KATEE KROSS – Show Your Hand

Katee Kross is undoubtedly one of the most prolific and hardest grafting musicians in Scotland at the moment, with a trio of albums, countless gigs and a regular web series to her name, among a multitude of other things, and now she is set to release what has to be her most anticipated work to date – Show Your Hand.

If you’re not immediately hooked in by the opening titular lead single, then you might just have a brain cell or two loose, for this is a dazzling, stimulating track just full of life and everything clearly thrown into it, making for something unforgettable and easily Katee’s most perfect song to date.

In contrast, Two Outlaws is a very pleasant, easy-going piece that bobs along at a sleek comfortable pace, and Diamonds In The Dust has a notable beat to it, plus Ross’ work on the electric guitar is seriously slick.

Dancing With My Past is a definitive highlight of the record, where Katee is at the top of her game on the singing front, her voice beautiful and crisp, and the lyrics making the impact that they should. Bumblebee is enjoyably melodic, while Still The People Talk is another catchy, fired up addition.

The writing continues to hold attention throughout the piano-driven Please Stay and the smooth Never Meant To Be Forever, the energy is running on all cylinders through the rollicking What Will Be and only escalating further into the outstanding final number Keep On Keepin’ On.

Given all her past material, expectations were high here, but Katee has exceeded beyond notions with an album that is simply magnificent, with every song clicking in one way or another and exposing the Bishopbriggs native’s pure talents to a broad extent.

I’ve toyed with the idea over the last couple of years, but after listening to Show Your Hand, Katee Kross is now without a doubt in my mind the brightest, most promising prospect that the Scottish country scene has to offer, and she has truly earned the right to achieve greater things.




There are few acts who have made a greater impact in the Norwegian punk field than The Good The Bad And The Zugly, and their list of achievements has only been expanded with the release of their fourth album – Algorithm & Blues – and if this isn’t a bona fide validation of the earlier statement, then I couldn’t tell you what is.

Commencing with the most Thunderstruck sounding of intros, Welcome To The Great Indoors is a phenomenal banger that wastes little time in delivering all the stacked goods in one fresh combo.

But that is only just the beginning, as they afterwards dive headfirst into Fake Noose, short, sharp and featuring both hefty vocals and an outstanding chorus, and that fierce energy continues to be carried over into Staying With The Trouble.

The on-surface inspirational interlude Follow Your Dreams quickly flips over into the amusingly harsh Kings Of Inconvenience, and that bluntness stays fresh through the catchy, riff-tastic (Oxygen) Mask.

F*** Life is another major focal point with it’s awesome, humorous writing and brain-gluing hooks. That also rings true for Corporate Rock, and What Have You Done For Me Lately whacks up the tempo to a berserk pace controlled by the tight rhythm section.

The Kids Are Alt-Right is the best in terms of content, as it takes a sharp look at the uncomfortable reality of the world’s ongoing political turmoil. F*** The Police is about as punk as you could possibly get and it’s a blast, and there’s one last quick breather before the guy wrap things up in exhilarant fashion with Requiem.

Jesus H Christ…if you want the proper fundamental example of how to make the perfect punk rock record, then no look further than this.

Algorithm & Blues is from start to finish a clear-cut, flawless product that swiftly establishes and limitlessly runs off a crazy momentum that gets your pulse racing to uncontrollable levels, and it helps that the performances are superb and the writing is unbelievably good, especially given how it can delve in both comedic and darker tones.

Ratings aren’t my forte, but in this situation, I feel like I need to break tradition and award this the full shebang of five stars. This album has set a considerable standard to be followed in 2020.




QUICHECardboard Sunset

A few years ago, a humble little outfit named Quiche burst onto the Glasgow music scene, and in the short time since their debut, they have swiftly rose up the ranks and established themselves as one of the country’s definitive underground psych-rock acts, and they have totally certified that claim with their recently released new EP – Cardboard Sunset.

Their latest single Dazed makes for a satisfying opener, being quite bright and jazzy and coming through with striking lyrics and a brief but damn sweet overdub-based hook. Grey Matter is even more entertaining, bustling along to a boogieing rhythm complete with a neat mixture of slick basslines, catchy drum beats and the addition of faint claps, plus the vocals are on really great form and the guitars are top notch.

They improve further yet with Silhouette, a sublime number that begins virtually stripped back to not much more than light, radiant keys and magnetic singing, before other elements are thrown in to build it up and it caps off on an astonishingly loaded note.  And then we come to the last of the bunch, Reality’s Not Fun, which also starts off placid and calm, but gradually comes more to life and presents itself as a splendid conclusion highlighted by devilishly cool guitar work.

