new music mondays

New Music Mondays: Five Finger Death Punch, Wyatt Flores and More!

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Another big week of new music spanning the rock, metal and country world! Let’s dive in and see what’s in store!

Five Finger Death Punch: Legacy

10 albums into their career at this point, you know exactly what you’re getting into with a FFDP album. This was exactly what I expected, for better or worse. It’s completely fine, and is the same sort of thing that the band have been putting out since American Capitalist, at this point. I did enjoy tracks like ‘Eye of the Storm’, ‘Scapegoat’ and even the ballad ‘In Time’. The rest of it, while pretty damn good radio-metal, was a touch forgettable and didn’t do a whole lot for me. It doesn’t have much in the way of the massive hits that Wrong Side of Heaven or even Got Your Six produced. Maybe I’ve just gotten old and moved on from the sound; if you like their more recent output you’ll most likely love this. It just feels slightly… safe. It’s very, very FFDP. At the very least my boy Andy James gets plenty of time to shine throughout, one of the most criminally underrated guitarists around. Hell, the whole band are immensely talented at what they do, and Ivan even cuts back on the bro lyrics quite a lot with this release. His vocals are as powerful as ever.

Hopefully the album grows on me with another couple of listens. This certainly isn’t a negative review, but for a band that I used to love in my teen years, I wish there was a little more umph behind their work still. It almost feels like another box-ticking-for-the-label exercise. 6.5/10. It’s at least better than their last!

Wyatt Flores: Scared of Heights

We’ve already checked out this awesome album! Read our full review here.

Iconic: II

The classic/hard rock supergroup is back with a followup to their 2022 debut. Anyone who’s familiar with that release, or the likes of Inglorious, Stryper or Mendoza’s solo stuff knows exactly what to expect from this album, and in that regard it certainly doesn’t disappoint. It’s 44 minutes of AOR-tinged rock music, and is a lot of fun. Tracks like ‘All I Want’, ‘Tears Keep on Falling’ and ‘Written in the Stars’ are personal highlights, though there isn’t a bad track throughout. Nathan’s vocals are just as good as ever since his return to the rock scene, and the other members prove that they very much still have it, all having their own chance to shine plenty throughout!

However, I mean this with the uttermost respect and do still like the release: it’s nothing we haven’t heard before. Classic rock has made a huge comeback in the last decade, and this is nothing we haven’t heard just as good or better in that time. Heck, I’d put Inglorious’ debut over this, still. If you are a fan of the style you will still get a lot of enjoyment out of this, but it may run the risk of flying under the radar a little against bands doing the sound a little more interestingly and creatively. I still had a good time with the release, and will certainly be spinning it again, but I’d struggle to give it much higher than a 7.5/10. A damn good rock album, but in a year of truly excellent releases, it doesn’t do a lot to stand out from the pack.

Garrow Hill: IX

The debut EP from the York-born modern metallers is a damn good introduction for anyone new to the band! The instrumental intro track was a surprisingly awesome choice, while songs like the slower, almost Skid Row-like ‘Crawl Harder’ and the releases namesake are also great. However, there really isn’t a bad song throughout. The fact that a release this short is still packed full of such variety is a real testament to the bands talents and writing ability, they really cover a lot of ground from the metal world in just 17 minutes! The riffing and screams were particular high points for me. They have a very bright future ahead of them, and I already can’t wait to hear where they go from here. However, for now I’ll be spinning this plenty in the weeks and months to come! A very easy 8/10 from us!

Shaboozey: The Outlaw Cherie Lee & Other Western Tales

The follow-up to his breakout 2024 release, Where I’ve Been, it feels like there’s a lot riding on this release for the country-R&B singer-songwriter. It’s an album that I’m a little two-minds about, too. While I very much got the appeal of his last album, it did feel a little one-note, with most sounding like ‘Tipsy’. So, when this release opened with the dark-country ‘Til Sunday’, I was at very least intrigued. Then you have the classical ‘If I Was an Outlaw’ and the beautiful duet with Kehlani that is ‘Bullets & Blades’ that are big high points for me. However, that was were the interestingness ended for me. A lot of the rest was either slow, slightly country-infused R&B, or vibes very similar to that of ‘Tipsy’. Don’t get me wrong, single ‘Born to Die’ is a banger and very much another high point of the album, but it’s a sound that he falls back on a lot, not that I’d blame him given its success. I was even if two minds as to whether I enjoyed all the interludes or not. It certainly made for an interesting, engaginging listen, and does make one want to listen to the album in full more. However, they were also a little sporadic and made the release feel disjointed at times.

Overall, it certainly isn’t a bad album, but much like with the last one I struggled to get into it as a whole. It’s simply not my sort of thing, for the most part. If you are a fan of his, it is worth a listen, but with 20 tracks and a lot of nothingness, it can feel like a big undertaking. 5.5/10

FireFlame: Force Against the End

The debut album from the Japanese heavy metallers is a fantastic glimpse into the scene they are championing in Osaka. This thing is over an hour of intense, catchy metal ripped straight from the 70s and 80s, but given a modern flavour. Heck, they even add a metalcore edge to things that certainly makes them stand out among other heavy metal revivalists. The band’s namesake track (and intro) sets the tone excellently, while songs like ‘The Last Ride’, ‘City of Corruption’ and ‘Let Her Burn’ are also huge highlights. Honestly, there isn’t a bad track on the release and, despite the extended length, it’s a surprisingly easy listen. The closest thing I can compare it to is something like Glamour of the Kill, but even then it doesn’t feel that close, the band truly feeling unique and kicking some serious ass doing so! As you can probably tell, I loved this! The band have a big new fan in me, and don’t be surprised to see this high on our top albums list come December. 9/10, amazing stuff!

Doghouse Rose: Born to Break Even

The Toronto-based pop-punkers return with their third album, three years after their massive Unlearn. It’s a short release, in and out in less than half an hour, and is a lot of fun. It’s impossible not to have a good time while listening to this, and the groove throughout is truly infectious. ‘The Order of the Sun’, single ‘It Gets Worse’ and ‘Brightside’ are all personal highlights, but none of the tracks are bad by any stretch! If you like a new wave rock or heavy pop-punk punk sound, this is absolutely an album for you, and the band should have far more recognition than they have already as they are really fantastic songwriters. I’ll certainly be listening to this again plenty in the coming weeks, especially over the summer, and I can’t give it any less than 7.5/10!

Tim Montana: Entire State of Tim Montana

I was a big fan of American Thread when it dropped back in 2020, but have somehow missed his two releases since then. So, when ‘Beautiful Hate’ came blasting in like a heavier Black Stone Cherry, I was a touch taken aback, but certainly in a good way! It felt a little bit like A Thousand Horses’ newest album, which is also a massive compliment, trust me! And even at the nearly 50-minute length, it goes by in a flash, not once lagging or getting boring. The three guest-featuring tracks are all awesome, with First Crazy Dog, WolfBear, Slash and Gibbons and Royale Lynn all killing it and adding a lot to the sound. However, they are far from the only highlights. Single ‘Break me Down’, ‘Like a Satellite’ and ‘When it’s Over’ are all awesome songs in their own right. Heck, we even get a surprisingly awesome cover of Katy Perry’s ‘Roar’! So yeah, this whole thing is honestly awesome. It straddles the line perfectly between hard and southern rock, as well as a country tinge still, and is just a damn fun listen! If any of that sounds like your sort of thing, give this a spin, you won’t be disappointed! 8.5/10

All Out of Bubblegum: Slight Possibility of Overload

Another debut EP, this time from a ‘Post-Apocalyptic Party band’ from Manchester. It’s a fun collection that perfectly introduces what the band are about and their energetic sound. Opening on their excellent cover of ‘The Power of Love’ was a great choice, surely hooking in anyone even slightly unsure right from the jump. However, ‘In Hollywood’ was arguably just as great, from the lyrics to the vocals to the riffing it was all ace, and the acoustic version is pretty fun too! ‘Venomous’ is a good, dark alt metal track as well, while ‘Skinned Alive’ has a fun groove to it, and would be a blast live! It’s honestly a release that, while very good, I think overall would translate even better in a live setting. Still, I’d recommend this to anyone even slightly curious, and will certainly be adding most of it to my regular rotation over the coming weeks! An easy 7/10 from us!

Bitter Sweet Smile: Eat You Alive

The highly anticipated debut album from the alt-rock/grunge revivalists finally dropped this Friday. The band very much wear their inspirations on their sleeve, but deliver an awesome collection of heavy tracks here! Right from the opener, ‘Do It’, I was hooked, and not let go until the end of the nine tracks. ‘Dirty Dog’ was a huge highlight song, as was ‘Nosebleed’. However, as a big fan of the 90s rock sound that the band so perfectly encapsulate, I loved the whole album! It flows excellently too, there being some great slower grunge stuff broken up perfectly by the heavier alt stuff. The band are all incredibly talented, both at their chosen instrument and as collective songwriters, and are another one that have a big new fan in me moving forward! A damn solid 8/10!

Buffalo Traffic Jam: Pictures of You

The debut album from one of the fastest rising folk duos around dropped with a lot of hype surrounding it on Friday, and honestly lives up to it! I was a touch sceptical from the opener, but by the time ‘Older’ kicked in I completely saw the appeal and love for this band, and didn’t look back for the rest of the release. The band pack so much emotion and beauty into every song, even if it’s bittersweet. And they are far more than your usual folk band, having a darker, rockier edge throughout, a splash of Americana, and even some prog vibes and elements. In other words, they are right up my street, and I’m a little obsessed!

So much of this ended up on my personal playlist, and even at 50 minutes it went by in a flash. They have a real epic vibe to them at times, and one that would translate excellently live. Even with a lot of it being a similar vibe and level, the duo are that talented and interesting and emotion-filled that I didn’t once get bored. It’s like Zach Bryan meets Kip Moore meets Mumford and Sons, so if any of those are up your street, give this a listen immediately! Hell, even if you aren’t, I’d highly recommend giving this a try, anyway! No wonder they are already becoming a massive name, and the sky is very much the limit for the pair. 9.5/10, wow!

