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Reviews

The Mountain Goat: Ian Munsick Knocks it Out of the Park Once Again!

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The American Country-Western singer-songwriter returns with his highly anticipated fourth album this coming Friday. Anyone who’s a regular here at our site knows how huge a fan of the guy we are, and have been already impatiently waiting for this since before it was even announced! I still regularly spin Eagle Feather now, and it was one of my favourite albums of 2025. So, when this came across our emails, we were very excited to be checking it out! Strap yourselves in, ladies and gents, this is a long one!

The title track sets the tone of the album excellently. Some great fiddle playing gives way to Ian’s iconic vocals, the neo-traditional Western vibes ringing awesomely right from the offset. The lyrics are fun too, with Ian proclaiming himself as the titular goat, fitting it perfectly with his character and sound. And, while the chorus stays a little understated, the whole track builds and builds throughout. It’s honestly the perfect way to kick off this mammoth release, however, building the anticipation and the expected sounds and layers in more with each part. And, as a song in its own right, it’s amazing! As you can tell, I already love this release!

Next up is the huge, awesome single, ‘Geronimo’. It was an excellent choice for a single as it certainly has more of a pop edge to it, but still has plenty of his signature Western/Americana sound too! The note he hits for the chorus is insanely impressive and sounds effortless, while the rest of the chorus is naturally catchy as anything! The bridge, while simple, breaks things up excellently with some great fiddle work and vocals, too. And, not only that, but we get the same for the outro, and it slowly dropping out was amazing! It was a great choice to put it this early on in the album too, hooking people in with maybe the biggest track on the release so far. Another excellent song, and one that I’ve loved since it dropped. It was an easy choice for the playlist!

The pace slows down for the first ballad-like track of the release, ‘My Montana’. It’s a perfectly timed change of vibe, and still sounds exactly as you’d expect from an Ian Munsick track. It’s still a catchy-as-anything chorus, one that will be stuck in my head for days to come. I also love the harmonies, be it the subtle ones through the chorus or the more clear ones on the second verse. The bridge is another fun one with some excellent instrumentation, alongside a great few vocal lines from Ian. The track as a whole is great, a bittersweet yet upbeat song that is surely going to be a big fan favourite when the album drops!

After a brief piano interlude, ‘Made Me a Man’ comes in and dials up the folky vibes to a 10. It’s a steady, stripped-back track built around Ian’s vocals and guitar, but the other instrumentation compliments it perfectly! The chorus is on a similar level to the rest of the track but still catchy and feels a lot bigger than it is. The structure is simple but so very effective, and it all adds so much emotion to the lyrics. It’s a truly beautiful song, another big high point of the release!

Some awesome Spanish guitar opens ‘Blue Roan’, reminding me instantly of ‘God Bless the West’, one of my favourite tracks off his last album. It’s a perfectly sets a great tone for the song, and is a complete change of pace again from what we’ve had on the album so far. I love it staying stripped back, the great guitaring and electric drum beat providing the perfect backdrop for the vocals at first. The chorus is once again on the same level as the rest, which I did find a little odd as I hoped that it would hit bigger. However, much like with the opener, the track feels like it builds steadily for its first couple of minutes, and certainly earns that huge explosion of guitars and acoustic drums. It shifts the whole dynamic of the track for a moment, and the ups and downs throughout from it are truly amazing. The solo and bridge parts honestly have a Stairway level of epicness to them, only adding even more awesomeness to things! Honestly, I can’t get enough of this song. It’s Southern/Americana rock at its very best, and may be not just an album, but a career highlight track for Mr Munsick. I cannot recommend this song enough!

Next up are a couple more singles. We are very familiar with ‘Love is Blind’ these days, being obsessed with it since it dropped and have thrown it plenty of praise over the months! It was an excellent early single, and hasn’t left my rotation since it dropped. Then you have ‘Medicine Man’, a slightly slower, simpler track than the former, but is no less great and catchy! The chorus is awesome, designed to be played to huge festival crowds around the world, and the instrumentation is another grandiose, amazing arrangement. Both are phenomenal songs in their own right, and fit the tone of the album excellently!

Another single, ‘Cutthroat World’, picks up the pace into a more lighthearted, rockier territory. It feels like a modern radio country-rock song, but very much still done in Ian’s signature style. The chorus is very Southern and Western, fitting his usual sound despite the verses giving off more of a FGL vibe. Somehow, the two parts and styles fit excellently together, like this is a completely normal thing that Ian is doing, and not something crazy and breaking new ground in the best way. It’s Munsick’s take on a stadium country song, and is completely excellent. Even the riffing is a lot of fun! What would you know, another huge highlight!

Another short interlude, and another big single in ‘Palomino Eyes’. The Spanish vibes return with that opening guitaring, and once again Ian’s vocals fit perfectly over the top. It’s another relatively stripped-back song, reminding me a little of ‘Blue Roan’ in that it builds a lot through its first third or so. However, it is still beautiful throughout, and just makes the song even more awesome when it gets into its higher gears. The harmonies and some of Ian’s higher notes are incredible, and the guitars and strings fill out underneath it perfectly. It was a good choice for a single again, that’s for sure, but with an album of this hugely high quality, it may be one that gets left to the wayside a little.

‘Earn Your Spurs’ is the most Western track on the album, and is a lot of fun! It’s pretty up-beat for the album and has a poppier vibe to it, but is a fantastic song in its own right! Honestly, to the point where I’m shocked this wasn’t a pre-release single, too! Everything from the instruments to the hugely catchy chorus to the little extra touches on the production and writing side of things, it’s all SO GOOD. It’s yet another song that I think I’m a little obsessed with coming out of this, and is another massive highlight for me!

