Tag Archives: new release

The Dangerous Summer – All That is Left of the Blue Sky EP (Review)

It’s been a difficult year for most of us. In fact, 2020 has been a total fucking washout. It’s been a time of change and upheaval, uncertainty and angst, and with their sweeping melodies and emotive lyrics The Dangerous Summer make the perfect soundtrack to it all.

Earlier this year, they left Hopeless Records when their contract expired and, despite being offered new terms, took the opportunity to turn officially ‘indie’. As lead singer and lyricist AJ Perdomo explains, “It got to a point where I was getting all of these calls and having these conversations and I just felt miserable. I hate talking about this sort of shit. This is what makes me fucking hate music. So out of anger I just said, ‘Let’s release this stuff ourselves. Screw all this shit’. Then we can go at our pace, release things whenever we want and do whatever the fuck we want. I just didn’t want to be owned any more.”

You can read my review of their last album for Hopeless, Mother Nature, here. The Dangerous Summer’s first independent release was the soaring single, Fuck them All, which sounds as if it might be a not-so-subtle message to the music industry as a whole. These lyrics speak for themselves.

Fuck them all
They want me like a light bulb
Blurred out with the sun
Swept under the rug again
Am I insane?
I think this is my moment
Yeah, nothing’s standing here in my way

Fuck them All kicks off this six-track EP in style before things are brought down a notch, a touch prematurely you could argue, for the piano-based slow-burner Come Down. Latest single I’m Alive follows, which sounds less like a departure and more like a cut from the aforementioned Mother Nature album. That’s not a criticism, by the way. As much as you have to admire any artist having the courage to branch out, try new things and develop their sound, all this has to be anchored in something tangible, solid and relatable. There has to be a thread of familiarity running through anybody’s body of work to tie it all together. Take Prince, for example. He would jump from hip-hop to dance to r n’ b to glam rock, often over the space of six tracks on the same album, but everything he did was still unmistakably Prince. That’s very much the case with TDS, who over the years have matured and fleshed out their signature sound while remaining true to their roots, flying their own flag and resisting the temptation to chase fashions or fads.

LA in a Cop Car keeps things ticking over in much the same vein, calling to mind classic Yellowcard or Something Corporate. TDS often get tagged with the pop-punk label, which isn’t a bad thing, but not entirely warranted. They may have the energy and vitality so prevalent in pop-punk, especially during it’s early-naughties climax, but for me that’s where the similarities end. This music is much more textured, and the lyrics have more of a soul-searching emo vibe. The EP is rounded off with Come Along, another epic-sounding chunk of polished power pop featuring Aaron Gillespie who now plays drums with TDS, having made his name with Paramore and Underoath.

In summary, All That is Left of the Blue Sky is bold and fearless, the sound of a band finding their feet after finally being set free. The songwriting and musicianship is, as always, immaculate, and the layered production adds a sheen. TDS are one of the artists eager to capitalize on an ever-evolving music industry and seem very well-placed to do so. They can only move forward from here and I can’t wait to see how it pans out.

You can listen to this modern masterpiece here.


Bouncing Souls – Vol II (review)

One of the few bright spots in this shittest of years is provided by Bouncing Souls, who never disappoint. They may be mellowing slightly as the New Jersey punks advance in years, but the spark is still there. Volume II comes hot on the heels of last year’s stonking Crucial Moments EP, rather than coming hot on the heels of Volume I. In fact, there is no Volume I. There’s a 20th Anniversary Series of EPs which ran to four volumes, but that’s a different thing entirely.

So what do we ave ‘ere, then?

Ten re-imagined and re-recorded classics and one new track, that’s what.

On some level, it does resemble the greatest hits compilation the BS catalogue is lacking in that some of their best songs like Ghosts on the Boardwalk, Kids and Heroes, Simple Man and Hopeless Romantic are included, alongside some deeper cuts like Highway Kings and Say Anything. But as I alluded to before, they may be here, just not as you know them. It seems to be in-vogue now for artists to go back and revisit their back catalogue. While not strictly a fan of the approach, I’m not against it either. Mike Peters of the Alarm does it to great effect.

I think one reason why it’s become so popular, apart from becoming an ideal way to resolve various contract disputes, is the rate at which technology is developing. When some of these tracks were originally recorded they sounded like they’d been bashed out in someone’s garage, which was kinda the point. But now, we have orchestras, drum machines (not as horrible it sounds) and the kind of polished production values that would make Def Leppard jealous making this largely minimalistic set essential listening.