The Limit: Another Drop

The sophomore album from the old school rock/punkers comes a full half-decade after their debut, and shows a hell of a growth in that time. Don’t get me wrong, their debut was good, but this feels like it’s on another level! Then again, I’m big into the era of the Ramones, The Stooges and Misfits that it feels like this pulls from a fair bit, so of course I love it! Having said that, it has elements of both new-wave rock and modern hard rock too, a really interesting concoction. Tracks like ‘Don’t Say Try’, ‘(Just a) Calling Card’ and ‘Fall Down, Get Up’ are huge personal highlights, but if you’re like me and like this style, you’ll enjoy all of it! At 15 tracks it may be a touch long, but I honestly wouldn’t know what to cut to shorten it, as it all flows so well. I’ll certainly be listening to this again soon, and it gets a very solid 7.5/10 from me!

Cairiss: Wilderness

Another debut album this week, this time curtesy of this post black metal sextet. At just six tracks spread across 42 minutes, it’s an epic release, and full of awesome moments! I say moments because this album very much begs to be listened to in full, the tracks slotting together to make one big piece. Having said that, the sheer depth and beauty of ‘The Guide’ honestly blew me away! The band are so damn talented at what they do, and have crafted a really special release that won’t get nearly the attention it deserves. It won’t be for everyone, but for anyone into the quirkier, more atmospheric side of black metal, this is an absolute must. I can’t give it any less than 8.5/10, awesome stuff!

Mor: Long Road

The debut EP of this indie-folk singer-songwriter is a simple yet beautiful release. It’s just Mor and his guitar for the most part, some amazing harmonies and strings filling things out perfectly. Opening on ‘Strong’ is a powerful choice, and brought me to tears right from the offset. He’s a fantastic lyricist, and his emotion-filled delivery only adds to their weight. The devastating vulnerability continues through ‘Lost a Kid’, honestly hitting a little close to home. ‘How to love you’ and ‘Who We Are’ are also fantastic. As you can tell though, I love this whole release! The tracks are all a bit similar, but are so well written it’s not at all an issue. It’s a fantastic start to a hugely promising career, and I already can’t wait to hear where he goes from here. For now though, this gets another very solid 8.5/10!

Lalu: A Mythmaker’s Demise

Album five from the prog rock/metallers is just as fun and inventive as their previous works! It’s certainly not going to be for everyone, but if you like things technical and proggy, you will find a lot to love here. It’s definitely got an 80s AOR edge to it as well with the massive, catchy harmonies, but there is plenty of technicality to it too. It’s like the perfect mix of Yes, Night Ranger and just a dash of Dream Theater. From ‘EKO’ to ‘Prince With the Swift Warning’ to closer ‘Midnight Ink’, there is plenty to love throughout! The band have a solid back catalogue and this adds to it perfectly. A solid 7/10 from us!

new music mondays

New Music Mondays: Charles Wesley Godwin, Mayday Parade and More!

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Another expectedly stacked week for new music across the rock, metal and country spectrum. Let’s dive into it all!

Charles Wesley Godwin: Christian Name

The highly anticipated followup to 2023’s Family Ties, CWG has put out another incredible collection of country/indie-Americana tracks. It is a touch religious for me at times, especially with the ‘Sermon’ opening (as great as that actually was!). However, it is packed to the brim with highlights; from ‘Try Again’ to the Combs-featuring ‘Better That Way’, ‘Place I Know’ to the epic closer. And, as an expecting father already with daddy issues, ‘Hey There Son’ destroyed me in a beautiful way. It does have maybe one or two too many slower tracks, the momentum and energy dips for a little towards the end. However, each track is awesome, and I’m not sure which I’d cut. And, having said that, the nearly hours worth of music goes by in a flash!

He’s a real pioneer of this sound, alongside Zach Bryan, and even nearly a decade after his first release is showing that he is still at the very forefront of the sound. His voice is one of the best and most underrated in the genre today, while he is still one of the best lyracists around. The sheer emotional weight he puts on every word is astounding. And, not to sell them short, his band kill it throughout, too! I’ll be spinning this a lot moving forward, and would urge anyone interested to give it a try ASAP. I can’t give it any less than a massive 9/10!

Mayday Parade: Sugar

Less than a year after the last entry into their collection of new albums, the pop punk legends return with their third to join Sweet and Sad. Somehow we missed reviewing both, but have listened when getting ready to see them with All Time Low back in Jan, and do enjoy both releases! This one adds to those two perfectly, while also standing on its own as a good album. ‘Blame it on the Youth’ opens things perfectly, and sets a great precedent with some awesome lyric writing and performances. Then you have tracks like single ‘Weekend Music’, the typically Mayday ‘Two Hearts’ or ‘So the Story Goes’ that are also bangers. However, at only 10 tracks across 34 minutes, it goes by in a flash, and there really isn’t a bad song throughout. It’s crazy to me that the bands output has been higher than ever the last two years, and yet the quality hasn’t dipped at all. That alone should show just how talented these five men are. If you are a fan of their back catalogue, you’ll love this. However, even if you aren’t familiar or aren’t typically a fan, give this a try, it may surprise you! A very solid 8.5/10 from us!

Cypress Hill: Dios Bendiga

Album 11 from the West-coast hip-hop legends finally dropped this last Friday. It’s exactly what you’d expect from the quartet, and I certainly mean that in a good way! Even though I don’t speak Spanish (their first album to be sung solely in the language) the vibe and energy translates perfectly throughout the release. Tracks like single ‘Campeones’, ‘Estamos Listos’ and ‘El Perro Y El Coyote’ are all high points. Your personal milage will vary depending on how much you are into this sort of music. I had a good time listening to it, but I probably wouldn’t throw it on often outside of if I’m doing something else and it’s on in the background. It’s good and worth a listen if you’re a fan, but can get a little samey, as well as not quite being up to the same quality of their very best albums. All the guests play their parts perfectly, and Cypress themselves play and rap their asses off throughout. There was rumours of this maybe being their final release, which would be a shame, but it’s a damn solid album to go out on, if that ends up being the case! An easy 8/10 from me!

Brantley Gilbert: SINS OF THE FATHER

We’ve already checked out this awesome album! Check out our full review here.

Avenged Sevenfold: STATICA

What the fuck was this? One of the biggest bands of my youth, I have defended them through plenty. If y’all remember, I didn’t enjoy their last album, even if it was a little better live. However, I was one of the few being even a little positive about both those points. Well, there is no defending this. They saw everyone hate elements of their last album and for some reason doubled down on said elements, going further-removed from the band that once made Waking the Fallen or City of Evil. Heck, if you’d play them both one after another, you wouldn’t even be convinced it’s the same band unless told so. It honestly feels like a prank at this point. Like we’ll just magically get an album dropped in the next few days instead that is more like their beloved older songs. That’s sadly not going to happen though, is it?

I completely appreciate and champion making the music you want to make, but did they really think their fans would want to listen to this shit? The only good thing was that it was a surprise release, so there was no hype to be let down by. They’ve lost me; there is little redeeming quality here aside for it being quirky. Maybe the riff of ‘REJOICE’, too. I wouldn’t recommend listening to this unless you want to actively torture yourself. 1.5/10, maybe it’s time to give up the acid, lads.

The Hu: HUN

Lots of capitalisation this week, huh? The Mongolian folk metallers have firmly established themselves as a big name in the scene by this point, but album number three still goes just has hard as they ever have. It’s another release that, if you know the band, you know much of what to expect, but that doesn’t mean it’s in any way a negative. Songs like ‘Shadow’, ‘Greed’ and the proggy ballad ‘Universe’ are up there alongside the best the band have produced in their sound. Then you have the Jonny Hawkins featuring ‘Lost Soul’ that does actually feel different, a lot more distorted and metal-based than their usual stuff, which was also awesome! Hell, as much as I enjoyed their previous album (though didn’t score it… weird…), I honestly think this is even better! The band really feel like they have found their style and groove here, and are firing on all cylinders. The album is solid from start to finish, and doesn’t feel like nearly an hour at all. It’s easy to see/hear why they are at the top of their genre, and I’d urge anyone reading this to check this out and try to tell me otherwise! I loved this, 9/10

Zan/Cody: Beautiful & Damned

The Shotgun Messiah frontman and guitarist reunited last year to form this sleazy/AOR project, and showed that they still make magic together! The riffing from Cody is awesome throughout, and surprisingly heavy at times, whole Zain’s vocals are powerful and packed full of emotion. Tracks like ‘Ride or Die’, single ‘Damn’ and the closer are all personal highlights. It’s everything you’d want from the pair after the epic work they have produced previously. Some of it is very much up there alongside their early days, and even the stuff that feels a little more ‘album-track’ is still damn good. It’s honestly just awesome to have them back together making music again after so long apart. It’s a shame Sköld couldn’t be part of it too, but it seems a little messy a situation still, sadly. Still, it’s a damn good album, and shows that the sleaze rock royalty pair haven’t lost a step over three decades later. 8/10

Shania Twain: Little Miss Twain

One of the biggest artists of all time, Shania returns with a follow-up to her 2023 surprise hit, Queen of Me. While I was maybe a little generous in scoring that album, there is no denying it is a damn good release. To no surprise at this point, this is also pretty damn good! Much like with Queen of Me, the opener brings out her country roots. However, the country vibes feel a bit more present throughout this time around. Don’t get me wrong, it is still rather pop leanings, but there is at least plenty of guitar and some fun focus on strings throughout, too. From ‘Right Time’ to ‘Quit My Life’ to ‘New Love’, there’s some great stuff on here. Hell, all three songs that feature guests, from the legendary Tanya Tucker to War & Treaty to even QOTSA’s Josh Homme, are at the very least interesting, the guests doing well even if they are used more as harmonists instead of getting their own time to shine.