Quiche have compiled the best of their music in order to produce what is a quick but ultimately impressive dazzler of a record that displays plenty of promise. It certainly gives me hope that this group are en route to a prosperous future, which could very well be achieved if they continue to deliver material of this standard and then some.




Following on from the release of their 2019 full-length debut Never Felt So Good, New Jersey alt-indie rock group The Warhawks seek to keep that momentum alive with their next EP release – Stardust Disco.

Deliver is quite a snappy opener with a semi-punk tone surrounding it, and they keep the pace running hot with the insanely catchy and electric I Can’t Wait, which is topped off by a banging chorus. Dire is similarly supreme, moving along to an addictive, flowing groove and hitting out with memorable lyrics.

A hell of a cool, zippy drum beat racks up the energy levels in Other Side Of Life, and the basslines are more vivid than ever. The sharp guitars are the key factor in Hang Around, and last but certainly not least, the bloody good and intoxicating Don’t Give Up Your Heart finishes things off in storming fashion.

I’m thoroughly impressed with this one. Some hearty, layered and infectious quality content over the span of six strong songs make for an absolutely fantastic result that should not be flying under anyone’s radar.




CHRIS SMALL – Something In The Water

Based in Perth, Scotland, Chris Small has been producing music for the better part of the last decade, and his upcoming latest creation Something In The Water is an ideal introductory platter for newcomers such as myself.

Something In The Water itself begins the record on a very lively, chipper note, particularly with the enthusiasm-infused harmonies and glorious brass section on hand. Time is a total diversion from that though, Chris instead opting to go in a more tranquil, jazzy direction, complete with a silky drum beat and stylish work on the piano.

Roses sticks with that mood, slithering at a chilled pace, enticing with tender guitar and bass chords, and delivering some nice, impressionable writing, and following on from that, Lay With Me makes for a pleasing, easy on the ears track to wrap it up.

A professionally crafted and juicy EP from who is for sure one of the country’s most underappreciated composers.

It would have been nice to see a touch more variety thrown in (more of the same like the titular number, to be specific), but pesky nitpick aside, this is one that deserves plenty of exposure once out on the digital streets of the web.




Chinese Whispers of Clydebank originally came to fruition back in 1984 and eventually breaking up, before reuniting 35 years later through a uni project, and in the process they crafted the full-length album About Time.

King Of The Night is such a vibrant opener that grabs you in an instant, and they only step it up another notch with Breathe, which is insanely addictive. It bobs along to a sweet beat, the tender acoustic chords are a delight and the Phil Collins-esque vocals are utterly superb. They then suddenly go in a radical dance-oriented direction with the title track, and it is a spectacular blast, after which is Rico’s Theme, a top notch instrumental piece.

Never Been A Better Time is defined by great riffs and a tasty hook that is guaranteed to get stuck in your head. The guitars remain a strong element in Midnight Movies, but it’s the glorious synths that steal the show, and while Au Revoir is a bit more straight-forward, the chorus is fantastic.

Take This Heart Of Mine is awfully catchy, Hammer It Home is drenched in this overwhelming 80’s vibe and the riffs are astounding, and lastly is You Can’t Turn Around, a decent one to finish on featuring some of the best writing of the lot as well.

One listen through later, and I have so much regret for having not found out about this group sooner, because About Time is a simply terrific record. I admire that Chinese Whispers stuck with the sound that was hot when they formed all those years ago, but have successfully brought it forward with a modern sensibility.

Admittedly, it does start to wean a little towards the end, but on the whole, especially when clogged together by a lush, high quality production standard, this is an album that deserves far more attention, content like this can’t afford to stay under the radar.




VUKOVIFall Better

After making massive waves with their self-titled debut album back in 2017, Ayrshire rock troupe Vukovi have struggled through a journey complete with trials and tribulations, but they have fought tooth and nail to rise from the ashes, and they are finally back in the limelight with their wildly anticipated follow-up – Fall Better.

Unlike their previous offering, they open with a mounting intro which grows and grows before being used as a launching pad into first real track, the great Violent Minds, which immediately hits it out the park with magnetic lyrical content as well as more synth-based influences built upon their already established sound, and a mammoth drop towards the end is the icing on the cake.

Aura adds an extra dose of power, especially through the shattering drum thumps and Hamish’s aggressive riffs. CLAUDIA is a certified whammy, being breath-takingly dynamic, catchy as hell and a platform for Janine to display her phenomenal vocal talents, and Behave continues to show off the great writing while maintaining that wild pulse from before.

Play With Me is the most favourable candidate for the highlight here, hands down Vukovi’s most thrilling, bloody insane song ever, with a mammoth size, infectious energy, captivating hooks and electrifying guitars defining it, it’s such a blitz that you genuinely feel out of breath by the time the unsettling interlude comes around.