As guitarist Pete Steinkopf said in a recent interview, “We initially wanted to recreate some of the stripped-down vibe of the acoustic sets, but if anything, these versions are much more involved than the original versions. The first day we got to the studio Will said something like ‘we’re not gonna just make an acoustic record, right guys?’ We were like ‘hell no’ and then we were off to the races.”

I must admit, I was a bit wary of hearing the new version of Gone. It’s one of my favourite songs of all time, and I didn’t want my memories tainted by some jazzed-up abomination. Happily, my fears were unfounded. Sure, Gone is the driving riff to be replaced with understated acoustics reminiscent in places, bizarrely enough, of mid-period Cure. Quite a few of these tracks have that feeling, harking back to a much simpler time. Another example is the only new song here, World on Fire, which was released as a single earlier this year and sees the band exploring their lighter, janglier side.

While this may not be a definitive work, or even properly representative of BS as a band, it rounds out their body of work nicely and adds another dimension to some great tunes. If I have one criticism, it’s that they could’ve gone bigger. Volume II only features eleven tracks from a repertoire of hundreds and has a running time of around 36 minutes. But the BS ethos has always been ‘less is more,’ and I guess this paves the way nicely for Volume I.

Volume II is out now on Pure Noise records.


Tethered – Cover Reveal

My new novella, Tethered, is coming out soon on Terror Tract Publishing LLC. More details to follow shortly. In the meantime, I just wanted to share the amazing cover with you, designed by the super-talented Becky Narron. It conveys the mood perfectly, and I can’t wait to share my latest creation with you.

Tethered

Tethered is available for pre-order from Terror Tract Publishing now.


Green Day – Father of All (review)

Or Father of all Motherfuckers, to use its full, needlessly sweary title. This review, like the album itself, is going to be short. With its ten tracks amounting to a total of less than 26 minutes running time, in my view it barely qualifies as an album. And that’s not the only mildly confusing thing about this release. The truth is, after the swaggering pomp of Revolution Radio (2016) and the epic God’s Favourite Band compilation (2017), I expected more. With Father of All, Green Day appear to be going backwards, or at best treading water while they channel the spirit of nineties-era Prince. There are some decent tunes here, the best among them probably being the singles Oh Yeah, and Meet me on the Roof and there’s an impressive array of musical styles on show ranging from glam all the way over to motown.

Possibly the closest things to classic-era GD are I was a Teenage Teenager and Sugar Youth, and Junkies on a High also deserves a mention if only for the poignant lyrics which hint at much-loved rockers not with us anymore. But sadly, most of the other cuts fall flat, the most cringeworthy being Stab You in the Heart which is a blatant rip-off of Hippy Hippy Shake. For me, the whole thing lacks depth and substance. It’s no Dookie, or even an American Idiot. In an interview with the Sun newspaper to promote the album, Billy Joe Armstrong explains, “This record represents the time we are in now. It’s got the shortest attention span and there’s a lot of chaos.”

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In that context, the album makes a bit more sense but you can’t help feeling a bit sorry for Green Day. There can be no denying they are in a weird place right now. In a concerted effort to avoid being pigeonholed, in their storied career they’ve gone from snot-nosed punk upstarts to angry political activists to pop rock icons brandishing saccharine sweet sing-alongs. I’m not sure where Father of All fits into this. It’s not exactly a new direction, but it’s surprising enough to have you scratching your head on the first listen. Both Kerrang! And The Telegraph gave it four out of five stars, while the Independent gave it a measly two, saying, “The onslaught of frenzied energy comes at the expense of innovation.”

It’s difficult to argue with that verdict. While Green Day deserve credit for always doing what they want, rather than taking the easy route and doing what was expected of them, it’s unlikely that their 13th album will be the one that defines them or even stands out amongst their now considerable body of work. If you’re on the hunt for new music you’d be better off checking out the recent releases by Bouncing Souls or Dangerous Summer.  All that said, Father of All does get better on repeated listens and GD might still prove me wrong.

It wouldn’t be the first time.


Bouncing Souls – Crucial Moments EP (review)

2019 was a good year for music. Who would have thunk it? In one calendar year we were blessed with new releases from The Dangerous Summer, Feeder, Bruce Springsteen, Stereophonics, The Who, Coldplay and Senses Fail, to name but a few.