It’s a bloated album, there being a couple too many slower songs on here. However, I think at this stage in her career she’s allowed to indulge a little, especially with the battles she’s had the last couple of decades to even be able to put out music. But it does make the album drag at times. It’s a handful of good songs with a few album tracks spread between, which is certainly not an issue, but doesn’t make me rush to replay it as much as plenty of other country releases this year so far. For someone 30+ years past her breakout album she’s still putting out solid quality music, so more power to her! Big fans of hers will get plenty of enjoyment out of this, and it gets a still-solid 7/10. A fun if repetitive romp!

Embodiment: Cryptomorph

The first none-single release from the tech-deathcore band since their 2020 album, this is an awesome and welcome return from the quartet. It’s four brutal songs, a 16 minute assault in the best way possible, and each are as good as the last. Having said that, ‘Resonance Cascade’ was maybe my favourite track. All the different varieties of vocal, from low growls to brutal screams to even the melodic clean chorus, was amazing, and the instrumentation backed it all up perfectly. The band made a huge statement with this return release, showing that they are ready for a higher slot in the scene, and they absolutely deserve it. If you are into the heavier end of metal at all, I cannot recommend this release enough. A very easy 8.5/10 from us, and I’m very excited to see where they go from here!

John Muirhead: The Nomad & The Never Ending Road

The highly anticipated third album from the indie-folk singer-songwriter dropped last week, and is an excellent 44 minutes of music! Opener ‘Don’t Mind’ sets the tone perfectly, and the whole album continues the same excellence throughout. It gives big Pinegrove, Hootie or Counting Crows vibes in the best ways, and I’m a little bit obsessed! Other huge highlight songs for me include ‘I Tried Love’, ‘Kitchen Floor’ and ‘Not Apart’. However, there really isn’t a bad song throughout the whole release. It is maybe a touch too slow for extended stretches for me at times, but that very much comes with the genre, and really doesn’t take away from the release much. His lyrics writing is a real highlight, but the instrumentation around it is also excellent. If you are into this style it is absolutely worth spinning, but I’d give it a try even if not. It’s not typically my sort of style but I loved it, and John has a big new fan in me! 8/10, I need to go and revisit his previous stuff!

Skyracer: Skyracer V1.0

The debut album from the Sheffield-based pop-punkers is honestly fucking awesome! The band very much lean into all things nostalgic for them, as evidenced by the fantastic spoken-word prologue. That leads perfectly into the fantastic ‘I Just Wanna Know’, feeling like a modern BOYS LIKE GIRLS or All Time Low, continuing to set the tone for the album excellently. Then you have absolutely massive highlight tracks for me like ‘Howling’, ‘Under the Lights’ and ‘Last Token’. However, that shouldn’t take away from the other songs, as every one is excellent. I love the incorporation of the synth, adding a fun extra layer to it all that you usually wouldn’t expect much in the genre. Hell, we even get a sexy sax solo on ‘Los Alamos’, another huge high point. And hell, I haven’t even talked about the guests; both Sweet Little Machine and House of Serpents kill it on their respective tracks. As you can tell, I loved this album! The band have a big new fan in me, and I would urge anyone reading this to check out this album. I can’t give it any less than 9/10, amazing stuff!

CASANDRA: ISLA TRANQUILTA

Following on from her EP of the same name just two months ago, the project has been expanded into an album to rather great results! Tracks like ‘FELL FROM A TREE THEY SAID’ and ‘RESERVED 4 ME’ are great new additions, but all the new songs continuing the vibe of the EP perfectly, rounding off the sound of the project incredibly well. There isn’t much I can say that I haven’t already said about her previous release. If you enjoyed that, or her particular brand of dreamy alt-pop music, you’ll love this! She is immensely talented, and has made me a fan despite me not being too into her general style typically. Another solid 7.5/10 for CASANDRA!

The Larches: Nihilistic Majesties

The debut EP from the English sludge metal youngsters blew me away right from the offset! I didn’t know what I was expecting heading in, but it wasn’t what I got, and that is very much a compliment! ‘Raxidermy’ is packed full of incredibly riffs and some great harsh vocals, setting the tone for the short release excellently. However, every track continues the same energy and quality perfectly. The grandiose ‘Drought’ is another big high point, really showing off the bands versatility and helping keep me hooked throughout. All five of them are extremely talented and have crafted something truly special here; giving the genre a bit more of a commercial appeal, as well as a harsher edge at the same time. It’s already easy to tell that the band have the potential to go far, and I’m already excited about future releases. For now though, I’ll happily be spinning this plenty in the coming weeks and months. 8.5/10, awesome stuff!

Waterparks: JINX

The sixth album from the Texan pop rockers is at least an interesting release! The tone was set early with the opener featuring the gothic legend Danny Elfman, with the rest of the album continuing the suitably theatrical vibe. It’s VERY Panic!, for better or worse. The two tracks that follow ‘TELL ME WHY’, single ‘RED GUITAR’ and the hip-hop infused ‘IF LYRICS WERE CONFIDENTIAL’ are also a lot of fun. ‘GWEN STEFANI’ is okay, too. However, a lot of the rest wasn’t really my sort of thing. The band are very clearly talented, the writing is inventive and the mixing is great. But I wasn’t a huge fan of the broadway-like tinge Panic! had back in the day, outside of their bigger songs, so it simply isn’t my thing. It just didn’t connect much with me, there wasn’t much to it. If you are a fan of the style or the band, I’m sure you’ll get a lot more out of this than I did. Maybe it’ll grow on me with more listens, and there is certainly some good stuff here, but I can’t give it any more than a 6.5/10. Good but not great.

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Sins of the Father: How does Brantley Gilbert’s New Album Compare to His Back Catalogue?

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The country rock legend returns this Friday with his eighth studio album. I’ve been a fan of his for a good decade at this point, and have even reviewed his last couple of albums! He’s had an interesting output the last few years, so when I got this over our emails I couldn’t wait to take a deep dive into it and see if he could keep up the upwards trajectory from Tattoos. He still to this day feels like an overlooked name within the country scene, so maybe this will push him to the heights he so sorely deserves? Without further ado, let’s dive in!

‘THE ADDICTION’ starts things off surprisingly stripped-back. I know that he is very much a country-first artist, especially in recent years, but I was expecting a slight bit more umph than an acoustic guitar and his vocals over the top for a first verse. Still, it’s good, building to a huge, stadium filling chorus. The distorted guitars come in here, adding some depth and grandioseness to the proceedings. It’s catchy as anything, and the lyrics are surprisingly fantastic too, even if it’s a subject matter done to death in the genre. It’s a simple track from a structure and writing perspective, but a great radio-country song in its own right, and a fantastic way to open the album!

A piano opens up single ‘GOOD DAMN’. The electronic beat comes in over the top, fitting in just about, grounding it in a modern, bro-country-era country sound. It stays surprisingly on a similar level throughout; the chorus feeling a little biggest with the multi-track vocals but is still pretty stripped-back. It’s an even simpler song than the opener, it very much feeling like it was built for the chorus. Still, it’s another good radio track, and was a good shout for a single!

The slowness continues through ‘MUD ON HIS HALO’, though it’s another expertly great chorus. The same could be said for ‘BACK IN THE DAYS BACK’, ‘DRIVEWAY’ and, honestly, a lot of the rest of the album. None of them are bad, don’t get me wrong, but it does make me miss the grit, attitude and greater focus on riffing from his earlier work. I get that his biggest hits are the slower, radio-country-rock tracks, so leaning into that sound is absolutely the right call. But when a lot of it is similar, it does make it a bit of a struggle to listen to in one sitting, especially for my tiny attention span!

As if to show me the finger, straight after ‘DRIVEWAY’ I’m punched right in the face by a metal riff courtesy of ‘GOOD OL’ BOYS’. Best riff on the album bar none, it’s not even close. It gives more of a Cory Marks, Hank III or HARDY vibe than any other song on the album. It drops back a bit in the verses, but the chorus are pretty heavy, which was nice. It’s brimming with more attitude and swagger than much of the rest of the release combined, and definitely reminds me of more old-school Gilbert. It’s still a similar steady pace, but the rock is turned up to at least an eight, and it’s a damn good song in its own right! Heck, we even get a pretty sweet guitar solo tucked away in the middle, a rare occurrence in his music these days. A great song, and one that easily makes our playlist!

The feature-whore Jelly Roll returns to someone else’s track on the excellent ballad ‘BEGGING FOR CHANGE’. The pair work well together, both having more of a jagged edge to them in the country world. And their harmonies together are fantastic. Honestly, it may be my favourite duet Brantley has done, and that’s saying a lot given how many he’s done over the years! Then again, Jelly is so damn good, anything he touches turns to gold (or platinum) at the minute. It’s very much on the rockier side of a ballad too, with another cheeky little guitar solo hidden away within. If you’re into the slower, darker edge of country, this is an absolute must of a track!

‘FUCKED ME UP’ is even slower than the rest, being the true ballad of the release. The focus is very heavily on just Brantley’s vocals, some simple keys, guitars and synths providing much of the rest of the instrumentation. It’s surprisingly beautiful, and the swell into the second chorus is incredible. Lyrically it’s amazing, and the stripped-back nature of the song works a lot better here than on other songs on the release. If the rest of the album was a little higher tempo, this would have been the perfect break-up point of it all. However, as a track as a whole it’s incredible, and another huge high point of the release!

The other track that stood out to me on this was ‘COPPERHEADS’. It’s similar in tone and vibe to RVSHVD’s ‘Cottonmouth’ at first, instantly hooking me in. And, again, it just has a bit more rock and edge to it, probably because the guitar is a bit more prevalent. The riff through the chorus is awesome, making it pretty damn heavy, and compliments Brantley’s vocals perfectly. Heck, it’s easily one of the best choruses on the album. The lyrics are a little cringy this time around, but they’re still fun, and don’t take away from the track really at all for me. This is exactly what I wanted from the album and from Brantley at this point in his career, and I’m glad we’re still getting some of it! It’s at an odd place in the album, I’d have either had this early or closing the whole thing, but again as a track on its own, it’s absolutely amazing!