Janine takes full control in All That Candy, at the helm driving the tune with her magnetic drawing power and sucking you in to the powerful themes. I’m Sorry is where things start to freshen up a little, as they finally bring the pace down and we get some properly gushing emotions.

The pairing of Where Are You and White Lies are stronger yet. Janine has never been more genuine than she is here, upholding the raw lyrics perfectly and cementing herself as the gifted performer that many claim her to be, and in conjunction with continuously good rhythms and stellar guitar chords, these two cuts are what push this album to an awesome one, and lastly Run/Hide makes for a solid conclusion to finally bring this to a close.

After the most turbulent series of experiences in the creation of Fall Better, it brings me the highest of joys to say that the final result is spectacular. Across the board, Vukovi have evidently evolved their know-hows on every level imaginable – writing, performances, technicals, the lot – while still retaining at the core what brought them to the dance. It’s such a rollicking blast throughout, but along the way, they spill their guts and leave a meaningful imprint, and the latter surely has to be more important in the long term.

Janine and Hamish are two of the hardest working folks in the Scottish scene, and I’m thoroughly proud of what they have been able to accomplish. The fact that they’ve successfully battled through hell countless times and their efforts have pay off in dividends should be an inspiration to anybody with the same sort of goals and aspirations.

Vukovi are just about ready to take on the world, methinks.




Edinburgh folk-rock maestro John Edge and his merry band came to my attention late last year, and they have kicked off 2020 in laudable fashion with their debut full-length album, Only Fear Dies.

A stunning celtic intro eases us in to the semi-eponymous opener Kings Of Nowhere, and from there we get a beautifully warm number that is pure and investing. They get more of a catchy rhythm involved in Mayans, being curated from the slick guitars and good drum beats, becoming prominently bulkier in the second half, and the chorus is especially nice too.

Forest In My Mind totally sucks you in with the fantastic writing, and it feels like a joke to have not even mentioned John’s vocal work by this point, for it is excellent and really brings the words to life in an empathic way, and those aspects continue to stay constant in Sannyasin.

Emerald City is perhaps the most captivating selection, commencing with pleasant acoustics and elevating in size as it progresses, all the while the lyrics hit a bullseye and the harmonies are insanely great. It Calls is the very reason I came to discover John and company, and an ideal introduction too, being quite a memorable, easy-going piece with a stellar hook.

Four Islands is very lively, and the passion is at an all-time high over the course of All Became Clear, leading up to a hair-raising breaking point. The beginning of Why provides a breather for what preceded it, but eventually that energy comes back full force and the result is an outstanding, guitar-driven belter of a final track.

Talk about making a mighty impression. John Edge has delivered a legitimately special record that is tightly produced, tightly performed, and should be making the case for this gentleman to perhaps soon become a major force in Scottish music, and deservedly so.



NICOL & ELLIOTTMy Heart Will Wait

One of the most notable newcomers to the Scottish americana/country sphere last year, the Glasgow-based partnership Nicol & Elliott finally have an EP to present to the world – My Heart Will Wait.

The title number is a pleasingly melodic way to start, where Rachel really shines with her rich harmonies, plus the bass tones, drum beat and chord plucks are various qualities that make it all the better. The strings are particularly lavish in The Long Way Down, and Andrew gets the opportunity to display his vocal flairs this time around and effectively so in conjunction with Rachel; the pair being a perfect match up in that regard.

So Long Ago is a really splendid, steadier tune where all the pieces click together and the lyrics are excellent, and finally is Letting You Go, the sure highlight with everything stripped back to produce a bewitching track that is just oozing with this spine-chilling atmosphere, and the beautiful singing only helps to considerably elevate that.

The purpose of a debut record is to provide a platform for music acts to showcase to everybody what they are capable of, and Nicol & Elliott have made the most of this opportunity by creating a wonderful EP which proves that they can tackle a variety of different styles in great fashion.

I’m excited for what lies in store in the future for this duo, and you should all be too.




Already a part of the established Fightmilk, Lily Rae from London also runs her own wee solo venture under the guise of Captain Handsome, and her forthcoming debut EP – I am Not An Animal – is certainly worthy of being laid into everyone’s ears.

With the first selection I Wish I Had A Dog, Lily quickly grasps attention with intriguingly quirky lyrics, a simple yet tantalising hook and an overall cool, even slightly odd sound.

Annalise falls into something more traditional, but that’s certainly not a negative, as it shines bright with an engaging melody and flowing acoustics. In contrast, Dolly Porton is way more stripped back, with Lily’s mellow harmonies and great writing taking the forefront with accompaniment from calm guitar strums and subtle cymbal ripples.