Another fun interlude (though I have to say none are quite as great as those from Eagle Feather), single ‘World War III’ is another stripped-back, grandiose Western-Americana track. Again, I can’t help but marvel at the incredible production and little touches throughout, all making the song sound so massive, and makes me incredibly curious to hear if it is pulled off live. The chorus is still pretty damn catchy, and once again Ian’s vocal range and power is a high point of it. It feels redundant at this point to say the song is good, but it truly is. It’s crazy that Ian is still firing on all cylinders this late into a longer album, honestly!

And finally, we have reached the closer, ‘Winter in Wyoming’. Part of me was shocked that he went with another more up-beat, rockier Western number over an epic ballad, but it’s still a good song, and ties a bow around the album perfectly. It’s a fun, catchy song that has elements of everything that preceded it, as well as being a single-worthy chorus just like the rest! Despite it being an ‘album track’ and the closer at that, it is still worth listening to, and I’d recommend it to anyone! An amazing song to close out an amazing album!

Overall: Once again, Ian Munsick puts out an absolutely amazing album! I was already won over by the singles, but every single album track also knocks it straight out of the park. There’s no one that sounds or makes music quite like Ian, and his winning formula once again paid off here. My only slight note is that the album doesn’t quite feel like it flows as well as Eagle Feather, though that might have been because I enjoyed its interludes more, as I said already. But the album as a whole, is still absolutely phenomenal. It’s an absolute must for any country fan, and don’t be surprised to see it once again high on our albums of the year list come December!

The Score: 9/10

Reviews

Monsters We Made: Kris Barras Band’s Best Album Yet?

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The incredible blues/hard rock guitarist and frontman Kris Barras dropped his highly anticipated sixth studio album today! With singles promising a bit of a departure from 2024’s wildly successful Halo Effect, it seems like it is a combination of a lot of Kris and the bands sounds up to this point. Will it prove to be as big of a hit as their last record? I’m certainly curious, so let’s dive in and find out!

The title track opens things up in spectacular fashion. It’s a massive radio-style right off the bat, making it an excellent choice for a single. It’s a massive, arena-filling chorus surrounded by some awesome blues riffing. It almost has elements of Shinedown in some of Kris’ vocal lines and riffing, but also has a pretty noodly solo that feels like it goes back to his roots somewhat. It really combines elements and styles of everything that has come before for the band, and is an excellent way to kick things off! An easy early highlight!

Another heavy blues riff kicks off single ‘Beautiful Lie’, giving off immediate Alter Bridge vibes in the best ways. It all builds up towards another huge chorus, one that will surely be stuck in my head for days to come! And we get another awesome solo from the man himself tucked away in the middle. It’s technical yet full of feeling, and fits the track to perfection. It follows on from the opener perfectly and was another excellent choice for a single. It’s a simple yet incredibly effective track, and one that easily makes our playlist!

‘Riot of One’ opens on some catchy as anything vocals, the heavy riff breaking them up awesomely. The verses are massive enough as it is, but the chorus is somehow even bigger. The track has a real swagger to it, fitting the lyrics and theme excellently. It’s a fight song through and through, and if there was any justice it’s be used in UFC or WWE. It’s another really awesome song that feels like the closest feeling to his previous two albums. Having said that, it still fits in with the other songs well, the whole album having its own vibe and a real culmination of everything he’s produced so far. The outro being a ripping solo was also a masterful choice. This may be one of my favourite tracks from him so far, it really is that good!

The pace slows down for the first of the ballad tracks of the album, ‘Unspoken’. It opens on Kris’ powerful vocals over the top of an acoustic guitar, but soon builds the distortion in heading into an expectedly huge chorus. It definitely keeps the slower, more grandiose vibe to it though, breaking up the pace of the album effectively. The soloing was a huge high point of the track, channeling so much emotion through the playing and it all fitting the tone perfectly. However, the vocals are also absolutely amazing. It’s one of Kris’ best performances on the album, and the harmonies on the chorus are phenomenal. Somehow, the album is four for four on amazing songs so far!

Tracks like ‘All Falls Down’, ‘Alive’ and ‘Rewind’ are more balls to the wall hard rock stompers. All are packed full of awesome riffs and catchy vocal melodies, as well as some amazing soloing from Mr Barras. All are excellent tracks in their own right, with the latter being another personal favourite of mine from the release. And, once again, they all fit the tone of the album to a T, the whole thing being crafted and produced so well!

Meanwhile, songs like ‘Otherside’ and ‘Fake’, while still rocky, have a bit of a slower pace to them. Their verses are stripped-back a touch and they certainly feel rather anthemic. They almost have a bit of a Shinedown vibe to them, which is a lot of fun! Both are two more great tracks, and two more that I have become a little obsessed with since I first heard them. I honestly couldn’t tell you which is better either, as they are both excellent, so do yourselves a favour and check out both! They definitely feel a little closer to his Light it Up days as opposed to Halo Effect, but it once again shows just how versatile he is as an artist!

‘End of Me’ is another excellent track that really feels like it somehow pulls together every sound from the album so far. It’s got a swaggering heaviness to its riffs, while still having a bit of a plodding pace and a chorus designed to be played to huge festival crowds around the globe. And, it’s got maybe the best solo on the album too, so packed full of emotion and technicality. It’s an absolutely incredible song, and I do feel like another career highlight for Kris, honestly. It’s a real earworm, and is going to be tough to get out of my head, that’s for sure!

Closer ‘Levitate’ is one hell of a way to end things! It has possibly the heaviest riff on the album, and a pretty great, catchy both verse and chorus! It’s another great song in its own right, and really ends the release with a bang! What a song!

Overall: This is a really awesome album! It’s banger after banger from start to finish, and at just 40 minutes goes by in a flash, not at all overstaying it’s welcome. I’ve been a fan of his for nearly a decade now, and this may be the most I’ve enjoyed one of his albums from front to back. As I’ve already said, it’s got some career highlight tracks on it, while there isn’t a dud in sight! If you are at all a fan of rock music, I cannot recommend this album enough!

