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Don Broco – “Amazing Things” Album Review

Forever unique and diverse, the four-piece tribesman of Don Broco return with their 2018’s Technology follow-up of Amazing Things.

Usually, after a relentless success-story of a prior album, bands often resort to bettering themselves and going an extra mile to achieve the almost-impossible feat to topping their previous. Unfortunately, this has not happened here quite as they had hoped. Despite its fantastically anthemic tunes of Gumshield, Uber and One True Prince – that were all released via pre-singles – the album can come across often slightly bloated, and somewhat cringe, at times – inclusive of Rob’s incoherent work of yippe-ka-yay in Bruce Willis.

Despite this though, with its colour of creativity in embracing changes to song writing, the album is just fun, darn weird and experimental in places that pull the boundaries of how they are as a cohesive unit and – really bend the ever-so-tight workings of the genre they fit. Which, you can’t necessarily attack a band for doing such free writing within the album when the implores of conventionality come into play creating music.

The best two collectives together in the album is certainly Anaheim and How Are You Done with Existing? Amongst the harder edges, lie these two golden works that aren’t too afraid to stay calm as laid-back cuts. Together as a bounded story, they are the two that I will often pull myself to keep going back to, reeling myself in, eager to find out more about these songs upon every play.

With its colour of creativity in embracing changes to song-writing, you can certainly understand their reason to evolve their sound and create something unique that will certainly get those amongst them talking. Whatever your own verdict is of this album, you can tell that they just had fun working on it.

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If you were an avid fan and follower of the band for many years, I would advise to stick this on for a few listens before coming to your final conclusion, because it may take a while to get used to.

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Frank Carter & The Rattlesnakes: ‘Sticky’ Album Review

Unapologetically chaotic, ‘Sticky‘ is a pressure release sharing talks on the dirty and the depraved during lockdown.

With accommodating – and somewhat feral – guests, enter Frank’s town … if you dare.

Carter and Co are back with their fourth studio album out of the door. Where their last album, End of Suffering was an outcry to mental health and toxic masculinity, this one is more of the good ol’ punk classic of f*ck you and everyone around you. In other words, it’s a fantastic familiarity from this echoic band.

Among Bona fide – and soon-to-be- punk icons of Primal Scream’s Bobby Gillespie, IDLES’ Joe Talbot and electro-punk rapper Lynks, we are slowly entering territory of raw, unequivocal talent as Your Town and Go Get A Tattoo become album highlights championing diversity of rock and slab-stone punk.

This album is just as raw as any – as any IDLES and SLAVES album before them or since. Certainly standing on the shoulders of their punk adversaries, Frank Carter and the Rattlesnakes are paving their own journey.

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My town, it looks like yours
Run down, worn out, all shut doors
Broken windows, empty halls
Where no one gives a fuck at all

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[Note: It’s important to note that during this music video, Frank Carter and Dean Richardson are seen throwing away their prior album End of Suffering. Has the suffering started all over again? Or is it case of simply being fed up with it all and anarchy being the only solution?}

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Frank Turner’s Return to Folk: “Haven’t Been Doing So Well”

No artist distinguishes himself quite so well between rebel and music so much as one Frank Turner does. Often consequential in design, his folk-punk-pop rebel acoustic signature sounds has made him a critical and acclaimed artist that has very own fitting niche into the music industry.

Now after his folk-flutter concerted album of Be More Kind in 2018, he’s back in full force post-COVID with his single, Haven’t Been Doing So Well. Almost as if it’s a emphatic discussion about the past pandemic envelopments, it is the start of Frank’s next story with next album, FTHC.

Provocative old-fashioned punk rock at its best with swells of Frank’s traditional folk and lyrical realism, I’m certainly looking forward to a bit of real British music entering the fold again.

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Sleep Token – “This Place Will Become Your Tomb”: Album Review

Ethereal and chaotic all swirled into one complex creation, the shrouded mystery of Sleep Token return with their second highly anticipated album, aptly named This Place Will Become Your Tomb.”

Although not nearly as prevalent in the castings of metal as their debut of Sundowning had in 2019, TPWBYT still harks back to the chaotic rage-inducing of Gods and Offering with Alkaline and Hypnosis in this second attempt of divinity.

Where it lacks in overall oomph for a metal/rock album, it makes up for its quality through experimentation and electronics. One thing I certainly love about bands is when they don’t exactly conform to their first sounds from their debut – and start to branch out to new avenues and new possibilities of drawing new fanatics.

Lead singer Vessel has a perfect gothic tone to his voice – streaked with a guttural voice and a deep monotone to make the ocean weep. With it, comes to the experimental value of Sleep Token – inclusive of creepy piano, programmed beats and delectably delicious guitar grooves – which personally, I love. It may take a listening to get the other metal-heads on board, but I don’t personally mind the new image and poetic enchantment they’re bringing to this work.

My favourites on-repeat are certainly pop-inducing Mine, heavy-herald of Distraction and pre-amble of The Love You Want.

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The other-worldly concept of this band is simply divine, and I can’t get enough of it.

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I may very well hark over to The Night Does Belong To God every once in a while, but damn does it get me more excited to see them live next year.

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Machine Gun Kelly’s Return: ‘Papercuts’

In an apt return to the world of punk, Machine Gun Kelly has come back to the threshold with his latest single, ‘Papercuts.’ Maintaining the status quo, Kelly rightfully rejoins with drumming prodigy, Travis Barker has ‘Papercuts‘ embarks on a new perilous journey into the pop-punk scene. Again.

After the enormity and success of his 2020 affair of Tickets To My Downfall, he’s righteously back with a second helping.

With a cleaner production, and a deeper depth of perception, it portrays a deeper distinction of artist and music.

Although not as prolific as his original singles from TTMD with the likes of Bloody Valentine and Concert For Aliens, with a not-as-prolific catchy chorus equipped with it, it brings a telling sign to Coulson’s approach to his second punky album.

If it brings the same fantastic anarchy as TTMD, then I’m all for it.