Halloween is even stronger yet, just swelling with emotions and captivating the listener, while throwing in a couple of unpredictable elements, such as a sudden flurry of swift, unsettling strings in the middle, and then she concludes with the wonderful title number which is relatively catchy and builds into a pretty packed second half.

Lily Rae has crafted a fantastic record here that is not only well produced and vividly diverse in style, but elevated by a pure, no-nonsense legitimacy that allows her to make a lasting impression on the audience.




HAVOC FACTIONWelcome To The Fight

Kyle Rutchland,otherwise known as Backdraft, from sunny LA has got his solo post-hardcore project Havoc Faction off to a hot start in 2020 with the reissue of his Welcome To The Fight EP.

The title track greets with the blaring of sirens before hitting us with a monumental drop and turning into something flat out huge and bursting with truckloads of energy. You couldn’t ask for a more awesome opener, and it transitions real smoothly into the lead single Dark Passenger, another belter of a tune showing supreme vocals that draw you into the writing with ease, whilst keeping the dynamic buzz churning along thanks to the strident riffs.

My Human Condition dilutes the intensity a little, but for sure not the quality of the music, presenting some purely magnetic and mature lyrics that firmly make an impact, and eventually ascending to a fierce final third with chunky bass chords and slicing drum shots.

He fittingly really lays into the aggression during Keyboard Warriors, the rhythms and singing in particular donning a considerably darker, danker tone in the deliveries, and a couple of brief but cool guitar solos stand out too, and the final song Homewrecked is another thrilling whopper with an intoxicating drive to it as well as a strong and catchy chorus to send the audience out happy and on a high.






I’ve been intently following Reading rocking quartet Veridian since rising from the ashes of We Caught The Castle, and they’ve consistently delivered across their existence, but their fresh new Novella EP has proven them to be an entirely different beast altogether.

Halo is exactly how an opener should be, a high calibre track that gets you hooked instantly, and in this case that is owed to a sweeping energy, a dynamic sense of scale and a blistering, catchy chorus.

As they settle into a smooth groove with Easier, it’s here we truly get to see Simon’s vocal talents in ripe form, not only technically strong but able to carry forth the emotions of the great writing.

Curtains amps up the power game to a ridiculous degree through Rob’s excellent riffs and the forceful rhythms courtesy of Zak and Jonny, plus the tight-knit blended harmonies and James’ zesty keys again help give the song an extra depth and more extensive size.

Friends is considerably sharper and has a more strident weight to it, also hitting out with memorable hooks, and finally is Pavement, an expertly constructed conclusion that starts off at a lower pace than before; the boys taking their time in building it up and up until hitting a breaking point and firing into a rush while once more impressing with top notch lyrics.

Veridian have well and truly smashed it out the park here with an insanely stellar EP that has taken them to a new level and set them en route for a healthy 2020 in the best way imaginable.




If you’re even a tiny bit involved within Scotland’s music scene, you’ve at the very least probably seen the name Mark Sharp & The Bicycle Thieves floating around, and for good reason: they’re killing it right now, and that statement was only verified with the release of the MS&TBT EP last month.

Tippy Toes gets rolling on a light note; quite gentle to begin with and warming in the listener at an easy pace, before unleashing into a blinding chorus highlighted by Mark’s firm harmonies and seriously exuberant synths.

Now we get to something properly juicy with latest single Moonshine, a damn near perfect track with a tidy bass line and tribal drums producing the catchiest of beats, as well as conspicuous lyrics and a wonderful hook that anybody and everybody should be latched in by.

We get quite the tone switch with Liquid Gold, opting to present a more emotional piece, and delivering really well, the sleek guitars and awfully nice keys on hand to create a sweet melody which still keeps that bubbly life from earlier alive and healthy.

The finale Amorous starts off in a stripped back fashion, driven primarily by great piano work and Mark’s continuously fantastic vocals, the heartfelt writing prominently displayed as it goes, all leading up to a pleasing, fuzzy finish.

Mark Sharp’s sophomore release is exactly what I wanted from the man and his company: a tightly produced collection of sublime, dazzling tunes each sporting their own elements that individually give them a worthy identity, but when put together such as the case here, you get one hell of a special product.

The group have been really hitting a stride as of late and are only growing in popularity, and it shouldn’t be too long before they go from that cool band who supported Lewis Capaldi to becoming one of Scottish music’s principal acts.




Prior to 2020, I had absolutely no knowledge of Belgium hardcore unit Titans, but it didn’t take much for me to get invested after being given their sophomore record Transparent to have a looksie at.