I’m a massive Bouncing Souls fan, and have been for fifteen years or so, ever since I stumbled across Gone, still one of my favourite songs, on a punk site. Earlier this year, BS (ironic for such a non-BS band) dropped their first new material in three years and I didn’t even fucking know about it. Living in China has its downside. Still, I would’ve thought one of the newsletters I am subscribed to would’ve said something. Not even BS’ own newsletter said anything. Or maybe it did and I missed it. That’s a possibility. Sigh. Life, eh?

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Anyway, the six-track EP Crucial Moments, the long-awaited follow-up (kinda) to their 2016 album Simplicity released to mark the New Jersey punks’ 30th anniversary was issued on Rise Records back in March 2019. I finally found out about it about six months later, got excited as fuck, and immediately head over to Amazon where, in my enthused state, paid a quid more than I had to for it because I accidentally downloaded the title track twice. Motherfucker.

So was Crucial Moments worth the inconvenience, the wait, and the extra quid?

In a word, abso-fucking-lutely.

The aforementioned title track kicks things off, and is a pretty fair representation of the place the band is at this point in their career. More introspective, tuneful and melodic than most things pre-Hopeless Romantic, yet still filled with simmering energy and an ominous undertow you feel could erupt into some serious hardcore thrashings at any (crucial?) moment. Watch the nostalgic yet still rocking video HERE. And erupt it does on the second track, 1989, so fast and furious it harks back to the rampaging, take-no-prisoners BS of the early-nineties. 4th Avenue Sunrise also falls into this bracket. Oh, to be young again. But like most of us, BS have chilled out a bit since then, as infectious sing-along Favourite Everything illustrates perfectly. The hard-edged blue-collar rocker Here’s to Us would sit pretty well on any recent BS album, but for me the highlight of this EP is the closer, Home. It’s slightly more mellow and emotive than the bulk of this EP but it’s with this kind of positive, life-affirming, fist-pumping, rabble-rousing anthem that, for me, BS truly excel.

This might be an unpopular opinion, but personally I like the approach to music the newly-matured BS take now. I love the occasional 1.5-minute hardcore speed ride as much as the next ageing punk, but a whole album full is usually too much for my delicate sensibilities. BC are at their sublime best when mixing it up, going through the gears from moshpit to bar stool and back again in the blink of an eye, and they do it very well on Crucial Moments. My only criticism is a predictable one; while not opposed to EPs per se, I just wish this was longer. As it stands, Crucial Moments is a welcome stop-gap between albums, and ready to take its rightful place amongst the best releases BS have ever put out. It’s a minor gripe, and I am very conscious of looking a gift horse in the mouth, but I just wish there was more substance here. Half an album’s worth in three years? Come on, lads. Call me greedy, but I sincerely hope more material emerges from these recording sessions, and that we don’t have to wait too long to hear it. Oh, and when it comes out, someone please give a nudge.

Ta.

Crucial Moments is out now.


Feeder – Tallulah (review)

My introduction to Feeder came on 31st December 1999 at the Millennium Stadium, Cardiff, at an event headlined by the Manic Street Preachers. Coming at the height of both the Britpop and Cool Cymru movements, it was billed as Manic Millennium and at the time was the biggest indoor music event ever. It was also Y2K, the night the world was supposed to end. It didn’t. In fact, nothing happened. But we didn’t know that at the time, and the tension-edged excitement and we really did party like it was 1999. There were several other bands on the bill that night; Shack, Super Furry Animals, as well as a spoken-word slot from Nicky Wire’s poet brother Patrick Jones, but even though they played a severely truncated set, Feeder stole the show for me. The energy they emitted during Insomnia and the raw emotion of High were definite highlights. I was hooked. Most of the material came from then-current album Yesterday Went Too Soon, but they didn’t really make it big until a couple of years later when Buck Rogers became a massive hit and exposed them to a whole new fanbase. Then came the usual array of ups and downs experienced by most bands who stick around for twenty-plus years, before their current resurgence saw them claim their rightful spot near the top of the rock tree, and near the top of the charts.

So, here we are.

