Vol. 109
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Full Pelt Magazine
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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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EVILLE
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Full Pelt Magazine
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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Newton Faulkner
The Waterfront, Norwich
Monday 13th October 2025
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NEWTON FAULKNER – NORWICH – LIVE REVIEW
Last month the incomparable Newton Faulkner shared his eighth studio album, ‘Octopus’, and now it’s time for him to take these new songs out on the road. Tonight, at The Waterfront in Norwich is the first date of a new headline tour from the virtuoso.
Much of Faulkner’s recent touring has seen him performing dual sets without any support, but tonight we have not one but two opening acts to get the diligent crowd warmed up.
MARIE NAFFAH
The first of which is London-based songwriter Marie Naffah who is accompanied this evening by her producer Robin Breeze on guitar. The duo are a gentle easement into the evenings festivities and they are able to use their undoubtable abilities to hypnotise the audience.
Their performance is full of songs about love and the likes of ‘For You’ and ‘Gloria’ ensure that their short time on stage is memorable. Naffah tonight is mesmeric with both her charm and her talent, much like an early days Mr. Faulkner.
NATI
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Next up on the stage is a redheaded alt-pop guitarist. Nope, not Newton but NATI., who brings a little bit of chaotic humour and the rousing songwriting of a modern day Newton Faulkner!
Two wise choices as support then and as with Naffah earlier, NATI. is able to very quickly engage the audience and soon has them singing and clapping along. Her brand of songwriting is a lot angrier than Naffah’s and the atmosphere in the venue accordingly ramps up a notch or two.
A fantastic cover of Alanis Morisette’s biting ‘You Oughta Know’, along with the likes of ‘JOAN’ and ‘5 More Minutes’ are delivered with refreshing candour. The sense that the audience wanted more of NATI. as she ends her set was palpable and that’s always a good sign.
NEWTON FAULKNER
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There isn’t long until Newton Faulkner takes the stage. There is little fanfare as Faulkner starts up his set. He isn’t the classic showman musician, but his charisma is ever enchanting. He ultimately lets his music do the talking, but he’s also pretty adept at entertaining the crowd with his wit and musings.
Our two support acts truly did represent and the yin and the yang of what makes Faulkner special and tonight he structures his setlist to gradually escalate in intensity. Starting off with the likes of ‘Gone in the Morning’, ‘Finger Tips’ and ‘I Need Something’, his much-loved cover of Massive Attack’s ‘Teardrop’ then marks an escalation in the set.
The middle section of the set brings more of Faulkner’s signature orchestration of audience participation and some more fan favourites including the obligatory singalong to ‘Dream Catch Me’.
Faulkner’s new album, ‘Octopus’ is his noisiest work yet and the set builds to a crescendo of new music. The final run seeing him deliver ‘You Make It Look So Easy’, ‘What Took You So Long’, ‘Alright Alright Alright’ and ‘Snakes & Ladders’.
The set ends with as little fanfare as it began, Faulkner simply thanking the crowd and that’s that. Tonight, hasn’t been a night of clichéd tropes though, it has been a great evening of organic entertainment centred around songwriters.
Indeed, all three performers have been a delight, and the uniquely talented Faulkner remains as absorbing as ever!
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Full Pelt Magazine
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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Yellowcard
Better Days
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YELLOWCARD – better days – album review
After releasing their self-titled tenth studio album in 2016, Yellowcard went their separate ways with a sense of mission achieved. Five years later however and the call of nostalgia brought them out of their hiatus for an anniversary celebration of their seminal release, ‘Ocean Avenue’.
Now almost a decade since their last full-length album, the band are back with their eleventh record, ‘Better Days’. Better days indeed because anytime we’re treated to new Yellowcard is always a good day!
The bands unique take on the pop-punk brand always stirred emotions and elicited joyous feelings amongst. Now pushing towards their third decade as a band they still hold that same power.
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Along for the ride this time on production is Blink 182 icon Travis Barker, who adds a new dynamic to the bands sound. That is enhanced by the fact Barker himself performs drumming duties across the ten new tracks. This does at times sprinkle some Blinkish influence into the mix but that’s not often a bad thing.
Indeed, Barker isn’t the only Blink alumni to feature on the record with Alkaline Trio’s Matt Skiba contributing to ‘Love Letters Lost’. Avril Lavigne is also here in a guest slot on ‘You Broke Me Too’ and both tracks are fantastic.
At just over thirty minutes long this is another lovely pop punk romp which flies by with thoroughly enjoyable abandon. A record of healing and growth, this is Yellowcard of 2025 and it’s wonderful!
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