Overall: While I sounded a little negative through a good portion of the review, I still had a good time listening to this, and think it’s a good album! There are some excellent tracks throughout, a couple of which I’d put up there alongside his very greatest hits. And the rest of the album that I haven’t mentioned is still good, that’s for sure. Hell, he even keeps politics out of it, for the most part! If you like his current-day brand of slower, radio country, this is well worth giving a spin or three. But, when a good half of the album is similar and at a steady tempo, I don’t feel compelled to listen to it front-to-back again immediately. That may be due to the extended length of the album though, as much as the quality. I do still miss the funner earlier stuff he put out, Halfway to Heaven will be hard to top, but this is every bit as good as his last release, a good entry into this portion of his career! I’ll be listening to a good half of it on the regular and who knows, maybe the album as a whole will grow on me from that! It’s his strongest release in a while, in my opinion.

The Score: 8/10

new music mondays

New Music Mondays: Motionless in White, Niko Moon and More!

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Another packed out week of great new music across the rock, metal and country world. Let’s dive in!

Motionless in White: Decades

We’ve already checked out this awesome album! Read our full review here.

Niko Moon: ROOTS

The first album from the country-pop singer to not feature his signature face logo on the cover, it somehow feels different to his previous albums while still having that signature Moon style and charm. We sadly missed his previous album last year, but LOVED BETTER DAYS before that. While this release doesn’t quite blow me away as much as that one did, it is still an excellent release! It does feel a little more country than his previous stuff, or at least leans more into his red clay roots and a healthy does of bro country. However, it also gives off big Buffett vibes still, as well as everything from AJR to even Bublé at times! Tracks like ‘RICH MAN’, ‘GET COUNTRY’, ‘COUNTRY SONG’, and ‘ONE WAY TO FIND OUT’ are all big highlights, as is the soulful ‘LAY IT ON ME’. However, I didn’t have nearly as much fun as I did with BETTER DAYS, and it if anything has just made me go back and listen to that release instead. It’s not a bad album, that’s for sure, but for how hyped I was to check it out, it did let me down a touch. It’s a lot of similar sounding stuff for 44 minutes, too. I’d not turn it off if it came back on, but I won’t be rushing to re-listen immediately, either. It may grow on me the more I sit with it, but for now it gets a 7/10

Protest the Hero: Within

The Canadian prog/tech metallers are back with their first album in over six years. To say that they haven’t lost a step in that time would honestly be an understatement! It’s 35 minutes of chaotic brilliance; insane riffing, fantastic drumming, catchy vocal melodies, and a healthy dose of screams, too. ‘Mouthpiece’ is a phenomenal opener, while every other track is just as excellent. The broadway-meets-Coheed ‘Fishhook’ is excellent, as is ‘Liberty Spike’, while ‘Grandfather’s Axe’ is one of my favourite tracks the band have ever done! The band are so insanely talented, and how they’ve had such a consistently excellent output over their 23 years of releasing music is beyond me. It’s not going to be for everyone, don’t get me wrong, but I’m a little bit obsessed with this release! It’s up there with Fortress for me, and is easily their best album since. I’m going to be spinning it a lot in the weeks and months to come, and would recommend anyone even slightly interested to check it out ASAP. I can’t give it any less than 10/10, GODDAMN.

Aaron Lewis: Give my Country Back

I actually remember liking ThatguyfromStaind’s last solo country album. Yeah, it was a little corny, but it at least fit well with his voice and his writing style. I’d heard the talk about the title track of this album when it dropped, so I was grimly curious to check it out…

It was just as bad as I expected. It’s a shame too, as I was lured into a false sense of security with opener ‘The Door’; it wasn’t half bad! However, then the heavy-handed patriotism started, and I very quickly tapped out. The title track is indeed that bad, but the rest of the album isn’t much better. Even the artwork is cringy, honestly. I don’t want to get bogged down by the obvious politics of it all, but safe to say from my perspective, it’s not a good look.

And, almost as egregious as all of that: it’s slow and a little boring. I know Aaron’s not exactly known for up-tempo stuff in general, but a lot of this blurred together for me. There’s some stuff on here that is honestly good, like the aforementioned opener and ‘A Showman’s Heart’, but they are bogged down by a lot of mid-or-worse stuff. If you are a big fan of Aaron’s previous releases, it may be worth giving a spin, but I wouldn’t recommend going in with particularly high expectations. Musically it’s at least inoffensive, but yeah, it’s hard to get into overall. 3/10

Tesla: Homage

The legendary hard rockers returned this weekend with their first new album since 2019. I’ve been a fan of them for well over a decade at this point, and rather enjoyed Shock upon its release, so I’m so glad they’re back with studio music again. What a return it is, too! Though we tend not to do covers albums on this series, this was done so well and is such a fun release it was impossible not to rave about! It’s almost an hour of blues/AOR-infused rock music like only Tesla can do. And, what’s more, the band make every track feel distinctly them, putting their own signature spin on things. To the point where if you weren’t already familiar with the songs, you may be fooled into thinking they were Tesla’s themselves!

The opening two tracks show their range enough as it is, and both are awesome songs in their own right. Then you have stuff like single ‘Spread Your Wings’, ‘Night Moves’, ‘Give a Little Bit’ and ‘I’d Rather Go Blind’ that are also huge highlights. However, there isn’t a bad track on here, and it’s just a damn fun listen all round. Each track perfectly showcases Jeff Keith’s ever-impressive vocals, and the rest of the band play their asses off throughout, too. If you are at all a fan of old-school rock, blues or soul, or just Tesla in general, this is certainly worth a spin. It’s a goos stop-gap while I impatiently (hopefully) wait for new music, and is a solid 8/10 from us!

Mercers.: The Liminal Tapes

This debut EP from the hardcore/nu-metal-ish Brits is surely set to catapult them far right from the jump. This thing is pissed off and aggressive, but also plenty melodic too! Heck, ‘New Stockholm’ somewhat purposefully(?) has some Muse elements to it, which were awesome! It’s 17 minutes that fit together perfectly, and all four tracks are as good as the last. It’s honestly so hard to pick highlights. You really do have to check this thing out in full at least once, it’s that good! It’s quirky and unique, and written and performed by four people who are masters at their craft! The closest comparison my brain is making is Tealdear, and that is very exciting to me! Do yourselves a favour and give this a spin, you won’t be disappointed. I can’t give it any less than 9/10, the creativity is off the charts!

Nearly Skulls: These Shadows of Our Wilder Selves

The first new album in three years from the ‘grumpy dad rockers’, it does follow up their awesome EP from earlier this year, PAX AMERICANA. We loved that album, and this release builds on that perfectly. It’s another dose of 90s rock nostalgia in the form of REM or their more punk-infused counterparts, but this time it’s a full nearly hour instead of 20 minutes. Tracks like ‘Some Change’, the Pucifer-like ‘On the Network’, ‘Dinosaurs’ and ‘The Ocean’ are big personal highlights. However, there isn’t a bad track throughout, the album being a fantastic, chilled-out affair and an incredibly easy listen. If you’re into this sort of style, I cannot recommend it enough, and it’s a fitting follow-up to PAX. There is maybe one or two too many tracks on here, if I had to offer one criticism, but I wouldn’t know what songs to cut, and after three years it’s hard to fault them throwing it all out there! 8/10, great stuff!

Haken: in a fever dream

Returning to the studio following 2023’s excellent Fauna (it did in fact grow on me with more listens), the prog metallers once again knock it out of the park on this shorter release. The opener is the perfect prog track, building for much of its longer runtime into a huge, heavy crescendo. Meanwhile single ‘delerium’ is more like a 2000s alt metal track. ‘bleeding sky’ and ‘lotus’ are a mixture of the two and classic Haken awesomeness. Then you have the slower ‘eclipsed by you’ tucked perfectly in the middle of it all. It’s 26-minutes, long for an EP, but the perfect amount of music from the band. It’s arranged perfectly and is such an easy listen, going by in a flash. I’m so glad the band are back to releasing new music, and if you are at all a fan of the band or the wider genre, this is definitely worth checking out! Front to back it is excellent, and the opener and closer in particular are up there alongside some of the best tracks the band have ever produced. I can’t give it any less than 9/10!

Some Velvet Morning: TELL THE SUMMER HANG ON

The first new studio album in over five years from the rockers, and it’s a rather epic half-hour! The opener sets the tone for the soft-rock release perfectly, while songs like ‘Before I Met You’ and the grandiose, Western-style ‘The Architect’ are also big high points. The band are clearly all incredibly talented musicians and songwriters, and they get plenty of time to shine both individually and together throughout. However, it does get a little samey towards the end, I do have to say. Those of you more into this sort of old-school style than me will probably get a bit more milage out of it. It’s sadly not a whole album I’d eagerly revisit, but a few of the tracks I will definitely be spinning again! 6.5/10, it wasn’t as much for me as I’d hoped!

As It Is: Self-Titled

The follow-up to the pop-rockers huge 2022 release, I WENT TO HELL AND BACK, their brand new, self-titled album is another infectiously fun release. Right from opener ‘I’m So Alive!’ I was getting modern All Time Low vibes in the best way possible, and it set up the rest of the album fantastically. The singles, like ‘Do You Remember?’ and ‘Marilyn’, are great, even if they do front-load the album a little drastically. However, album tracks like ‘Lose Your Way & Find Yourself’ and ‘What if it All Works Out’ are just as fantastically. The band are really at the top of their game right now, and if you like this style even a little, you’ll surely love it as much as I do! Their last release grew on me with more listens but this one doesn’t have to, it hooked me right in from the opening moments! This will certainly be one I’ll be spinning plenty in the weeks and months to come! 8.5/10

Loathe: A Stranger to You

Five years after their last release, the ambient sister album to their breakout I Let it In and It Took Everything, the experimental metalcore rising stars finally return with a full new album. Firstly, at 14 tracks and 54-minutes, it’s a big ol’ release. And, surprisingly to me, it may take a few listens for me to truly get into. It’s especially surprising as I remember enjoying I Let it In… a lot, and still do. The band are well known to blend genres, which usually I’m down with. However, as someone who’s not really into the whole droning shoegaze thing, they maybe leant a little too hard into that side of their sound for me here.