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Always prolific, Tallulah is Feeder’s tenth album proper, not including compilations, EPs and Arrow, the album of new material released as part of 2017’s ‘Best Of’ collection. Their longevity is impressive, despite never being on a major label and benefiting from the associated financial clout. First single Fear of Flying, written through the eyes of a female rock star waiting for the bubble to burst, could almost be autobiographical. As you might expect, Fear of Flying is one of the standout tracks on what is undoubtedly a very strong album. Elsewhere, the lyrics touch on such themes as living in the social media age, nostalgia, growing old and the constant pursuit of happiness. In interviews, songwriter, guitarist and frontman Grant Nicholas has said opener and second single Youth deals, in part, with mental health and the 2002 suicide of former drummer Jon Lee which reduced the trio to a duo, something he is still coming to terms with. These sentiments might seem slightly at odds with the jangly, upbeat tempo, but the weighty lyrics tell the story. Elsewhere, as with the title track, Kite, and especially Guillotine, things are a bit more introspective and subdued. Truth be told, Feeder are at their best when treading the middle ground, as they do on Blue Sky Blue (which was reputedly written for Liam Gallacher because let’s be honest, he needs the help) and the radio-friendly Shapes and Sounds. The weirdest and downright heaviest track (and, conversely, the longest) here is the crunching Kyoto, which sounds as if the band are trying to recapture their Swim/Polythene period.

Like most albums, there are a few tracks on Tallulah which pass by without saying or doing much, but to offset this there are several hidden gems. Rodeo calls to mind earlier single Idaho, and the utterly brilliant Windmills could grace any Feeder album. For the traditionalists, all the usual influences are there (Smashing Pumpkins, Pixies, Husker Du) and in that sense Feeder stay loyal to their roots and the spiky indie guitar sound that made them famous. However, some tracks are more Foo Fighters or Tom Petty, and there is very a progressive feel to many of the tracks. All in all, this is a great collection, and a definite contender for album of the year, even if it the title makes it sound like a homage to a Thai ladyboy.

Tallulah is available now, and is an absolute bargain at £5 for the digital download.


X: Omnibus – Cover Reveal

Greetings! I am excited to announce the imminent release of my next project. And this is a BIG one. Details to follow soon, but in the meantime I wanted to give you a sneak preview of the stonking new cover art designed by the ludicrously talented Greg Chapman.

What do you think?

X-omnibus

The ebook is available for pre-order, and through some strange quirk of fate, the paperback is out now.


Northshore – For What It’s Worth EP

Northshore are a new five-piece from North East England. One would imagine, somewhere on the coast. Their genre is difficult to pin down, but on this evidence generally leans toward melodic rock, a place where a traditional meaty twin-guitar and proper drum sound is tempered by some well-aimed pop sensibilities and held together with some classic hooks, big choruses and soaring vocals. Think Amber Pacific on steroids.

This is Northshore’s second EP, following 2017’s well-received Alternative Futures. Since that release they’ve been busy touring with everyone from Safeguard to Mallory Knox, which is what every self-respecting rock band should be doing, now more than ever. They are doing it the hard way, and for that alone they deserve all the plaudits they get. The accompanying press release says the entire EP was recorded in the singer’s flat, not that you’d realize as the whole thing is immaculately-produced and covered in a slick, professional sheen.

northshore

Released on 15th February and available for pre-order now, For What It’s Worth is a strong 6-track affair kicking off with the sublime Be Heard, a catchy song with crushing riff and a deep social message about mental health. Dependence, which seems to me to be more about love than bad habits, chugs along nicely but unremarkably, until the midway point when a rhythm guitar and cymbal breakdown gives it a whole new dimension. That’s a hallmark of a band maturing, as are the lyrics which don’t simply focus on lightweight party anthems but tackle a range of real-world problems from depression to relationship break-ups and the struggle to find one’s identity in an ever-shifting climate. The second single from the EP, Shedding Skin, a duet with YouTube sensation Christina Rotondo, is a decent tune but just doesn’t work for me. It treads some familiar ground but the main problem is that all-too often, the guest vocalist performs in an almost identical range to regular singer Ben Vickers. The two voices aim to complement each other rather than contrast, which probably would have been both more conventional and effective. Track three, which is the title track, lead single, and centrepiece of the EP, keep up the pace (check out the accompanying video here), before everything slows down a tad for Summer. In the beginning, anyway. The EP’s longest track clocking in at 5.28 is held back for last. Conspiracy is a definite slow-burner, but on repeated listens proves to be one of the highlights. All in all, this is another step in the right direction from a young band making all the right noises.