The Score: 9/10

Features, Reviews

New Music: The Lost Releases II

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We’re back with another one of these! Sadly, we are only human, and we can’t quite get to every single album and EP each week it release. However, we listen to plenty more, and here is a handful of our very favourites from the ones we haven’t yet written about!

Tokyo Ska Paradise Orchestra: [SKA] SHOWDOWN

A band that I actually didn’t know about until chatting to Suburban Legends a couple of months back, they are quickly becoming a bit of an obsession of mine. Not only am I a big fan of the genre in general, but these guys do it so damn well! Whether it’s the punkier edge that got me into the genre to begin with or the slower, more jazz-leaning end, the band showcase that they are utterly phenomenal at both throughout this entire release. I also love that they alternate between the two styles with each track, keeping it constantly interesting and making nearly 50 minute so insanely interesting. It’s honestly impossible to pick highlights, it’s all so good! It’s impossible to have a bad time listening to this, and I’ve spun it a LOT over the last couple of months. The band are all such talented songwriters and musicians, and how they aren’t global superstars at this point is beyond me. Check this out immediately, no matter what you are into, you won’t be disappointed! Spoiler alert, this is very high on our albums of the year list so far. 9.5/10

Bite Down: Violent Playground

I found this while searching for a band of the same name as the album title, and what a find it was! This is absolute brutality from front to back, and an excellent 23 minutes of hardcore/metal music! Whether it’s the excellent riffs, crazy drumming, amazing screams or truly crushing breakdowns, it’s all written and performed to perfection! Also, at such a short release, it’s truly impossible to pick highlights, each track being as good as the last! Having said that, the tracks that feature guests in Orbit Culture and HÅRD are both spectacular, and utilise the other people so damn well. The band deserve so much more love than they are getting, though have certainly carved out a rabid fanbase for themselves among the underground scene, in large part due to this debut album. If you are into anything on the deathcore or heavier hardcore side of things, do yourselves a favour and give this a listen ASAP. It gets a very easy 9/10 from us, and don’t be surprised to see it high on our top albums list come December!

Morgan Myles: Laced

The much-anticipated second studio album from the rising country star dropped back in Feb, and is another release that has not gotten nearly enough love! I’ve been a little obsessed with it since I first heard it, and have spun it a good few times in full in the last few months. It’s a throwback sound to the 90s and early 2000s country world, and I fell in love right from the opener. From Shania to Reba to Miranda, she wears her inspirations on here sleeve perfectly. Tracks like ‘Love is Lonesome’, ‘Que Sera Serenade’ and the title track are also big highlights, but there really isn’t a bad song on the release! Heck, the vast majority made it onto my personal playlist. Her vocals are amazing, as is her writing. If you are at all into country, this is an absolute must-listen. I’ve not gotten sick of it yet, and feel like I won’t for the rest of the year at this rate! 9/10

Ondt Blod: Bauta

The third album from the Norwegian hardcore punk rockers is every bit as good as their previous two. Longtime readers here would know my complicated relationship with hardcore, but this is the absolute best way to be doing it, honestly. It has elements of crossover thrash, straight up punk, old-school hardcore, and plenty of melody to go with it. It’s also packed full of massive highlights, from ‘AUX’ to ‘Mortal Enemy’, ‘Máddu’ to ‘Flamma’ and everything in between! As is a growing trend with this list, the band deserves so much more love and attention than they are getting, as they really are something special. I’ve spun this a bunch since I first heard it, and it has not once gotten old in that time! Heck, I don’t speak the language but still feel every bit of emotion put into the vocals. It’s yet another incredibly solid 9/10 from us!

Colton Bowlin: Grandpa’s Mill

I’ve seen a LOT of love for this release in the country scene, and rightfully so! It’s old-school country through and through, and Colton has really captured lightning in a bottle across this 41 minutes of music. And, while every song on it is amazing, personal favourites include ‘Don’t Come Home’, ‘Dirty River’, ‘State Lines’ and ‘Set me Free’. Colton’s voice is incredible, and his lyric writing is up there alongside the very best. He’s a classic storyteller and up there alongside the likes of Zach Top and Braxton Keith as the very best of the revival sound. Even if you aren’t typically into the older country sound, this is well worth checking out, it would surely win over even the firmest of skeptics. It feels modernised as well as traditional, and is a very easy 12 tracks to listen to! I’ve spun it a good few times since it dropped, and it’s a solid 8.5/10 from me!

Forcefed Horsehead & Shaving Werewolf: From Horrid to Worse

Collab albums seem to be becoming a rather popular thing these days, and if they’re all this high quality I’m all for it! What is interesting is that the bands take four tracks each instead of all eight being both. However, both bands fit together well, and it has surely worked in shining a light on both individually! It’s certainly not going to be a release for everyone, but if you are a fan of death metal, grindcore or hardcore in general, this is certainly one to check out. It’s only 25 minutes, but an all-out assault through that whole runtime, in the best way possible! ‘The Will of the Many’ and ‘Smoking the Crack of Dawn’ were personal favourites of mine, but none of it is bad by any stretch. The two bands are all insanely talented, and have put out something rather special with this release. A solid 8/10, and definitely my go-to heavy release the last month or two!