The guys set a nice, furious pace from the offset with The Stoic, and the intensity is bumped up formidably through In Recognition, the main contributing factors here being the thumping drum shots and rowdy vocals, plus the regular drops throughout are rather tasty.

They remain on a similar course with the belting None For All; the cracking guitar and bass given more of an opportunity to shine through, and everything ties together in Forbearance, an immensely tight package that clicks in every imaginable way, from the lyrics to the performances.

We get a decent interlude loaded with crunchy bass tones, then next is the title track, which starts off surprisingly light, but in no time flat, they return to the status quo and charge full steam ahead at a crazy tempo; maintaining that power riding into the great climatic tune In Pulses.

As far as first impressions go, this is a superb one. From bell to bell, Transparent is a heavy, turbulent listen choc-a-bloc with a mad energy that couldn’t possibly not get you fired up.


Here Lies Ordinary | SMALL MUSIC SCENE



It took them a whole decade, but Birmingham skatepunk lads Laughing In The Face Of are finally back in the fray with their second full-length entitled Here Lies Ordinary, and man, this right here is the epitome of a return to form.

A brooding building intro paves way for jolting opener The Regression Session, and ensuing songs like Projectile Dysfunction and Bulls*** With A Smile explode with this relentless volatility, reflected perfectly through the no holds barred rhythm sections, blistering riffs and scarily thundering vocals.

Becoming vividly clear with Running With Coffee, the quartet prove to be able in maintaining this ridiculously tight impulse at full power right from the get-go all the way up to the end without ever letting the pace even slightly slip, making for something that is as purely breath-taking as it is heavy.

Truthfully speaking, despite the awesome performances, they don’t bring much particularly new to the table sound-wise, but they more than make up for that with the other outstanding quality going for them – the writing, which is as stinging and unforgiving as it gets, hitting real close to home all the while, as per Modus Operandi.

This aspect only becomes more prominent as they settle into a groove and batter through track after belting track such as The Insane Continue, Rationalisation Of Stupidity and Helldweller.

In addition to amusingly punny titles (Looks Can Be This Evening, tee-hee) they continue to impress in spades as they approach the finish line, such as the swift guitars in Penguins or the unbelievably juicy bass flurries in Reasons & Reminders, culminating in the banging From The Ground Up.

The initial reaction to Here Lies Ordinary: “holy bejesus!” And even with multiple listens in the tank, that sentiment still rings true. Laughing In The Face Of have delivered what is already a potential candidate for best punk record of the year.

This is a tremendous album that is perpetually insane over the entire half hour, leaving the listener not only exhausted and short of breath afterwards, but with a desire to immediately give it another spin, and then another, and another, and so forth, because it’s just that damn bloody good.





Months after exclusively being available on physical form – an excellent and genius strategy that more in this industry should abide by, in my humble opinion – one of Newcastle’s finest acts Fallen Mafia recently made their debut album Awaken finally available to the public in full glory.

Following the uneasy War intro with its brutal dose of reality, we get treated to a selection of pretty good energetic tunes built around some great and memorable choruses like the high-octane Breathe and the title track, whilst others showcase these cool, distinctly rugged rhythms such as Burn, Heads Up and How The Story Ends.

In certain cases, there are often elements shining through that add a little extra meat. For example, Don’t Look Back has a cracking acoustic intro, and Asylum is particularly captivating on a lyrical level.

But the irrefutable stand out has to be Life’s A Dance, which rolls the pace down for something with an underlying sense of aggression that hits the frontline through the rigid guitars and Hannah’s ferocious vocal capacity.

The production could have benefited from a freshen up in spots where it can be noticeably a bit rough around the edges, and admittedly this is a slow burner, for it takes a few songs to get to the tastier material.

While not quite reaching full potential, Awaken is nevertheless a satisfying collection with more than enough sweet qualities that will have not much bother drawing in dedicated rock fans of all kinds, and it does exactly what a debut album should do: put the band’s capable talents on display and let them flourish.

It’s just a case of stepping it up another notch for the next round, and ideally answering the important question of what makes Fallen Mafia different from everyone else on the scene.




Previously making the most of their talents in PEARS and Scorpios respectively, Zach Quinn and Brian Wahlstrom have come together for the Bandaid Brigade project, in the processing churning out an exquisite album by the name of I’m Separate.

There’s plenty of tunes on hand here that impress with fluent harmonies, delightfully melodic mixture of riffs and pianos, and pretty nice beats to them – Everything, Christmas Tree – while others up the ante, being super vibrant and catchy – Travel Light, Holding Steady and especially Losing Light.