If you’re looking to discover some new rock, you could do a lot worse than give Northshore a shot. They deserve it.

Thanks to Helen Marvell @ Haulix for the preview.

 


Senses Fail – If There is Light (review)

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It’s weird how some bands stick with you and accompany you on your journey through life. Like a faithful dog that never dies, they’ll be at your side through thick and thin, good times and bad. Senses Fail are one of my ‘go-to’ bands. They are inspirational, and give me strength to continue when I don’t really feel like it. It’s not as if they try to be that way. When bands try too hard, it always comes across as lazy and contrived. But SF are real and they mean every word, even if those words aren’t always nice to hear. I know how lame that sounds,  but don’t just take my word for it. They aren’t the most technically gifted group of musicians in the world, but their passion, belief and enthusiasm for what they do is captivating.

How did all this start? Sometime in 2006 I was browsing Pure Volume for new music and came across the track Buried a Lie, from their debut album Let it Enfold You. This was when SF were riding the emo wave, though they were always more melodic hardcore than emo. Or post-hardcore, if you believe the record label. Some people call them screamo, others call them a punk band. Who knows what they are? Their music doesn’t really fit in any convenient category or sub-category, which is one of the reasons I love them so much. Another reason is the name. In Hinduism it is believed that being alive is a kind of hell, and the only way to reach Nirvana is to have no attachments to the physical world. No love, no job, no material possessions. You go out into the wilderness and meditate until you achieve the ultimate level of separation. As lead singer James ‘Buddy’ Nielsen explains, “If you want to reach the highest level of being and see God, you have to have all your senses fail.”

So even though on the face of it, ‘Senses Fail’ sounds like a massive negative (death?), it’s actually a metaphor for enlightenment or a higher state of consciousness.

Despite the labels they often get tagged with, SF aren’t always a blood and thunder kind of band. They release a lot of acoustic stuff which reveals their softer side, as evidenced by last year’s excellent In Your Absence EP. However, our first taste of seventh full-length If there is Light brings the thunder in spades. First single Double Cross, unleashed last November, is as bone-crushingly brutal as they come. It was soon followed by Gold Jacket, Green Jacket, and if this song was any more melodic they might have had a chart hit on their hands. Nielsen, who wrote that and every other track on the album, says the song is meant to give a voice to, “The millions of people struggling every day to follow their dreams and passions.” And it does. The third single release, New Jersey Makes, the World Takes, gave us more of the same and amped up the excitement levels to an all-time high.

As all three singles are sequenced in the first four tracks, you’d be forgiven for thinking some bright spark at the record label was doing some front-loading. But the sequencing works extremely well as Double Cross is the perfect opening track. Other stand-out’s for me are Is it Gonna be the Year and Stay what you Are, both infectious slices of vintage emo-tinged pop punk. The amazing thing is, they sound as fresh and vibrant as they would have had they been released back in 2004. The epic title track, which closes the album, also deserves a mention. Over the past few albums SF have built a reputation for making the closing track something to remember and they continue the tradition here. Like a microcosm of the album as a whole, If There is a Light is reflective, powerful, and moving. Anyone who has experienced profound loss and come out the other side will be able to relate to the subject matter, typified by the lyric, “I guess the best thing I can do with my time is love every minute of life.”

With producer Beau Burchell twiddling the knobs, SF vowed that their experimental phase was over and they were going back to their roots with this album, and it seems like they’ve kept their promise. It certainly has more in common with Still Searching than last full-length effort Pull the Thorns from your Heart (2015) which became their lowest-charting album to date. In the years between those releases they suffered several line-up changes and delivered the odd patchy piece of work. But here they are again, back from the dead and in top form. Front to back, this could be their best and most consistent album yet. Check it out immediately.

You might also like:

Foo Fighters – Saint Cecilia (review)

Blink 182 – California (review)

BABYMETAL – Metal Resistance (review)

2016 – The Greatest Year in Music for Three Decades?

When Word Got Around about Cool Cymru


Human Waste – Cover Reveal

Greetings horror fiends! My next release, Human Waste, will be arriving on the 5th October. More details to follow, but for now I wanted to give you a sneak peek at the awesome cover art produced by the inimitable Greg Chapman.

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Impressive, right?

Human Waste: A Short Splatterpunk Story, is available for pre-order now at the special discounted price of 99p. After its release it will return to normal price.


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