Joshua Sinclair: Dirty Dirty

Album six from the country rocker is a fantastic, fun release from start to finish. ‘Black Rose’ had me hooked from first listen, while tracks like ‘Check One Two’, ‘Hank’ and ‘Sundays are for Shots’ are also big personal highlights. As with everything on this list though, there really isn’t a bad song throughout! It’s a real early 2000s sound in the best way possible, and is such an easy listen. I honestly don’t have much else to say about it other than check this out as soon as you can if you are in any way interested! I’ve since gone back and checked out his other stuff and he has a big new fan in me. Hopefully he gets the attention and love he so sorely deserves soon, as he is one of the most overlooked talents in the scene. 8.5/10

Paul Cauthen: Book of Paul

Album six from the old-school country superstar is a fun, awesome 40 minutes of music! His vocals are as amazing as they have always been, and instrumentally it’s as good as any modern classical revivalist. He did a fantastic job picking the singles, as both ‘Texas Swagger’ and ‘Dark Horse’ are big highlights, but both tracks features, both Jake Worthington and Delaney Ramsdell, are also excellent! If you like an older sound as opposed to the modern radio sound country has, this is very much an album you need to hear immediately! It’s just a lot of fun, and goes by in a flash. A very easy 8/10, and an album I’ve spun a lot since its release.

Kröwnn: Santa Somnia

This is an awesome metal album, and a welcome return after six years from the doomy quartet. From ‘You Died’ to ‘Skullknight’ to ‘Permadeath’, this is packed to the brim with awesome tracks. However, there really isn’t a bad song throughout, and it flows together perfectly, like any good doom album should! It’s an absolute must for anyone into the genre, and has been on regular rotation for me since it dropped back in February. They deserve so much love in the scene, and hopefully this release helps them build that up, as I’d love to see them make it out to the UK for a show or two at some point! The band are all insanely talented, and have crafted something truly awesome with this album. 8.5/10

The Imaginary Band: Self-Titled

Some more country/folk/Americana and, as I’m sure you’re aware given the purpose of this article, another excellent release! And, it’s yet another band that are criminally underrated, and this album hasn’t had nearly enough love since its release at the end of March. Andrew Christopher and co are all hugely talented, and have crafted a great, chilled-out half-hour with this release. From ‘If You Only Knew’ to ‘Smoke Song’ to ‘Polka Hands’, there is plenty to love, and there really isn’t a bad song throughout! If you are at all interested from my words give this one a listen, you’re bound to enjoy it as much as I do! A very solid 7.5/10 from us, and a release that I’ll certainly be spinning plenty more still through the summer!

Black Veil Brides: VINDICATE

How we missed this back in May I don’t know. While I’ve never been the biggest fan of the band generally, there was no denying their huge popularity when I was a teenager, and I did enjoy their big tracks despite the cheesiness. And, their recent lean into their old heavier side has served them well the last few years. The same can be said for this album! The opener/title track SLAPS, as does single ‘Hallelujah’ and ‘Woe & Pain’. Then you have ‘Alive’ that goes harder than arguably anything they’ve done before, and they even convinced Robb Flynn to be on ‘Revenger’, and it’s pretty sick! There are times where it goes a little too cheese for me, but for the most part the album as a whole is excellent, the best they have put out in a VERY long time. The band have blended the 2000s and modern metalcore styles together perfectly, and the result is a lot of fun. 8.5/10, awesome stuff!

Elles Bailey: Can’t Take My Story Away

The fifth album from the modern blues superstar is every bit as good as her last two! The title track is excellent, and opens the release in spectacular fashion. Then you have songs like singles ‘Better Days’ and ‘Take a Step Back’, and ‘Angel’ that are all equally amazing. The whole album slaps though, spanning up-tempo blues/jazz rock and slower ballads perfectly, all providing an excellent backdrop for Ellles’ effortlessly powerful vocals. It’s an incredibly easy listen, and 46 minutes goes by in a flash. This is another album that I’d recommend to absolutely anyone, and I can’t give it any less than 8/10. It’s been a regular revisit for me for the whole year, and I’m sure it will be the same for you!

Sticks N’ Stones: Diggin’ For Daylight

The sophomore album from the Canadian brothers comes just a year after their debut, and packs one hell of a punch! The band are a fantastic blend of classic rock and modern metallic metal, and it makes for an awesome 35 minutes of amazing riffs and catchy melodies. Hell, we even get the odd great growl throughout, fitting the sound surprisingly excellently! It reminds me of everything from Alter Bridge to Mammoth to Florence Black in the best ways. From ‘Saviour’ to ‘Feel Again’ to the truly epic ‘Last Goodbye’, it’s packed full of highlights, but every song is amazing in its own right! The band are already gathering some amazing momentum, and have a massively bright future ahead of them if they keep putting out music of this quality! It is right up my street, and the band have a huge new fan in me from this release! 9.5/10, and I’ve already gone back and listened to their equally awesome debut!

Archspire: Too Fast to Die

I have seen that this is already a lot of peoples album of the year in the heavier circles of metal. And, honestly, it’s hard to argue with that. This is 40 minutes of technical, brutal death metal performed by some of the very best in the genre. The sheer pace that Oliver Rae Aleron Peters can scream at is second to none, and is a phenomenal talent in of itself. However, the other four members kill it just as much at their respective instrument. The whole album is beautiful chaos from start to finish, but personal favourites include ‘Red Goliath’ and ‘Limb of Leviticus’. If you are into the heavier end of metal, this is absolutely an album for you, and it may be my favourite the band have ever point out at this point. It has been on regular rotation for me since April, and I can’t give it any less than 9/10!

Angine De Poitrine: Vol.II

I feel like I can’t go without talking about the breakout band of the year finally, can I? These guys are suddenly massive and everywhere, which is insane given that it is instrumental, technical prog/jazz rock. Still, they have clearly captured lightening in a bottle, sitting at nearly one million monthly listeners on Spotify alone, some four months after this album dropped. So, we’ll get the obvious out the way immediately: holy crap are the duo talented! From the playing to the arrangement, it’s all phenomenal. And, while I didn’t really ‘get’ it at first, after a couple of listens it is certainly growing on me. Don’t get me wrong, it can certainly get repetitive at times, especially when it’s six songs, each based around the same sort of riffing, spread across 36 minutes. But, the pair are so talented it almost makes up for all of that! It’s impossible to pick specific highlights as it’s all like one big piece, so if you are interested, certainly give this a full spin! 8/10 for now, and it may continue to grow on me more with more listens!