But even beyond those choices, they continue in displaying solid variety. Attila has a notably darker tone to it, especially visible through the writing and the aggressive-sounding guitars, and Break The Grid has this off-the-charts energy amplified by the bright and bouncy synths and fervent yells.

The powerful, hard-hitting Going To Rain Today has to be the undisputed highlight here, and other songs including the hooking Stay Busy and Nothing Matters ride off strong emotions; the latter leading into a surreal, cool conclusion.

This lucrative collaboration has spawned a superbly diverse record that openly indulges in various styles, proving to be a really entertaining ride with minimal flat spots in the process.



Small Advent 2019: Day #6 – Carl Anscombe | SMALL FEATURES

I’m a big fan of artists who are willing to avoid pigeonholing themselves to strictly one genre and instead choose to explore a variety of styles, and Carl Anscombe from Castleford is no exception.

After being given this debut album to review by the man himself, Carl hooked me in with a range of tunes that covered the spectrum of pop, rock, acoustic and even hip hop, and while there were a couple of misfires, he pulled it off effectively for the most part.

The world would be a better place if acts regularly striving on the mainstream charts were able to be given that sort of creative freedom to try a little of everything, because it’d mean more music like that of Carl’s on the radio.


Small Advent 2019: Day #5 – Jared Celosse | SMALL FEATURES

Raised in England, now based in Scotland, Jared Celosse is one of those acts that brings a sense of class and maturity to his music, and as such is a musician who is far too overlooked.

Going back to his contribution to Olive Grove’s Archipelago EP collection, you get to see his talents on full display, as he curates these sublime tracks that make a magnetic impression with his euphonious piano playing, spectral vocals and that ability to surround the listener in this enthralling atmosphere, and better yet, he’s able to translate that perfectly into a live situation.

I feel privileged to have discovered Jared this year, and I can give him the utmost of recommendations.



TIMEWORN – Leave The Soul For Now

From a brutal dark corner in Norway, metal quintet Timeworn have been churning out some of the dankest material that the country’s scene has to offer since they originally emerged in 2014, and with a pair of great records already under their belt, they’re back to reinforce their status with their upcoming third album – Leave The Soul For Now.

In an instant, they set the bar to a ridiculous degree with Sky Castles, hands down one of the most tremendous openers to any record in 2019, crashing out the gates with these massive dynamic riffs, vast reverbed yells and just this sheer sense of force in general.

A cool chant makes for a nice intro to Count The Crosses, which doesn’t surround itself in an echoic vibe on the same level as previously, instead coming forth pure and steadfast with strong raw vocals and another walloping rhythm.

Just as that track ends, Oblivion Seekers rips your eardrums clean off with a barrage of noise. The basslines are resolute, the fierce and diverse drumming is prominently showcased, and they switch effectively between slow, swelling grinds and these faster, immensely exciting sections.

Hellwater commences in a different fashion, the guys opting to take their time building up with some good chords as they go and provide a taste of their cool writing that spans the whole of this superb piece.

But after that laid-back experience, they turn the juice back up for the smashing colossal Paradise Crown, which comes complete with a belter of a chorus and sizzling solos, and they manage to keep that seething intensity consistent as they charged through the unrelenting Visceral Reality.

At this point, given everything they have thrown out, you would assume that the fuel in their tank would be drained, but not even close, with the group refusing to hold back on the full-frontal assault of The Fallen King, which again features some stand-out lyrical hooks, all culminating in a hell of a breakdown.

And last but not least, Vagrant Heart, a grand 10-minute climax that lays into the atmospheric qualities and is boosted by the broad-range singing to cap off this album with a resounding bang.

Good grief, talk about an experience. Timeworn’s latest effort is utterly spectacular, a beast of a creation that is persistently breath-taking through practically the entire near-hour it goes on for. Simply a rousing epic that will definitely prevail as one of the best metal releases of the year.




MAVEN – Am I Awake?

London melodic rock outfit MAVEN have been on the grind since 2013, and if it weren’t for the fact that constant issues no fault of their own had held them back, they would have reach a greater level by now, and if you need perfect proof of that, then you must take it upon yourself to check out their upcoming EP – Am I Awake?

A nice impending intro breaks out into the massive, arena-scale Stronger Than You, which smashes head-first into the listener with blinding riffs, a freaking awesome chorus and the fieriest of harmonies you could possibly get, and the colossal, perfectly-mixed sound invokes these electric thrilling vibes.

Not an ounce of that energy is lost or wasted proceeding into their most recent single Heart & Time, linked by rigid bass chords and blasting drum beats and fantastic lyrics that catch on dead quick and are a tonne of fun to chime along to

And finally, they keep the ball rolling feverishly into the last of the bunch, Am I Alive, another dynamic banger with more of that great, fast-latching writing, a purely zealous rhythm and these sweet hooks that are reprised as the song settles down to a quiet close, allowing for space to breathe after that experience..

