their career All Time Low have always shown ambition and have tested themselves creatively whilst maintaining the essence of what they are. This is their first release that feels like a lazy replica and that almost makes it stand out more.
They may want us to tell them that they’re alive, but with this album, you find yourself asking if it’s time for the band re-evaluate, do something drastic or they may well see themselves become the villains.
Black Honey come out of the traps early on their third studio album, ‘A Fistful of Peaches’. Yes, ‘Charlie Bronson’ is the punch in the face needed to grab your attention and captures the band taking the gloves off!
The band have always been unashamed to be just who they are and that has often made them a tricky band to pigeonhole. Those that need to label things may struggle, but realistically the band’s crossover appeal is enormous and the simple undeniable fact is that they have now delivered three sublime records of infectious music.
Yes, ‘A Fistful of Peaches’ may have a lot to live up to following the quality of its predecessors, but it easily handles that pressure. The likes of ‘Heavy’, ‘Up Against It’, ‘Out of My Mind’ and ‘OK’ all sound absolutely massive and you feel that every song brings something special to this album.
This may be the most honest reflection of Black Honey as a band thus far as the group pour their hearts into their art. Each element of their sound is turned up and the results are magnificent. Whilst they’ve always demonstrated this quality, the strongest achievement on this album is the mix of relatability with aspiration.
‘A Fistful of Peaches’ is both vulnerable and ferocious in equal measures as singer Izzy Phillips is able make you feel a full palate of emotions; ultimately though Phillips and co are simply able to empower you through their reflective, decisive and uplifting collection of soaring tracks.
The average age at the Eventim Hammersmith Apollo in London tonight is tellingly specific – mid to late 30’s! Those filing into the venue are here tonight to relive their teenage years and to remember a scene that delivered some seriously talented, yet incredibly underrated bands.
Three such acts are on offer tonight starting off with the openers My Vitriol. The band showed much promise with their debut album, ‘Finelines’, in 2001 before they entered a perennial state of hiatus. Most of their set tonight comes from that album which ensures that the early attendees are already engaged. Set closer, ‘Always: Your Way’ sounds huge and leaves you wondering what could’ve been.
That is a constant feeling for me when remembering the British rock scene in the early 2000’s, who seemingly were hindered by the insatiable focus on nu-metal at the time. So much quality was given so little attention compared to their US contemporaries. This combined with the emergence of illegal downloads at the time seemed to stifle the growth of a generation of artists.
WATCH ‘I CAN CLIMB MOUNTAINS’ FROM HELL IS FOR HEROES
So many bands arrived with a big debut album whilst rock was the genre, only for their subsequent material to be ignored by the mainstream music media who had moved on. Another prime example would be our special guests tonight Hell Is For Heroes whose debut album ‘The Neon Handshake’ must go down as one of the best British rock debut albums ever.
Again, tonight they have the audience onside from the get go with their set featuring a slew of tracks from that album. ‘I Can Climb Mountains’, ‘Night Vision’, ‘Five Kids Go’ and ‘Out of Sight’ all receive huge reactions tonight from the passionate crowd and by the time they are done, as corny as it sounds, they receive a heroes ovation!
There are quick turnarounds tonight so it isn’t long before our headliners Hundred Reasons arrive onstage. This tour is another to have suffered postponements since it was originally scheduled to take place. That has meant that now we have a new Hundred Reasons album and it’s stunning. There is no surprise here then when the band choose the title-track ‘Glorious Sunset’ to open the show.
WATCH ‘REPLICATE’ FROM HUNDRED REASONS
Hundred Reasons – ‘Replicate’
The rest of the set is a celebration of the past but with some of that fantastic new music mixed in with ‘It Suits You’, ‘Replicate’ and ‘The Old School Way’ all more than fitting in alongside the older fan favourites. Hopefully that’s a good sign for the band and they can remain viable in the future. Certainly more new music and live shows from Hundred Reasons is never going to be a bad thing.
Clearly that debut album theory has something to it tonight as tracks from ‘Ideas Above Our Station’ receive the biggest reactions with the sing-a-longs to ‘I’ll Find You’, ‘Falter’, ‘Silver’ and ‘If I Could’ simply deafening.
That said tracks from the bands other albums like ‘Kill Your Own’, ‘What You Get’ and ‘No Way Back’ also get the crowd active. This has been Hundred Reasons at their magnificent, majestic best, with the band members slipping back into those comfortable shoes. The addition of Jack Bottomley from Marmozets to the live line-up also helps to ensure that the band sound just as massive as before.
Hopefully with the revival of acts such as these, that early 2000’s British rock scene can get some overdue attention; but if nothing else at least a few thousand millennials get to relive the soundtrack of their youth!
Somehow it’s already been almost a year and a half since Bullet For My Valentine released their self-titled seventh album. The record arrived in late 2021 and we now find ourselves in early 2023! Time has certainly flown by, but finally the band are getting to head out around the UK in support of the album.
WATCH ‘DROWNING’ FROM ATREYU ON YOUTUBE
Atreyu – ‘Drowning’
Tonight that sees the band kick off the UK leg of the tour at the Corn Exchange in Cambridge. Opening up proceedings are revamped Californian metallers Atreyu who receive a huge reception as they take to the stage.
The band of course has a long history and clearly many in the room are fully aware; soon enough though even those that weren’t already familiar with the band are on board as well. Drummer turned front man Brandon Saller orchestrates the crowd superbly as the group run through the likes of ‘Becoming the Bull’, ‘Save Us’, ‘Drowning’ and ‘Blow’. By the time they exit the stage, the reaction is even greater than when they arrived.