M.ILL.ION: Legend

The latest album from the Swedish melodic hard rock band follows up 2021’s Back on Track perfectly. It’s a grandiose 37 minutes of amazing riffs and catchy, arena-filling vocal lines. Right from opener ‘Kingmaker’ I was hooked, and through highlights ‘Bad Lovin’’ and ‘Private Dancer’ to the epic closer, it’s a real tour de force of modern AOR. If anyone is into that 80s style that the band started in, this is absolutely the release for you, and it shows that the band haven’t lost a step in their nearly four-decade careers. I’ve listened to this a few times since I got told about it, and it hasn’t once gotten tired since. A very solid 8/10 from us!

Dust: Thoughts of a Falling Man

This is the second album from the Italian metalcore/melodeath band, and honestly feels like the second coming of Trivium. This album reminds me a LOT of Ascendency in all the best ways, and I honestly haven’t been able to get enough of it the last four months. ‘Before You Awaken’ is the perfect opener, setting the tone for the rest of the album excellently, but honestly every song that follows it is just as good! The whole thing is packed full of incredible riffs, solid drumming and some surprisingly catchy vocals for them being so harsh. It’s almost criminal that this didn’t get the love it deserves when it dropped, so I can only ask that if you are at all interested, give this a spin, you’re sure to love it as much as I do! I can’t give this any less than a 9/10, and already can’t wait to hear where they go from here!

Vanderlust: The Human Farm

This is an incredible, proggy metal release. Nestled somewhere between Dream Theater and Tool, the album takes the listener on a phenomenal journey through its whole 47 minute runtime, and hits plenty of awesome musical beats along the way! Tracks like ‘The Turning Point’, ‘Battlefield’ and ‘Reborn… Again’ are personal highlights, but the whole album is great. It flows perfectly, and the concept and story behind it is really excellent. We don’t get enough releases like this these days, it channeling both Mindcrime and The Metal Opera in its sound and execution. If any of that sounds like your sort of thing, give this thing a spin, you will surely love it! And it is another that is absolutely worth listening to from front-to-back, not that that should really require saying! A solid 8/10 again from us!

Reviews

Scared of Heights: Wyatt Flores’ Massive Sophomore Album!

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Neo-traditional country young megastar Wyatt Flores is set to release his band new second album tomorrow. If you weren’t aware, we’re HUGE fans of the guy already, so when this came across our emails, there was no way we weren’t diving head first into a full review. From his incredible voice to his amazing lyrics to the instrumentation, he is one of the best country/Americana artists around today, and at just 24 he has one hell of a career in front of him already. So, let’s see what his sophomore album has to offer!

The album starts on a huge high with ‘Hate Myself’. It is Wyatt through and through, and I’m shocked it wasn’t a pre-release single, honestly! A low, acoustic-based verse builds perfectly into a massive, arena-filling chorus. It’s catchy as anything, but the emotional vulnerable lyrics are honestly the biggest highlight for me. This sort of style and scene is so good at lyrics currently, with Evan Honer being another great example, but Wyatt is up there at the very forefront for me of lyricists. And not to mention his vocals are absolutely incredible, especially for his young age. The structure of the track itself is a little simple, but works perfectly as an opening song, and highlights everything excellent about the musician!

‘Sober for a Month’ slows things down a touch, but keeps the same emotion-filled vibe. It’s stripped back, focusing mainly on Wyatts guitar and vocals, but it if anything adds even more impact to every vocal line. And the other instrumentation, from the driving bass drum to the subtle fiddle to the other strings, really adds so much depth behind the man. Again, it’s wonderfully written; Wyatt being an excellent storyteller here and showing off his vulnerability excellently. It’s a simple track that may have been a little risky putting so early in the album, but Flores pulled it off with ease. Another huge early highlight!

The first of the singles, ‘Drive all Night’, has a bit of a bluesy, swaggering energy to it, and was definitely a good call as a pre-release! It honestly reminds me a bit of Jon Pardi, that sort of neo-traditional country, and is another truly excellent chorus. The instrumentation was a big plus with this track too, the fiddle coming in behind the second and third choruses being awesome. It adds even more depth and catchiness to a song already full of both. It’s another short, sweet and simple arrangement, in-and-out in less than three minutes, but for what it is it’s perfect. Heck, I couldn’t think of much to add other than some big solo in the middle or the outro. And that little break in the instrumentation in the final chorus… DAMN. Three for three on excellent songs, and one that easily makes our playlist!

‘Not Good Enough’ picks up the Southern rock vibes from the jump, an awesome riff kicking things off. It was an excellent change of pace yet again, the album constantly keeping my attention so far. It feels like a very 90s/early 2000s country track; Darius Rucker in all the best ways. And man if it isn’t maybe one of my favourite choruses he’s ever written. I instantly wanted to see this live the moment I heard it, I hope he’s back in the UK again soon! It’s yet another side of his style that he is so damn good at, and is another track that just begs to be a single. We even get a tasty little guitar solo tucked away in the middle. How he’s managed to compact such a fantastic amount of music into just 140 seconds is beyond me. Banger after banger so far!

The title track is expectedly slower, leaning again back into his old-school country and Americana side. It’s a ballad through and through, once again mainly comprising of Wyatt’s guitaring and vocals. The lyrics are once again amazing and deep, and I love the harmonies in the chorus. As someone who can relate to his insecurities and self-doubt, this track hit home in a huge way. Heck, I had goosebumps by the end! My only slight complaint was the fade-out ending, but that is more personal preference than anything. Anyone who hasn’t already checked this song out, do so ASAP!