Am I Awake is an insanely pleasing, heart-stopping rush of wild proportions that keeps you buckled in at a relentless velocity. The only downside? Oh yes, it is indeed that old cliché spouted in most EP reviews: it’s not long enough. I think MAVEN are more than willing and able to step up a gear into the full-length album route…



pocket knife

POCKET KNIFEArchipelago Vol 3

A few months ago, Olive Grove Records released the first two volumes of their Archipelago series featuring Jared Celosse and Chrissy Barnacle, both of which impressed in their own ways.

Now it’s time to be treated to the next pairing, starting with Vol 3 which comes courtesy of Pocket Knife, a group I’ve had a vague but positive experience with in the past, and after having listened to this, I can definitely call myself a fan.

Within seconds of No Benefits, I’ve fallen in love, thanks to the superbly bitter and smutty writing delivered by Louise in such a serene, uncaring manner, and the glossy synths are a nice bonus. The beat is ramped up for the catchy Custard Cream, again featuring some enjoyably surreal lyrics and really cool basslines from Michael that are distinctly present through

The high-pitch, vintage-like keys are beyond sublime in the chilled out Kick You In The Face, led by some placid dual vocals. They continue to implement variety into their sound by bring something real pretty in the French-spoken Manger Constructeur; a similar essence being carried forward into the final number Last Piece Of Pie, which really succeeds in reflecting that feeling of wretched anxiety,

This is a seriously fantastic record that hits the jackpot with so many elements: the performances, the words, the subject matters, the production, that sense of diversity, just everything imaginable over the space of five memorable, cinching songs that are all bare minimum excellent.

Pocket Knife are an intriguing duo who hold the ability to create something special, and I’m dying to hear more.




MOONSOUPArchipelago Vol 4

And now onto Vol 4 of the Archipelago line-up, hosted by Moonsoup, aka Niamh Baker, and she brings forth pretty similar vibes to Pocket Knife.

Unsustainable is a pleasingly laid-back starter defined by sweet, dreamy guitar chords, and that tingling ambience rolling into Funny Little Thing, which is equipped with soothing bass tones, a gentle beat and really delicate harmonies that put across the sadness of the writing quite well

Soup Soup Soup has a bit of a bouncier melody to it, Indecisive Sl*t-B*tch effectively displays a cynically harshness, and she saves the best for last with I Don’t Like Rocket, featuring the most curiously absorbing lyrics of the EP that should ring true to life for many.

Displaying a legitimate authenticity in her music with no visible traits of phoniness present, Moonsoup’s contribution is a mild, engaging and overall satisfying one.



Go Fourth


Outstandifold & The Wettygrippers from Kilmarnock are a rock outfit that I’m more than familiar with, being one of the first ever acts covered on this website when I took a look at their Hoors & Poodir album back in 2015.

They’ve been long overdue a revisit, and luckily, they’ve just released a new record under the name of Go Fourth for the public’s listening pleasure.

As expected, the guys fire out the gates in blistering fashion with The Key, complete with aggressive riffs, resounding vocals and a banging chorus. Without so much as a break, they launch right into the next cut I Don’t Wanna Know, where the energy is only doubly swelled; the main hook especially being so infectious and emitting these thrilling vibes.

Writing’s On The Wall is lower in pace but the rhythm section stands firm and belt outs some punchy beats throughout the song, and despite a couple of awkward mistimings where they slip a little, Intoxicated is a genuinely engaging piece with pretty nice writing and a pleasant assembly of hums boosting the mood

Horizons is another enjoyably catchy addition to the set, lined by some great guitar chords and solos in the latter half, and RISCO bumps up the speed further, being fuelled by swift and flurried drums while neat electronics linger in the background.

The Deceit regains that assertive tone, but the focal point comes out of nowhere when at one moment they break into a brief wave of supreme, groovy madness, and they close off with the effective ballad Faith Hope And Clarity.

It shouldn’t come as much of a shock, but the troupe have pulled it out the bag again. Go Fourth is a relentlessly exciting, hard-hitting compilation of quality tunes from a cracking act who are underrated beyond belief and should be getting a decent amount of attention for what they can do.



POP 1280 – Way Station

Following the release of their previous record Paradise in 2016, New York industrial punk outfit POP 1280 eventually settled down for a while after difficult line-up changes and the need to re-spark their creativity. Now after much hard work behind the scenes rekindling themselves and crafting fresh material, they are finally set to return with a brand new album entitled Way Station.