The opener was interesting, but ‘Block of Flats’ went on far too long for what it was. That was especially sad as it features Static Dress, and I LOVED their last album. ‘Fortress Down’ pulls it back a little for me, but it’s nothing more than fine. Songs like ‘Gemini’ and ‘Gifted Every Strength’ are good, but they are spread fairly too few and far between. A lot of it is dull, or Deftones turned up by 1000%. None of it quite gives me the feeling that ‘Gored’ or ‘Two-Way Mirror’ did, or still do. As I said, it may grow on me with more listens, but it also feels a little bit like the last Zeal & Ardor album, and that sadly didn’t. If you liked this album then awesome, I’m honestly glad! I certainly want to like it, and feel like I should, but certainly found myself struggling. I’m curious to see what other people’s reactions to it are, as I can’t give it any more than a 5/10, sadly!

Imperium: Exodus Unknown

The highly anticipated debut album from the UK thrashers is just as good as I expected, if not better! From the first notes to the last, it’s a brutal assault of awesome riffing, drumming and some surprisingly catchy vocal melodies. The opener is a big highlight, as is the epic almost-ballad ‘The Gun’. The Demolition Man himself even provided an excellent feature on ‘Tread the Serpent’! But honestly, the whole album is excellent. There’s a surprising amount of dynamics to it, with some fun and interesting tempo changes to go alongside all the rest of the excellence. The band very much wear their inspirations on their sleeve, whether it’s legends like Slayer and Kreator to more homeward bands like Evile. If you are a fan of any of these bands, or the wider genre in general, give this a spin, I promise you won’t regret it! Another album I’ll be spinning a lot moving forward, and a very solid 9/10 from us!

Reviews

Decades: Is the New Motionless in White Album their Best Yet?

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The first new album from the metalcore titans since 2022’s massive Scoring the End of the World, the bands seventh album is dropping to a lot of hype on Friday. Being big fans for a while now, we were over the moon to get the chance to check this out a little early. They are on the cusp of becoming the next big thing it feels, so I’m super curious to see if they can ride that wave with this release. Without further ado, let’s dive right in!

The title track opens the album perfectly. A huge industrial/nu metal riff blasts in before Chris proclaims “I’m still fucking here” in an absolutely huge scream. The verse keeps up the pace and heavy vibes, the harsh vocals matched perfectly by Horror’s backing. It’s packed full of attitude, and is Motionless down to a tee. It all builds up to a surprisingly heavy-still chorus, the pair spitting venom throughout. However, it is still a surprisingly catchy moment, and we essentially get a breakdown coming out of it. The only clean vocals from the track slot rather perfectly over the top of the brutal riffing, too! And, of course, we get a proper breakdown for the bridge too, the callout of ‘fuck a tombstone’ being as hilarious as it is heavy. If you couldn’t tell already, I loved this. It was the best way they could open the album, setting the tone for the rest of it perfectly. My only slight concern/interest is that it followed a similar structure to one of the singles, but more on that later…

‘log_in//crash_out’ adds some synth to the proceedings, but still hits with just as hard a riff. It almost feels just a touch Electric Callboy, but I certainly mean that in a good way. And, plus, we get a fantastic bleh to really kick things into gear. The track drops back for the verse, it keeping its early 2000s metal roots but allows Chris’ great clean vocals to shine through instead of the screams. It all builds to a huge, arena-filling chorus, and one that’s bound to be stuck in my head for days to come! And, despite the predominately clean vocals, it still has plenty of attitude and anger behind it, Chris’ delivery being excellent. I was a little shocked by the choice of the kids choir in the bridge, it’s such a strangely popular trope that I think is incredibly hard to pull off, bands missing more than they hit with it. However, it thankfully kinda fits here, and leads to another headbanging breakdown that ups the ante and heaviness of the track excellently. Overall, it’s another excellent track, and showcase another side of the band perfectly!

Single ‘R.I.P.’ somehow shifts gears yet again, being the first ballad-like track of the album. Having it this early was a curious decision, but it kinda works! It also features the wonderful Skylar Grey on guest vocals, and she kills it. Opening on her and a piano was excellent, her vocals catchy and powerful and brimming with emotion. Chris soon takes over for a second verse, the pair working surprisingly well as a duet. The interplay and alternation between the pair throughout keeps things constantly interesting, though I was shocked we didn’t get at least one chorus where they sang together. It felt like a slightly missed opportunity for harmonies. It all builds to a huge chorus, the production working to make it all sound MASSIVE. It’s a dark, gothic masterpiece of a ballad, still sounding like Motionless and fitting the album well despite being more of a Linkin Park/modern BMTH song. It’s an excellent choice for a single that, while not a song I would probably revisit on its own often, is a really great track.

The pace picks back up for ‘Fight Like Hell’. I love that we get the Rhea Ripley line to open it up, as it does very much feel like a wrestling song in every possible way. I do have to say it’s not quite as good as ‘Demon in my Dreams’, but that may be just because I’ve heard the latter so much that it’s forever burned into my brain. This is an excellent track still that would still fit Rhea perfectly. The rapping in the second verse shocked me a little, to the point that I wasn’t convinced it wasn’t Daddy Durst at first, but Chris pulls it off well. It’s a catchy track that feels designed to be a huge radio hit, so I’m a little shocked it was a pre-release single. Still, there’s time for it to be one in the future. And having said all that, the breakdown, while a little basic, still hits hard. Shock, another fantastic song!

I’ve already gushed about Playing God plenty. This is a truly awesome song that really reminds me of Slaughterhouse off their previous record. It brings out an anger and aggression from Corey Taylor that has felt lacking in recent years, while Chris matches that aggression perfectly. The pair play off each other excellently here, almost seeming like they’re trying to one-up each other throughout. It very much feels like a clear homage to Slipknot, but done in a very Motionless way. It’s a song I’ve been hung on since its release, and am still rather obsessed now! It’s easily one of my favourite tracks from the album, and may be up there with some of my favourite from the bands whole discography. From the lyrics to the riffs, vocals to the breakdown, it’s all phenomenal. I know I mentioned earlier about a track with a similar structure, and it’s this one. However, each track between the two is so staunchly different that it isn’t at all an issue. This is an incredible song, and one I’d urge anyone to check out!

The electronic elements return for ‘All That I’ve Ever Known’. Tracks like it, ‘Blood Rave’ and ‘Count Back from Zero’ are all synth heavy, clean-vocal-focused tracks that are all great in their own right, but do blur together somewhat. There’s some more fun rapping in the former, and Dark Divine’s Anthony Martinez kills it with his feature on ‘Blood Rave’. They’re all great songs that feel like they borrow from the success of the likes of ‘Voices’ and ‘Werewolf’. While none are necessarily highlights, I’d happily listen to them all within the context of the album on subsequent listens.

Speaking of ‘Werwolf’, they continue on with their monster jams with ‘Love at First Bite’. It very much feels like a spiritual successor, carrying a similar vibe and structure. It’s light for Motionless, but is catchy as hell and the horror elements fit in excellently. It honestly wouldn’t feel out of place on a Dominum album, and I actually love it! The band all kill it, it’s once again a different feeling track to much of the rest of the album, and it’s another huge highlight. It easily makes it onto our playlist! Another that I can’t recommend checking out enough!

‘Blood Pact’ feels like a combination of a lot of what came before it. It’s a steady tempo, had some electro elements and plenty of clean vocals. However, the riff is HEAVY, and there are plenty of great screams throughout too. It’s industrial as hell, but also has a rather epic vibe to it, as well as having some catchy-ass hooks. I didn’t expect to enjoy a track like this from Motionless as much as I did, but it’s yet another banger on an album full of them!

Final single ‘Afraid of the Dark’ goes full old-school Parkway out of nowhere, and it’s fantastic! It’s that epic, European-inspired end of metalcore that I really love, and once again Motionless do it so well. It’s grandiose riffing and drumming, heavy, essentially post-hardcore verses and then absolutely massive choruses that are designed to be played to huge festival crowds around the world. Oh, and that breakdown… DAMN. It’s filthy, and I’m a little obsessed. It’s another excellent choice for a single, and yet again the band show yet another side to their sound; pretty damn varied these days. It was the one I hadn’t had the chance to check out before the album, but it’s a big high point of the album right from the first listen!

Kinda-closer ‘Sunglasses at Night’ is a synth-pop-metal banger. It’s so very Those Damn Vampires, big vicecore energy. It’s an odd way to be closing such a generally heavy album, but that doesn’t take away from the songs itself. It’s a Europop, club ready song, and goddamn, it’s another completely different sort of track again. If you don’t take anything else away from this review, you should at least know how damn creative and talented the band are throughout this whole album. Their ability to do all these different sounds but still sound like them is insanely impressive. It’s an excellent song, and one that I worry I’ll be spinning a lot in the next few weeks, probably until I make myself sick of it!

Closing off the release are two bonus tracks. ‘Hollywood’ and the other version of ‘Fight Like Hell’ are fun tracks, but I see why they are bonus tracks, they do feel a little different to their usual stuff. The former is straight-up Manson, while the latter features the mighty Outlier, adding even more ferocity to the sound. It’s arguably one of my favourite features on the album, and I do think I prefer this one to the actual album version! Both are worthy additions to the release, that’s for sure!

Overall: To the surprise of no-one, it’s awesome release from the quintet! There are so many fantastic tracks on it, while there really isn’t a bad song throughout. Honestly, I’m not sure what I prefer between this and Scoring the End of the World, but either way the band are on the best run of their careers right now! In an age where metalcore is coming back in a big way, Motionless prove that they are towards the front of the pack time and time again. I’ll be spinning this a lot in the coming weeks and months, and I’d expect anyone who listens to it would be doing the same. What an album!!

The Score: 9/10

News

The Calling to Return With a New Album After 25 Years!

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The ‘Wherever You Will Go’ legends returned last week with ‘Dust’, the powerful first single and video from their upcoming album, BEFORE THE WORLD TURNS TO DUST. Marking the band’s third album and first since 2004, the 15-track record will be released this fall (exact date TBA) digitally and on vinyl and CD via TLG | Virgin Music Group.