Tracks like ‘How to Let me Go’, ‘South Dakota’ and ‘The Way I Do’ are more songs like the opener. They’re exactly what I’d expect from a Wyatt album, and both written and performed masterfully by Flores and his band. ‘South Dakota’ in particular is another personal favourite of mine, having a bit of a chilled vibe, almost having a tinge of Buffett-beachness. Having said that, the greater focus on the latter was also great! And, what’s more, none feel like album tracks, all being excellent and memorable in their own ways. In case you haven’t realised by now, this album really is firing on all cylinders from start to finish!

The other two singles, ‘Half the Man’ and ‘Running on E’, are more on the slower side, but both have some of the best lyrics Flores has ever put to track. The former brought a tear to my eye, not only highlighting his insecurities again but the struggles of being a touring musician. Meanwhile the latter is more of a jaded, bittersweet love song. They approach similar sentiments in wildly different ways, but both do so incredibly successfully, as well as being awesome in their own right. Both, yet again, were very good choices for singles too, having a radio vibe to them and really highlighting the very best aspects of the album as a whole. I’ve listened to them both a lot since they dropped, and somehow haven’t gotten sick of either yet!

‘Sleepless Lullaby’, ‘God Forgives’ and the closing track are all slower, ballad-tracks. Much like with the singles though, they approach the style in their own unique way. The former is a dark, Southern rocker. ‘God Forgives’ is a bit more of a modern radio-country track. Meanwhile ‘Tulsa and Eleanor’ is a stripped-back, simple acoustic track. All play their parts perfectly, and are broken up enough by the other tracks around them that each has plenty of impact and isn’t at all boring. The former is another massive album highlight for me, and while the other two aren’t quite as memorable tracks as the rest of the album, they are still damn good songs in their own right. And, honestly, this is one of the few times where I fully love it closing on a slower song; it fit the tone and vibe excellently. Damn, I’m a little obsessed!

Overall: Goddamn, this is one hell of an album! From front to back, it is excellent; all killer, no filler. Being a fan of all of his previous work, this is at least up there, if not his best work to date. If you are at all a fan of Wyatt or country music in general, this album is an absolute must-listen. I’m going to be spinning this a lot in the weeks and months to come, and don’t be surprised to see it very high on our top albums list come December! To no surprise, it gets another huge score from me!

The Score: 9.5/10

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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

Features, Reviews

A Thousand Horses and Jacquline Rock The Bodega!

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A band that I have wanted to see since they first broke into the country scene a decade ago now, A Thousand Horses have really reinvented themselves the last few years in a major way. Being fully independent now, the band have been creating a huge buzz, as well as putting out one of the best albums of the year so far. So, when they announced this tour, there was no way we weren’t heading down, especially at one of our favourite venues! And, not only that, but they also had an awesome support band. So, let’s dive into everything that happened that evening!

Though they are a Nottingham-based band, I’d somehow not heard of Jacqueline before now. However, they instantly have a big new fan in me! Firstly, her and her band are all such talented players and songwriters, their unique brand of folk-rock sounding fantastic in a live setting. Her vocals are powerful and so interesting, giving off vibes of Alanis Morissette or Dolores O’Riodan in her delivery. She is also a fantastic frontwoman, holding the crowds attention throughout and being an excellent storyteller through both her lyrics and between tracks. And as I said, the band behind her played their asses off through the whole set, fitting her vibe perfectly. Only having one EP out, 2025’s Still Running, meant that we got the lot and then some! Their setlist had a great flow to it, and it’s had me listening to them on track much of this week. I already want more music from the band, and am also desperate to see them live again!

After a short break, the headliners took to the stage! As I’d said, I’d been wanting to see them for a while, and safe to say they didn’t disappoint! Right from the fantastic new opener ‘Dead Man Walking’, I was hooked, and not let go through their entire set. It was White Flag Down-heavy in the best way, with each of the other four songs off it being equally incredible. ‘Part of My Story’ and ‘Voices’ seemed to be particular fan favourites already, the place singing along to every word of them and cheering loud at their conclusion. However, that was far from all we got. From the excellent ‘Room Full of Strangers’ and ‘Highway Sound’ of The Outside, to the very best of Southernality, to even a cheeky addition off not only their Bridges EP, but an early track from their repertoire, ‘Suicide Eyes’ from 2011’s Footloose. It was a jam packed set to say the least! Everyone loved their breakout hit, ‘Smoke’, of course, and the one-two-punch of the encore being ‘Drunk Dial’ and ‘Heaven is Close’ was excellent. The only one missing for me was ‘Song to Remember’ but hell, there’s always next time…

As for the performance itself, it was also amazing! The band are incredibly tight, it sounding close to the track while still having room to breathe, like a great rock show should. The band all played their asses off, putting every ounce of energy out there for the packed-out crowd. And, what’s more, they genuinely seemed like they were enjoying themselves up on stage, which is always great to see! Michael’s voice was on top form throughout, and he’s a really great frontman. However, both Bill and Graham were fantastic performers in their own right too, all putting on one hell of a show. They gel so well together, and it’s clear to see they have been doing it for a while, while also still clearly enjoying being up there together. And the other two, who I assume are more session players(?), also killed it. It was a straightforward show, just five guys getting up there and playing some great songs, but it was such a pleasure to watch, and felt like it went by in no time at all! It was loud, and a hell of a lot of fun!

And there you have it, another fantastic night of live music! Both bands killed it and I would recommend seeing either in person if you at all can, as well as spin their stuff if you somehow haven’t heard them on track before. I had a blast and already want to see both bands again. And, with Horses saying they’ll be over here more regularly moving forward and Jacquline being from down the road, there is a very big possibility I can do both soon! The Bodega has also been knocking it out of the park with gigs at the minute, so I’d highly recommend keeping an eye on them if you’re local. What a gig!

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

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.

Reviews

Strike and Kill: How do Devildriver do Following up Dealing with Demons?