The first track Boom Operator really hammers into the head with sharp shreds and scathing electronic notes, while Under Duress begins in a more subtle manner and maintains that pitch where a glowing ambience comes into formation.

The Convoy is a strong interlude that carries your attention with looping keys, then circling back to the originally established sound as they slip into Doves, complete with the good embittered singing as before.

Hospice is easily the highlight so far, with engaging lyrics and a ticking beat that grows more vivid as the tune progresses. Monument strenuously elevates the harsh tone, particularly with the words being spouted and the series of thumping drum crashes that dominate the majority of this piece, and that stays a prevailing factor in Empathetics, another one that stands out writing-wise.

Leading The Spider also makes an impact with a slow, murky pace that lays on thick the sense of force, but The Deserter makes for a significant change; a cool, minimal tune mostly compromised of reverberating strums and further use of repetitious piano taps

Home Sweet Hole effectively creates this uneasy, haunting feeling, frequently striking with a barrage of noise while getting stuck in the mind with a great hook, and after that, Secret Rendezvous eases the audience out nicely.

After a long period of uncertainty, POP 1280 have re-emerged with an excellently constructed and captivating record that takes various twists and turns but never taking the eye off the ball as it does.





Kent alternative metal collective Crostpaths have barely been on the scene a year or so, but they’ve made some damn fast progress, highlighted perfectly in their recently released self-titled debut.

A solid intro gives way to Pariah, and immediately apparent are Ritchie’s supreme nu-style vocals which have an extent of authority to them, and he’s flanked excellently by Owen on backing duties, and together they are the focus of the great, memorable chorus.

While the opener was sharp and in your face, Meridian simmers to an easier tempo and drives forward with some pretty neat guitar work and a solid rhythm section, before pushing into a more involved second half.

Lastly is Bulldozer, which has a considerably darker edge, thanks to the deep and disgusting bass chords, rigid drum beats and thick riffs, and in conjunction with the good lyrics, it makes for a worthwhile conclusion.

Although seriously short and could have probably done with more time to allow a better chance of a longer lasting impact, Crostpaths display their chops in a valid manner across a trio of diverse, forceful tracks that showcases a lot of promise for this group down the road.




NOVANTASome Are Stars

A project a whole three years in the making, Novanta is comprised of multi-instrumentalist Manfredi Lamartina and drummer Agostino Burgio, and the final result of this extended enterprise is a four-track EP entitled Some Are Stars, and thankfully, the hefty wait has been more or less worth it.

Outside Noise mesmirises with this exuberant shoegaze sound, and the duo, accompanied by the warm vocal talents of Dario Torre, sweep between smooth, settled verses and a ravishing, riff-spoiled chorus, although it can feel a little too washed out. In comparison, The Plot Thickens is a lot looser and crisper, shining with some luminous synths, a simple but cool drum beat and more sleek chords.

Marco Barzetti’s great singing is undoubtedly the focal point of To Realise, where he effortlessly helps to steer the polished melody, and finally is Lovers, which proceeds at a really slow and pleasantly poised pace, persistently hitting out with these radiant keys from beginning to end.

It can lack a little in spots and some of the unbalanced mixing can lead to some elements overpowering others, particularly in the tunes featuring harmonies, but brushing that aside, this is otherwise a preen and pristine record that, when at full strength, is able to suck in the listener within an engrossing atmosphere.





This is certainly one of the most intriguing cases to come to my attention as of late; the collaborative work of Mali singer Kankou Kouyate and Scottish musician Mark Mulholland, with the result being an album titled Kuma.

Although the timing is a little off in the beat, Sigi is nonetheless a solid introduction with a cool riff-line and a fine first showcase of Kankou’s talents, and despite the language barrier to English speakers, she is still able to hook your attention quite effectively with her own native tongue, and that remains concurrent going into the pleasingly acoustic Da.

The title number is pretty enchanting with its catchy beat, and in keeping with that theme of variety, Bin shifts into a very traditional folk-focused direction, emphasised by the misty harmonicas.

Obadya has a stellar essence to it that truly comes through the mystical bell sounds. Kankou displays a stronger vitality in her singing than ever before in Ne Bi Fe, while with Dimi, Mark steps up with rugged guitar streaks

Lo and behold, Ko Da Koma is another interesting divergent piece that takes a turn into the country/bluegrass category. Yande is a key highlight that really develops as the pair proceed through the verses, striving in a widely graceful final third, and lastly, Djuguya makes for a decent conclusion.

Well, I have to admit that I was originally hesitant, and even then there are a few glaring issues, but taking those out of the equation, this is a fascinating experiment that isn’t afraid to dive into and play around with various styles, and as a result, Kankou’s latest record is one that those with a broad scope in music should certainly give a shot.