The Los Angeles group is led by singer, songwriter, and guitarist Alex Band alongside members Daniel Damico (lead guitar, keyboards, backing vocals) and Dom Liberati (bass). They’ve returned to build on their signature rock sound that’s filled with big ascending melodies, emotionally absorbing lyrics, and Band’s moving vocals.

“I was initially writing ‘Dust’ as a timeless love song set in an apocalyptic world—kind of like what ours feels like at the moment—but then the song got a bit deeper,” says Band about the song which captivates with its lines “Before the world turns to dust/ Love will find us.” “At the time,” he adds, “I was learning a lot about quantum physics and astrophysics and that brought in a different meaning. We’re all basically born from cosmic dust and connected by the same energy that flows through us. If you look close enough, everything in the universe is even made of the same core elements. Maybe love amplifies that subatomic connection? Maybe love can even transcend space and time? All of this was running through my head while writing ‘Dust.’”

“Going off the idea that everything is made of the same energy and love never dies, the video tells a story of two people who haven’t been able to connect–-maybe one has passed, maybe both have passed, maybe they live in parallel universes. Whatever way you want to imagine it for yourself, we would like to think that love is stronger than what keeps us apart. That in the right moment, we can find each other again. In terms of production, we are proud of the video we made with a small budget and little time. I think it conveys exactly what we wanted it to. The director did an exceptional job putting all the pieces together. My wife wrote the video treatment and we shot it at my family’s property in Cleveland during a surprise snowstorm.”

Here are THE CALLING’s upcoming shows:

Saturday, August 8 – Town Center Park – Suwanee, GA
Wednesday, August 26 – Bearsville Theater – Woodstock, NY
Thursday, August 27 – New York State Fair – Syracuse, NY
Friday, August 28 – Jergels – Warrendale, PA
Saturday, August 29 – Jefferson Theater – Charlottesville, VA
Thursday, September 10 – The Parker – FT Lauderdale, FL
Friday, September 11 – Hard Rock Live – Orlando, FL
Saturday, September 12 – Five – Jacksonville, FL
Friday, September 18 – District Music Hall – Norwalk, CT
Saturday, September 19 – Court of Honor Stage – W. Springfield, MA
Sunday, September 20 – World Cafe – Philadelphia, PA

Interviews & Features

Alex Hughes: ‘I’m definitely looking forward to the next project!’

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We chatted to the wonderful Alex Hughes the other day about her new EP, the country music scene and her future plans. Check it all out below!

The EP’s been out a couple of weeks now, right? It seems to have gone down really well!

Yeah, it’s been a pretty great response! So, I feel really grateful that people are are digging the music!

What’s it like to finally have it out after a run of singles the last few years?

It’s been kind of surreal. Doing the single thing for years has been fun, but it just hasn’t felt like a collection of music. So, these songs all together, I’ve been working on them for three to five years, some of them. So it’s so nice to finally have see them through completely from the writing to the recording. And to I got to pick up my very first vinyl! So, just be able to even hold it in your hands is something that’s been on the bucket list for a while for me.

Was it always the same tracks on the EP? Or have some hopped on in that time or been released as a single instead?

Yeah, that’s a great question! It kind of all came together organically, and I did do a writing trip specifically for songs for the EP. But how it did end up changing was, we added one last song, not last minute, but, like, after the others were recorded. That was ‘Slow Dancing in the Kitchen’, and it’s ’cause I I couldn’t release the EP without having it on there!

What’s the plan moving forward? The EP’s only just dropped but is there another release already in the pipeline?

Absolutely, yeah. We’ve we’ve actually got a Summer Surprise that’s going to drop in July. so that’s exciting. And then, yeah, I’ve been writing a ton. So, I’m definitely looking forward to the next project. I think we’re going to definitely do another EP, we’re just kind of collecting those songs now. We’ll get in the studio hopefully soon, kind of after the summer rush, and, yeah, get back in it!

It seems like it’s so difficult these days to plan what you want to put out and how you want to release it, with the streaming algorithms and all this now. It’s such a nightmare to try and keep up with it all!

It is, and it’s just interesting ’cause music’s being consumed so quickly, and there’s so much good music out there. And it’s expensive to produce and release music, so it’s kind of balancing all those things like budgets and keeping up with the demand. But creating something that feels complete, it’s like, it’s a balance.

What’s the writing process like for you?

I know, at least with country, there’s a lot more focus on writing with other people or getting songs from other people. It’s quite fascinating to see from more of a rock background that everyone is kind of writing for each other and chipping in. It’s pretty cool!

Right, yeah. No, you’re so right. It’s so interesting how different genres sort of have their creative process, and then I know it’s different artist to artist, too.

Yeah, but for me, I spend a lot of time just with my guitar coming up with ideas, and brainstorming like titles, hooks. My voice notes on my phone is just absolutely filled with a million (probably terrible) ideas, but they’re there! And then I co-write a lot. So, what I usually do is collect those ideas, and then before I do, let’s say, a writing trip, or even just buckle down and do like a week’s worth of writing, I’ll go through all those ideas, figure out which ones are bad, which ones are good, and which ones I want to kind of maybe present because you can kind of tell, at least, sort of in the country world when you look into the background of somebody, what someone’s strengths might be. So, then I’m like, oh, I have this idea that I think this writer would really be able to help me create!

Do you have a favourite track on the EP?

Ooh, that’s a great question! Um, yeah. I mean, they’re all, as you know, they’re your song babies, so they feel like they’re all precious. Not to choose a favorite child! But, I guess I think maybe the title track, “Taking Me Home,” is my favorite because it it sort of encompasses all of the things that I wanted the EP to have; some fun, sonic sounds that are a little bit more pop and country and just sort of show the influences that I’ve had throughout my life. And, and then lyrically, it’s a love song, and even though it sounds like it might be surface level, when you really listen, there’s some deep, deep lyric things there. So, I think maybe, if I have to choose my favorite, I’d say this one.

While it’s marketed as your debut EP, you actually released another back in 2013. Are there any comparisons you can make between that one and this new release?

yeah, that EP was the first time I ever recorded all my own songs, and they’re all my originals that I wrote. I wrote every single one all by myself. So, it’s a really special EP, and I think you can very easily hear the growth and the change, and not only in sort of how my music has progressed. Like, I feel like this, my new EP is the type of music that I’ve always wanted to create. I’ve kind of finally landed on the sound that feels artistically like me.

I love that EP and I think it’s a really cool stamp in time. I was like quite young when I did it too, so even lyrically, it’s sort of like, you can hear the youth, like the young voice.

It sounds like you have a busy rest of the year planned in terms of shows, right?

Yeah, yeah. It’s going to be a pretty great summer with lots of festivals here in Canada! And then yeah, we’re looking at maybe doing a bit of a tour in the fall. So yeah, it’s great. This EP really sort of opens some doors for me to be able to get on the road and share these songs with people. We’re at that stage, which is great!

What’s it like being a Canadian country artist? In the UK it’s still a sound so deeply associated with the south of the US!

Yeah, you know, I think it’s a really exciting time to be a Canadian artist. I think our music scene’s starting to finally boom. And and it has been for years, but there’s lots of cool opportunities here. I spent some time living down in Los Angeles and then I did a little bit of back and forth to Nashville, but one thing that’s been kind of amazing about settling in Canada is the opportunities. For example, when I first moved back, I got to do a program called the Canada’s Music Incubator Artist Entrepreneur Program. It’s like this two-week long intensive where you learn all about the music industry, and you just gain all these amazing tools. I’m not sure if they do programs like that over there too, but there are just some really cool ways to get support and help. It’s a cool time, and yeah, there’s just there’s lots of cool things going on, too. Lots of cool venues, the Canadian Country Music Awards are always a really fun week, and lots of opportunities there. So, yeah, it’s exciting!

You seem rather active and sucessful on social media. Do you have any advice for artists just starting out, on that front?

This is something that I’ve truly struggled with, is like, how do you not be annoying? But it’s such a great tool, and I think you just have to get over that. Like, people who want to support you, they’ll like what you’re doing and they’ll think it’s interesting, and those who don’t, they’ll unfollow you, and that’s fine. I think it’s a really great tool, and there’s a bit of a balance between posting so much that you burn out. I’ve definitely gone through those phases where I feel like I don’t have any more ideas and I just can’t do it anymore. But when you find a balance that kind of works, it can be such a good tool. So, I guess my advice is like, don’t be afraid to post, you’re not annoying anybody, and be creative with it, and have some fun, like, it’s a free tool!

Any plans/hopes to come to the UK in the future?

Oh Yeah! Yeah, there’s no plans currently, but I really hope to make it out there soon! I’ve had some interesting people even from the UK reach out that that like the music. So, I would like to get out there and play some shows!

new music mondays

New Music Mondays: The Rolling Stones, Devildriver and More!

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Some massive albums for us to check out this week, from rock to metal to country!

The Rolling Stones: Foreign Tongues

Owen: This week saw the release of the 25th studio album from arguably one of the most all time influential groups in the rock genre. Jagger and crew still have a lot to say after over 60 years of releasing music together. Foreign Tongues is a contentious listen for me. On the whole it’s an inoensive album, however Jagger himself has been open about the fact that this could be the last of a long and storied discography. I can’t help but ask myself if they are going out with a whimper or a bang? Opening track ‘Rough and Twisted’ feels like classic Rolling Stones; this track is exactly what fans would expect of an album opener. However this feeling quickly fades as the tracks play on, melting into some generic tracks that lack identity. A pleasant surprise did await me on the ninth track, a cover of ‘You Know I’m No Good’ from the late Amy Winehouse, not something I expected to hear from Jagger and co, and expected even less to enjoy so much. The  cover is faithful to the original whilst simultaneously leaning into the strengths of this group. 6/10

Devildriver: Strike & Kill

We’ve already checked out this awesome album! Read the full review here.