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The first new music from the Californian groove metallers since 2023’s conclusion of their Dealing with Demons collection, Devildriver’s 11th album more than lives up to their previous music. I’ve been a fan for a good while now, and am always excited to hear new music from Dez Fafara and co., so when this came across our emails I knew I’d be diving into a full review. From epic riffs to crushing breakdowns to some aggressive but melodic vocals, the band typically do it all to perfection. Strap in, ladies and gents, let’s do this!

Things start off expectedly heavy with ‘Dig Your Own Grave’. Straddling that line between thrash, death and metalcore that the band do so well, the drums and riffing is fast paced right from the jump. Dez’s vocals soon come over the top, fitting the vibe perfectly with his grit and semi-scream. The whole thing feels like the perfect blend of Lamb of God and Machine Head, and I love every second! And the chorus, while still heavy, is pretty damn catchy in a way that only Devildriver seem to be able to pull off. And my god, all the guitar solos and lead lines throughout… *chefs kiss*. The bridge builds perfectly into a brutal breakdown, one that fits the track perfectly and showcases the bands groovy nature alongside their faster side. The whole track sets the tone for the rest of the album excellently, and is a huge early highlight!

‘Dead in the Water’ picks up right where the previous track left off; an epic intro falling away into a massive, Blastbeat-filled riff. The pace keeps up through the verse and bridge, once again leading to a heavy but surprisingly bouncy chorus. We also get a blistering guitar solo or three in the middle, packed full of technicality and harmonies. Some may say that it goes on a bit too long but not this writer, I think it fits excellently within the song and is a real showcase of the bands abilities as a whole. It’s another awesome song and one I’d recommend to anyone even vaguely a fan of the band!

A more nu/industrial metal vibe runs through ‘Sanctified in Scars’. The riffing is very much like a Drowning Pool, Static X or even Tetrarch, and the bounce to its rhythm harkens back to the early 2000s in a big way. Having said that, it still feels so very Devildriver in the best way. And Davier Pérez is going just as hard as ever behind that kit, too. Arguably it gets heavier and more chaotic in choruses, the opposite of the previous two songs. Having said that, the backing vocals make it still an incredibly catchy one, and one of my favourite on the album. The bridge doesn’t have much to it but still feels like it fills the gap rather perfectly in a song like this. It’s a breakdown and then some awesome lead lines, and truly adds to the song in a great way. This is another excellent song, and one that easily makes our playlist!

The albums namesake is a bit slower a pace, the heaviness still there but it having more of an epic, Rotting Christ air to it at times . The pace picks back up to Machine Head-esque levels near the minute mark, but the intro was a nice change of pace, and does give the track an overall grandiose nature, especially as it comes back for the choruses. It’s a heavy track that feels like it combines together everything we’ve heard from this album up to this point. It’s fucking awesome! And that half time bit at the end was AMAZING. The band are so far four for four with fantastic songs!

‘In the Moonlight’ starts lower, the distorted vocals over a clean guitar sound being a fun new twist to their sound here. It expected soon explodes into a huge, fast riff, instantly giving off more melodeath vibes than ever before. The grooviness comes back for the pre, the track opening out from its ferocious instrumentation while maintaining its heaviness. However, there are plenty of great melodic moments throughout that stand out against the more all-out-assault style we’ve heard so far. It definitely has a bit more of a European flavour to it. It’s a really interesting, awesome track that I’ve found myself revisiting more on subsequent listens. It’s another huge highlight of the album, that’s for sure, and one where everyone gets their chance to shine.

The following few tracks, ‘Ride or Die’, ‘Headed for the Fall’ and ‘Shut the Silence On’, are more balls to the wall tracks. All are fantastic tracks in their own right, with ‘Headed for the Fall’ being another big album highlight for me. But they all have a similar energy and, on a longer album, it’s hard not to group a few up a little bit! Honestly, it gives off vague vibes of early Parkway as well as the melodeath influences too. Either way, all three songs sound awesome. They are fast and heavy but each chorus is still an earworm! Dez’s vocals are fantastic on each, showing he hasn’t lost a step in the 30 years or so he’s been putting out music, but the rest of the band work their asses off and kill it too. Again, Pérez is an absolute beast behind that kit, and has been through the whole album. If you like the thrashier side of them, these tracks are for you!

The same could be said of music of the rest of the album, honestly. It’s interesting because all the tracks are amazing and I couldn’t cut any of them. However, 13 tracks these days is long, and when a lot of it is similar it does make me wonder if it would have been better served as another two-part album. Still, I am probably in the minority thinking in that way; after all complaining about too much good music is rather insane! Maybe it’s just the fast pace of the world these days, but it makes me slightly less likely to revisit the album in full as much if it’s long and similar. But as I said, ‘You’re Just a Ghost’, ‘Oath of Iron’ and ‘All Bets are Off’ are all fantastic tracks in their own right, and fit in with the rest of the album perfectly.

The exception to this ‘Summoning Shadows’. nestled away in the back third of the album, it’s very much the ballad, and changes the pace exceptionally well for its three minute runtime. Focusing around an acoustic guitar and Dez’s distorted vocals, it’s surprisingly beautiful, especially with the uplifting lyrics. Everything around these elements only add to the epic soundscape too; the depth on display on the track is superb. And it means that when the distorted guitars and drums come in in the latter half, it feels earned and hugely impactful. I always love it when Devildriver slow things down a bit, and this is another great example of that. Another huge highlight track on an album rather full of them!

Overall: This is another awesome release from one of the most underrated bands in metal. It’s packed full of amazing songs, with some up there among the very best the band have produced. The band all get a chance to shine plenty throughout, with both the playing and writing showcased being off the charts! I have already outlined my very minor gripes with the release, but in the grand scheme of things it barely makes a debt in the greatness that is Strike and Kill. If you are at all into the band or their general genres, this is well worth checking out! No one does it quite like Devildriver, and it’s a release that I will certainly be listening to most of a fair bit moving forward!

The Score: 8.5/10

Reviews

Night Is Calling: Dominum Return with their Massive Third Album!