WATCH ‘VORTEX’ FROM JINJER ON YOUTUBE
Jinjer – ‘Vortex’
Anticipation is clearly high also for our next act, Ukraine’s much hyped Jinjer. Led by singer Tatiana Shmailyuk, the group instantly command the attention of the packed venue and show just why they’ve had so much attention in the last few years.
The time that the band spend onstage tonight feels short, which is usually a good sign; and it’s evident from the confident performance that the band feel at home and indeed belong on big stages. As far as their job tonight is concerned, by the time that they leave the stage they’ve got the crowd riled up and ready for our headliners but they’ve also left them wanting more Jinjer – which is precisely the outcome needed from their main support slot.
WATCH ‘KNIVES’ FROM BULLET FOR MY VALENTINE ON YOUTUBE
By the time Bullet For My Valentine hit the stage, the crowd have already been treated to a fantastic evening and to an extent the pressure is on for a band who have been much maligned by metal fans in recent times.
Each of their last three albums have been hailed as a return to form, but surely that actually indicates that the band have been delivering consistently good music? Their live shows have certainly continued to deliver the goods and despite being under the weather tonight is no different.
‘Knives’, ‘Over It’ and ‘Piece of Me’ get the audience on side from the beginning before ‘4 Words (to Choke Upon)’ steps things up a notch. The pace of the set from here is relentless with a good mix of old and new material on offer from the band.
There is a nice surprise with the inclusion of rarity ‘Hearts Burst Into Fire’ which does a good job of getting those phones up in the air. There is also plenty that gets the crowd moving as well with the likes of ‘Scream Aim Fire’ and the final run of ‘Your Betrayal’, ‘Tears Don’t Fall’ and ‘Waking the Demon’ all sounding absolutely massive tonight.
Whilst the career trajectory for the group may have slowed down, through their recent releases and shows like tonight, Bullet For My Valentine have shown that they still have plenty left in the tank!
Anticipation is high around Wembley tonight, and not just because the League Cup final is tomorrow! Tonight, the famous Wembley Arena in London plays host to a sold out show from alt rock anarchist YUNGBLUD, and it’s his fans that make their mark around Wembley Way.
Soon enough the hordes of brightly coloured fans file into the venue and await their hero. First up though they are treated the special guests Neck Deep, who could under the right circumstances probably make a go of headlining this venue themselves.
The mission for the Welsh rockers this evening is to win over a new cross-section of the rock audience and make a load of new fans. Through openers ‘Motion Sickness’ and ‘Lowlife’, it’s clear that whilst there are some existing fans in attendance, the work will need to be done to get the whole arena on board.
Thankfully for Neck Deep, they are a well rehearsed touring machine and they are well versed in winning over audiences. As their time on stage progresses the audience becomes more engaged and by the time we get to mid-set sing-a-long ‘December’, they have an open goal to score in.
While they round out their set with the hat-trick of ‘Can’t Kick Up the Roots’, ‘Gold Steps’ and ‘In Bloom’, it’s obvious that it’s victory and mission achieved for Neck Deep. As singer Ben Barlow delivers his final team-talk to the crowd, the response is affirmative and perhaps soon the band will be on their way to Wembley for their own show.
Attention is then turned back to YUNGBLUD who is set for his biggest headline show to date following his meteoric rise over the past few years. If we are sticking with the football analogies then YUNGBLUD has been fast-tracked from the youth team to the first team and is now making his international breakthrough. As such anticipation is at a fever-pitch as the packed Wembley wait to see if he can deliver the goods!
If there are any doubts in this venue, which you get the sense there isn’t, then it only takes mere moments for YUNGBLUD to dispel them. Kicking off with ‘21st Century Liability’, ‘The Funeral’ and ‘parents’, the crowd are instantly in awe of the raw talent on display.
The quality of the music is great tonight, but it’s the incredible stage presence of YUNGBLUD and the stunning presentation of the show which makes this an elite level concert. All the bells and whistles are here as the likes of ‘fleabag’, ‘California’ and ‘mars’ are interspersed by some dramatic imagery.
To his credit YUNGBLUD is able to make this rather large venue feel as intimate as possible. His charisma has many of the audience members zombified as they take in the spectacular experience that is created tonight. Even an enforced break due to an emergency in the crowd can’t dampen the atmosphere.
By the time the show closes with ‘Loner’, you’d think YUNGBLUD had just won the World Cup! Even if we strip away the football theme, what is clear on tonight’s showing is that YUNGBLUD is here to take over the world as one of rocks next superstars!
I’ve always held a belief that whilst the enormous success of Nu-Metal brought great attention on rock music, it also buried what was an incredible British rock scene. That scene was packed full of fantastic bands that whilst they had success they never reached the levels that their output deserved.
One key band of this scene was Hundred Reasons, who won’t register on many young rock fans radars these days, but are likely your favourite bands favourite band! The influence of the likes of Hundred Reasons stretches far and wide even if you don’t know it.
Having entered a hiatus well over a decade ago, it seemed that Hundred Reasons would remain a wonderful memory from the past. That is, until late last year when the band surprised fans with news of a brand new album, ‘Glorious Sunset’!
Well, that album is now with us and it’s time for the band to show a new generation of rock fans just what made them so special the first time around.
As soon as you press play, you are instantly sucked in to those beautiful soaring hooks, those delicate, emotive moments, those brash riffs, those all out rocking flashes and just the pure majesty that the band is able to create.
Whilst naturally the pre-album singles like ‘Glorious Sunset’, ‘New Glasses’, ‘Replicate’ and ‘The Old School Way’ lead the way, there really isn’t a bad track on this album. At just thirty-six minutes, the album absolutely flies by and leaves you eager to hit the play button again.
So many criminally underappreciated rock bands from the early 2000’s have sadly been lost to the ages, but thank goodness that we have Hundred Reasons back in our lives and that they return at their magnificent best!