Jack White: Frozen Charlotte

The White Stripes legend himself is back with his first solo effort in nearly two years. We sadly missed that release, but I do remember enjoying his two previous back in 2022. And, honestly, I really dug this, too! The opener is classic White goodness, all fun bluesy riffs and quirky, catchy vocals. And, honestly, it keeps up the high quality and expected/hoped for sound from there on out! ‘There’s Nobody There’, ‘Dollar Bill’ and ‘Making Contact’ are also massive high points for me personally. However, the whole album is great from start to finish, and the fact that 13 songs go by in this much of a flash is a true testament to Jack’s writing and musicianship. Honestly, this may be the most I’ve enjoyed an album of his since the early White Stripes days, it really is that good! It’s bluesy yet poppy, and filled with so many catch hooks from both the guitar and the vocals. Heck, White himself sounds more renewed and focused than he has in years. If you are at all a fan of his sound or genre, do yourselves a favour and give this a spin. I’ll certainly be listening to it plenty moving forward, that’s for sure! An easy 8.5/10

Chevy Beaulieu: Self-Titled

This is honestly a masterclass in country music. It’s 40 minutes that spans everything from Southern rock to more traditionalist styles to ballads, and I loved every second of it. There’s even hints of more of a modern pop-country vibe at times. It’s a lot of fun from front to back, and constantly keeps things interesting. It’s honestly impossible just to pick a couple of highlights too as it’s all so good, so much of this ended up on my personal playlist. And the fact that when we chatted to him he said that over half of it was written by him and, in this day and age, it makes it even more impressive!

He’s been growing his name pretty fantastically in Canada over the last few years, and it’s easy to hear why! He’s an incredibly talented writer, singer and player, and clearly has an ear to pick others that are equally as talented. I’ve already spun this a couple of times this weekend alone, and don’t feel like I’ll be slowing down much in the coming weeks and months! He fits perfectly into the modern country scene, and I can see this release pushing him to even greater heights within it. Give this a spin if you are at all into country! 9/10

Eva Under Fire: Villainous

Max: I was a bit stuck on this one. It’s a clearly good album, but didn’t do anything for me really. To be fair maybe I am not the target audience and I probably shouldn’t have spent the last week listening to Toe but I really struggled to get into this album. The production is really really good, that cannot be understated, and there was a nice rhythm to the album. I should also say that the breakdowns were mostly really good and the feature from Maria Brink was great as one would expect. With all that being said, I couldn’t connect to the songs. It felt very radio ready which isn’t necessarily a bad thing, but I have never liked music like that all too much. And, for the most part, I couldn’t tell you which song is which as they all had a very similar arc to them. With all that said, it is a good, inoffensive album. 7/10

Adam Lambert: ADAM

The modern Queen frontman returns with his first new solo LP in three years. It’s a grandiose, perfectly polished pop-rock opera, and I do think people’s milage with it will vary based on what they’re into. The closest thing I feel myself comparing it to is Marianas Trench or Nothing But Thieves, although there is definite inspiration from his time with Queen, too. I do like both (all three?) bands, but I’m a touch up and down with this. Opener ‘RAT CITY’ is awesome and sounds absolutely massive with those harmonies. The industrial-tinged, Lexie Liu-featuring ‘PROCELAIN’ is a lot of fun. ‘Rage’ had a catchy, techno-infused pop-rock hook to it. A lot of the rest of the album I could take or leave. None of it is bad by any stretch, and Lambert is clearly an incredible vocalist, but it just didn’t land for me. Then again, I am hardly his target audience, I imagine. It’s at least varied enough to stay interesting, and if you are at all curious it’s well worth giving a try. However, I probably won’t revisit it too often, and can’t give it much more than a 6.5/10. Good moments, but overall not my thing.

As Oceans Divide: Self-Titled

The debut EP from the metalcore/melodeath Canadians goes hard for its full 18 minutes. Fitting in perfectly between Trivium, Killswitch Engage and In Flames, the release is packed full of great riffs, solid drums, brutal screams and some damn catchy clean melodies. The opener is a great example of their heavier side, while the likes of ‘White Noise’ and ‘Cursed Oblivion’ almost boarder on melodic metal. And the all-out assault of ‘World Collapse’ is also excellent. As you can tell, I love this release! The band are insanely talented and have a VERY bright future ahead of them if they keep putting out music like this. I have no qualms in saying that this is one of my favourite EPs of the year so far, and it’s up against some stiff competition there, too! If you have even a passing interest in the heavier side of music, give this a listen ASAP, you’re bounce to love it as much as I do! 9/10, I already can’t wait to hear more from them!

The Plot in You: Self-Titled

A cheating release next. I have been rather vocal about my dislike of bands putting out almost all the album as pre-release singles before it drops (as much as streaming algorithms like that), but this release honestly takes the cake in that regard. I remember Atreyu doing a similar thing recently, as did Annisokay, and I wasn’t really a fan of either. Combining previous EPs together for the sake of having another album out takes away from both the value of the individual EPs, and the album they produce. Then again, it’s not like we checked out any of the EPs, so it’s new from a review standpoint.

Musically, it’s fine. It’s the side of metalcore that is ‘not really my sort of thing’ like Bad Omens or Northlane (although fuck do Northlane slap live), so knew I wouldn’t have a huge amount of milage in it to begin with. The heavier tracks like ‘Forgotten’, ‘Been Here Before’ and ‘Spare Me’ are good fun, but they feel few and far between when they alternate the even-more pop-centric tracks in between them. If you are a fan of the band you’ll probably get some enjoyment out of it, and it is definitely a popular style and sound these days. However, it certainly isn’t for me, and I found myself getting a bit bored by the end. They’re certainly talented players, but unless you’re a fan of modern metalcore I probably wouldn’t recommend this album. 5/10, incredibly average.

Allison Russel: In the Hour of Chaos

Owen: In the Hour of Chaos is the third album Russell has released since her solo debut in 2021. Previous member of groups such as Birds of Chicago, and Our Native Daughters, Russell is well versed in many genres and a skilled vocalist and songwriter. This third instalment is an impressively collaborative affair, with ten out the eleven tracks featuring other artists, notably Norah Jones, Chibueze Ihumoa, Ruby Amanfu, and many more. Thematically the album is  pushing a message of hope in the face of chaos and despair, which feels sadly needed in the world right now. Sitting between various genres and inviting many dierent voices into the album supports this message for me, Russell and her contributors deliver a message of unity and optimism. 8/10

Among Legends: Lose My Grip

This is a fantastic punk release! The sophomore album from the Canadians is a lot of fun; and energetic and attitude-filled half-hour! It’s also 12 fantastic tracks, each as fantastic as the last. ‘Sound the Alarm’, ‘Hollow’ and ‘Band Dudes Fuck Off’ are personal highlights, but the whole album is super solid and goes by in a flash. The band wear their inspiration on their sleeves in the best way, everything from Blink to Pennywise to Lagwagon, but also with a slight hardcore edge to it that I love! It’s a style that deserves to be massive again, and these guys are so good that they could easily lead that charge! They have a big new fan in me, and clearly I need to holiday in Ontario to go see this live! If you are at all into punk or pop-punk this an album you have to listen to. I’ll be spinning it a lot in the coming weeks and months, and it gets a massive yet easy 9.5/10. Goddamn, I loved this!

The Devil Wears Nada: In Lust We Trust

The sophomore album from the Swedish melodic rockers is a damn fun half-hour! It’s massive-sounding AOR/arena rock, and the production helps the writing and playing reach its lofty heights no end! From the huge riffs to the melodic synth, the anthemic choruses to the awesome solos, it’s all so good. And, from ‘Last Forever’ to ‘In Lust We Trust’ to ‘Shotgun Wedding’, there are so many bangers throughout! Having said that, every song on here is awesome, and it goes by in a flash. I had a lot of fun listening to this, and the band have a huge new fan in me! I honestly can’t gush over it enough, and if you like that 80s revival sound, this is an absolute must-listen. I don’t have much else to say about it other than check this out immediately! 9/10, I’m just throwing them out this week!

Andrew Farriss: The Prospector

The sophomore solo album from the INXS co-founder comes a full half-decade after his debut. Much like his first release, it’s a chilled-out, old-school album that combines so many different elements. Country, Americana, bluegrass, folk, rock; all of it is moulded together rather masterfully throughout. The closest comparison I find myself making immediately is Sons of Town Hall, in its essence and vibe at least, and if you read my review of their last album you’d know how big of a compliment that is. Somewhere between that and a Drew Holcomb or early Keifer Sutherland. This feels like not just a story, but a journey through its 38-minute runtime, and I am all for it.

It’s another album that has plenty variety too, keeping me constantly interested and entertained. And, it all flows together masterfully, track-into-track. It’s very much designed to be listened to in one sitting, though tracks like ‘Southern Cross Shines’, ‘Honesty’, ‘Something Stronger’ and ‘Someone For Everyone’ are personal favourites. Every track is awesome though, and it makes for a rather easy, relaxing listen, even when it’s a little melancholic at times. I’ll be spinning this album a lot in the coming months, as I’m sure anyone who listens to it will be doing! While I have checked out his previous release, I do think that this is a step up in quality, and he has a big new fan in me. I can’t give it any less than a 9/10!

Pythonic: Laws of Karma

Less than seven months after their last release, the third EP from the brutal death metallers/deathcorers is five venom-soaked, brutally awesome songs. The title track lands a brutal shot to the face right from the get-go, and sets the tone for the project immediately. The rest of the tracks follow its lead; a brutal yet melodic 18 minutes of music. The band are all extremely talented and have crafted something here that stands out from their peers from its perfect blend of aggression and catchiness. I already can’t wait to hear more, but until then will be spinning this plenty and checking out their older stuff, too. A very solid 8/10!

Features, Reviews

My Chemical Romance and Skunk Anansie Rock Wembley!

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The first time the Black Parade had rolled through the iconic stadium since 2007, they now top the bill on the reprive of that show. Backed by British legends Skunk Anansie, it was set to be one hell of a show! From the iconic imagery of the album to the newly added Soviet-style set dressing and moments, I somehow knew exactly what to expect and not at all what to expect at the same time. We’ve all seen the videos but how does it hold up in person? Let’s dive in and find out!