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Here we go, guys. One of my favourite bands currently and one of my most anticipated albums of the year, there was no way I wasn’t diving head first into this when it came across my emails. For those of you who don’t know, we loved their last couple of albums. Like a lot! They are one of the most promising bands in the heavy/power metal scene today, and have worked their asses off to get every opportunity they’ve gotten. The singles so far have been awesome, and I can’t wait to see what Dr Dead and his zombies have in store for us this time!

Opening on the one-two punch of their first two singles from this cycle, the album goes hard right from the jump! Now, I’ve already gushed over both tracks plenty in our reaction video to them, but I’d happily do it again! ‘The Circus is in Town’ is chaotic, heavy brilliance, and exactly what you’d expect as a fan of the band. However, that breakdown did take me by surprise, and is EXCELLENT. Meanwhile ‘Doctor Doctor’, while a little lighter and more AOR-based, is an awesome track in its own right, and that chorus has been stick in my head since I first heard it! Both are fantastic tracks in their own right, and up there alongside the very best of the bands previous output.

The first album track of the release, ‘Children of the Night’ is another grandiose, heavy power metal track, full of awesome riffing and catchy vocal melodies. The dynamics of the track are fantastic, dropping down for the first part of the verse, building more and more into that expectedly awesome, massive chorus. Dr Dead once again proves that he is one of the most underrated vocalists and writers in the game today, him certainly being a highlight of the track. However, the rest of the band kill it too, working their asses off throughout. All the backing vocals and harmonies only add to the hugeness of the vocals, making so very catchy. And we get a fantastic guitar solo tucked away in the middle of this, technical but also packed full of emotion, fitting the track perfectly. It’s bound to be a big crowd favourite live, and is yet another huge early album highlight!

The theatrics return for ‘Nosferatu’, that riff and melody being incredibly circus/folky in the best way. It follows a similar structure and formula as the previous tracks, but is done in such a fantastic way that it’s impossible not to get hooked in. It’s heavier generally than the previous couple of tracks, very much reminding me of the likes of Hammerfall and Dream Evil. The chorus isn’t as massive, but the whole song, from verse to bridge, is full of hooks. The ‘lie lie’ bit in the middle is excellent, and I love the growl at the end of the first chorus. It’s folk metal in a really fantastic way, and yet still feels like a song only Dominum could really make.

The other two singles from the album, ‘Dark Melodies’ and the title track, were excellent choices for pre-release songs. The former slows things down, it still having the heaviness and distortion but is also piano-led. It’s a beautiful track that once again highlights Dead’s vocal range perfectly. The writing of the track is incredible too, the instrumentation fitting the tone and themes to a T. The piano and vocal parts are perfect, and it explodes into another infectiously catchy chorus. It’s a truly excellent song and one that easily makes our playlist. Then, the latest single, features the amazing Battle Beast, and is another fantastic track. It brings the heaviness back, it being a typical Dominum track in the best way. Marina’s vocals are phenomenal on the song too and fit perfectly alongside Dead’s. Their harmonies are amazing, and it only makes the chorus even more massive. It’s a typical radio formula, but a fantastic power/symphonic metal track, and another that is well worth checking out!

Back to the album tracks, songs like ‘Jack the Ripper’ , ‘Devil’s Son’ and ‘I Don’t Drink Wine’ are more typical Dominum tracks. That is no way a bad thing; simply that they are exactly what I’d expect from this album and the band. It’s all heavy instrumentation and massive, catchy choruses with so much amazing harmonising. The latter is a particular favourite of mine, even if all are a little more “album track”-like than the previous songs. All are great in their own right though, fitting in with the rest of the album perfectly!

The now obligatory cover song for a Dominum album this time went to the MJ classic ‘Thriller’. As usual, they put their own heavy metal spin on the track, it fitting the tone of the album perfectly. And, thematically, it fits the band and their story perfectly, too! It’s a fantastic song to begin with, and this is just as enjoyable a version of it, honestly! The mix in particular on this track is amazing, it sounding huge and everything getting it’s time to shine and being so clear. It’s a really great addition to the album, and putting it this late in the album breaks things up perfectly.

‘Endzeit’ closes the album rather fittingly. Not only is it thematically a great finale, but it also draws together elements of just about every other track that came before it. A low intro into a massive, stomping folk-metal riff. The huge, uplifting chorus designed to play to huge festival crowds around the world. An awesome (albeit shortish) guitar solo. An epic, grandiose feel throughout, especially by the end. It’s excellent, and draws the album to a conclusion in the best way possible. Oh, and it’s a great song in its own right! It’s another huge highlight on an album honestly full of them!

We also get a couple of cheeky bonus tracks tucked away at the end; an acoustic version of two of their hits off their last two albums. Both ‘Don’t Get Bitten by the Wrong Ones’ and ‘Hey Living People’ fit somehow just as bad in this arrangement as they do with a full electric band, and it adds another, more sombre feel to both songs. Once again, Dr Dead’s vocals are the focal point, and the range and emotion on display through the songs from him honestly blew me away. If you like the previous two albums, give these a listen, they really frame both songs in an excellent new light. And goddamn, the size of those vocals on ‘Hey Living People’… *chefs kiss*.

Overall: How is it possible that this band just keeps getting better? Y’all know I’m a huge fan of their last two albums, but this somehow feels like a leap forward yet again; taking the very best parts of those two releases and moulding them together perfectly. It’s a huge release from start to finish, there being so many phenomenal tracks on here that stand out among the very top of their repertoire. Hell, there truly isn’t a bad song throughout. And, just to gush over it again, the production throughout is absolutely stellar. It’s no surprise the band are becoming as massive as they are; their talent and hard work is more than paying off, and their music really does speak for itself. Check this out, no matter what you are into, I’m sure you’ll love it as much as I do!

The Score: 9.5/10