P.S. first of all, fuck the Golden Circle concept. Forcing fans to be nearly as far back as the halfway line if they don’t cough up even more money on top of the already high GA prices is insane. Especially when, looking at photos, the GC area wasn’t even full! Ticket-Nation is going to be the death of big gigs at this rate, or at least will price out a lot of actual fans. And let’s not even talk about the security for the event, especially on the way out. But anyway, onto cheerier things…

Coming on slightly late, Skunk Anansie claimed the stage from the moment they stepped on it. This was the first time I’d gotten the chance to see them live in 15 years, and they certainly didn’t disappoint! 12 awesome songs spanning their expansive back catologue, and all played to perfection. Whether it was older bangers ‘Hedonism’, ‘Charlie Big Potato’ or ‘Tear the Place Up’ or stuff off the newer album that translates better live than on track in ‘Lost and Found’ and ‘An Artist is an Artist’, it was full of greatness. And that’s not even mentioning the three off my favourite album, Paranoid and Sunburnt. ‘Weak’ will always be a firm crowd favourite, ‘I Can Dream’ is one of my favourite songs they’ve ever put out, and ‘Little Baby Swastika’ is an awesome set closer.

The band themselves played their asses off, too. Skin is such a fantastic front woman, holding the crowd in the palm of her hand throughout. As I’m sure plenty of people have pointed out before, what she lacks in stature she more makes up for in presence and personality. And she seemed to be having a blast up on the stage too, which is also a plus. The inclusivity speech she gave in particular resonated perfectly with the crowd she was in front of, and resonated a lot with me personally. However, the rest of the band played their asses off throughout, too. Cass is a criminally underrated bassist, while Ace and Mark are fantastically talented players and performers in their own right. For a support slot, they put on a massive show still, and I imagine won over plenty of new fans in the process!

After what felt like a surprisingly short turnaround, the sounds of Vera Lynn’s ‘We’ll Meet Again’ filled the speakers to herald the start of MCR’s set. And, to get this out of the way early; HOLY FUCKING SHIT. I’d been waiting to see them for most of my life, but didn’t expect them to be quite so phenomenal. The Black Parade is one of my favourite albums of all time, so to see it live from front to back was honestly a dream come true. Every song on that album is perfection, and they all tell such an amazing, bittersweet story when put together. But not only that, after the album was done we got another hour of spectacular tracks from their back catologue. Hell, the moment they opened their second set with ‘Honey…’, the first time they’d played it live since 2010, I knew we were in for something special. Both ‘Thank You for the Venom’ and personal highlight ‘Cemetary Drive’ followed it up fantastically, while ‘Give ‘Em Hell, Kid’ was another Three Cheers banger. Then you have underrated Danger Days tracks in ‘Planetary (GO!)’ and ‘DESTROYA’, as well as their big three other singles, and the setlist truly was superb. Heck, we even got a cover from their early days, Morrissey’s ‘Jack the Ripper’.

In terms of the stageshow itself, it was also truly phenomenal. The lore behind their sudden Soviet turn in recent years is a bit odd, but makes for a damn fun show indeed! The actual stage itself was cool, the lighting rig adding a lot to the visuals. And all the video stuff with His Grand Immortal Dictator, and even him watching the Black Parade set, was a fantastic addition. Their use of pyro started out sparing, not really kicking in until ‘Mama’, but they had PLENTY of flames then, and it added so much to the atmosphere. And my god, ‘Famous Last Words’ is going to be etched into my mind forever. All the pyro, the emotion behind the song, the excellent sound and the 50 thousand plus people screaming every word back to the band, it was truly something special to be a part of. The big fireworks shooting across the pitch and from the top the stadium was honestly magical.

And then just like that, the Black Parade was over. The wonderful Clarice Jensen performed masterfully while they set up the smaller b-stage in the middle of the crowd, and then they launched into a completely different kind of set. No frills, no screens, no pyro, just a band having a blast, playing songs to an adoring crowd. We really got the best of everything!

And, speaking of the band, they sounded even more excellent than I’d have hoped they would! The sound for a stadium was fantastic, and the band all played their asses off for over two hours. And, on top of that, they all looked like they were genuinely having a blast up on stage, even through their Black Parade characters, which always enhances the experience even more. The band are all super talented, and Gerard arguably sounded better than he has since they reunited. He sounded almost as good as the tracks, yet knew where his limitations were as he’s not exactly in his 20s any more. And, whether it was the leader of the Regiment or his slightly quirky self later on, he was a magentically captivating performer, a born frontman.

So, as you can tell, I enjoyed this rather a lot! Skunk Anasie were good, but they were very much the warm-up act for the main event. Meanwhile, MCR’s triumphant return to Wembley was everything nine year old Joe would have wanted and then some! They have earned every bit of love and adoration and praise that they are getting, and absolutely deserve a nearly sold-out three night residency at one of the most famous stadiums in the world. They have more than proved that they are one of the biggest bands of the millennium. I already need them to come back over here with another tour, and some more new music wouldn’t be too much to ask for too, right…? Holy shit. Long live the Black Parade, and long live My Chemical Romance.

Interviews & Features

Chevy Beaulieu: ‘I’m really excited for everyone to hear it!’

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We chatted to the wonderful Chevy Beaulieu the other week about his brand new album, the scene at home in Canada and his plans for the future. Check it out below!

The album is out soon [at time of recording]. Are you planning on releasing any more singles beforehand?

No, what I have out right now is what I got out. I got “Forget a Goodbye” and “Alcohol You”. And then, other than that, no, we’re just going to keep pushing and promoting and pushing forward for the record next month!

The singles seem to be going down really well from what I’ve seen, too!

Oh yeah, no, it’s nice! It was part of the plan, to flood everybody with my music!

I feel like you almost have to nowadays with the algorithms and all that.

Well, everybody’s doing that now. Everyone puts out a new song every couple months, which is hard to keep up. Lots of new music, lots of new artists coming out.

Is there a kind of a particular theme or story to the album as a whole, or is it more kind of individual track-based?

It’s mostly individual track-based. The way I… we had it set up, I made it so… I am a little bit of everything, right? So, my music has to correspond to that as well. So I had a little bit of pop country, a little bit of rock, a little bit of the traditional-esque type of stuff. And I’m really excited for everyone to hear it!

What’s the kind of the writing process like for you?

No, I had a rule for this record that I had to have at least 50% written or co-written by me. We’re at that level, we’re at the 50% right now. The rest are pitches, the last couple songs there that we put out. But a good song is a good song, you know!

Coming from the rock world more than the country world, it’s such an interesting thing for me to look at all the writing rounds and pitching songs and all this kind of thing. Because you don’t really have that in rock. It’s really, it’s a cool kind of community it’s found.

Yeah, it’s really interesting. Like you said, comparing rock to country. In country, you can have a whole career singing other people’s songs. Look, look at George Strait. He’s the best example. He knew how to sell it, and knows how to pick good songs!

I read that you came from a kind of musical background and family, right?

Yes, yes. My father; he’s a three-time Canadian fiddle champion. I grew up playing with my family band. They were called the Vanishing Breed Band. My dad still has that band together. They play every once in a while, way up in Northern Canada there.

I assume that’s probably kind of influenced your songwriting as well in some respects.

Yeah, yeah, it influences a lot, especially this new batch of songs I’ve been writing! But we can talk about that part in another date. I’m getting ahead of myself!

To be fair I was going to ask if there was more writing going on already!

Yeah, I wrote about 20 songs on my own, solid songs. And I’m really excited for people to hear it. I might… maybe I’ll start this fall!

Do you have a favorite track or two from the album?

There’s a song on there called called ‘Hell If I Know’. It’s being released on the day the album comes out. I wrote that song with my one of my good buddies Walker Tompkins out of Fort St. John, BC. That’s more of a rock-y one, more heavy.

Have you got a busy rest of the year planned touring to support the album?

As of right now, only have the, the few dates. I got Country Thunder next week, on the 26th, which is exciting, that’s going to probably be one of the bigger stages I’ve ever played. And I get to share the stage with some great artists. I’m really excited to share the stage with Nolleene Hoffman, Red Clay Strays… Cameron Whitcomb’s playing.

What’s it like to be a Canadian country artist? Over here, we still very much associate country with the South of the US, but it’s such a big thing out there as well!

Well, we have a lot of different influences. Canada has their own styles going across all the provinces. East Coast, they have more of fiddle-infused music. And out here in Alberta, it’s mostly… they have like Western influences. But all across the board, we’re all individually different. There’s a lot of different country rock groups, traditionalists, pop country acts, all over the country. It’s hard to pinpoint the exact type of sub-genre of country music that Canada is, because we’re all all over the place.

I’ve chatted to a good few Canadian country artists over the years. Most recently I think was Julian Taylor. The fact that he’s transitioned from the rock world into this really rootsy Americana thing kind of shows the variety you can get!

The thing about it there, coming back to your question, cuz there’s so many different artists. You got people like Nolleene Hoffman, for example, more in the traditional folk style music, for what it comes to the songwriting.
Colter Wall, he’s another traditionalist, cowboy singer. And then you get the other people that are more the pop-rock side, like Dallas Smith. But I’m a little bit mixed up of all of it!

I feel like it’s almost easier than ever now to be able to blend a bunch of different styles, as well. Like everyone’s kind of drawing influence from everywhere, which is cool!

What I really appreciate with country radio, Canadian country radio, is that they’re starting to introduce the more traditional side of country music, finally. They’ve always had it in the States. It’s never went away because they have so many people and so many stations, right? So they they have the ability to play that type of music. But now they’re playing it here too. Now we have guys like Jade Eagleson and he’s huge, and he’s a really great traditionalist country music artist.

Have you got any hopes to come to the UK any time soon?

Well, if they ever want me to go play country to country, I’ll do that one! That’d be, that’d be a fun festival. Yeah. I always like seeing the lineup for that one. It keeps getting bigger and bigger!

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