Since 2000 have joined the Easy Life Records family, and are looking to become your new favourite band with their first release under them.
The quartet have spent the last two years building up a head of steam on the Glasgow alternative scene, building a fantastical world around their punishing, neon-stained bangers.
And with Easy Life now on their side, they are completing a project that stretches back to their very roots. That is ‘neverland: [CHAPTER II]’, set for release on April 24. It serves as a sequal, companion and extension of ‘neverland -chapter 1’, which was shared back in 2024.
Vocalist Dan Romano shares, “‘neverland [CHAPTER II]’ is the second and final instalment in the ‘neverland’ series. This project continues the coming-of-age story which began with ‘chapter I’, this time diving deeper into the internal struggles of navigating the loss of innocence, healing from trauma and coming to terms with your own shadow-self. As a result, we’ve created our darkest, heaviest and most impactful body of work so far.”
The artwork looks like this:
And the tracklisting like this:
1. [prologue II] 2. Running from my crimes 3 . Nosferatũ 4. SHUDDERING 5. lost_BOYS 6. HELLelujah! (feat. Lo Rays) 7. ‘FALLout’
And as a little taste, the band have shared ‘HELLeulujah’, a savage, sensationally catchy, spiky piece of modern pop-metal brilliance. Pulling from as many different strands as they can reach, and delivering an amalgamation of infectious sights, sounds and sensations, it’s a sign of big things to come.
Dan added, “HELLelujah! serves as a grim reckoning of the current social and political climate we are all experiencing. We are witnesses on a daily basis to atrocities happening in front of our eyes and screens but we turn against each other based on partisan beliefs and widespread mob rule which impede us from taking meaningful action, as we continue toeing the party lines. All meanwhile powerful oppressive forces continue to commit crimes against humanity in the name of moral and religious righteousness, HELLelujah! represents this distortion of sanctity.”
Review: Leaves’ Eyes – Song Of Darkness Reigning Phoenix Music (March 6th, 2026) Reviewer – David Pearce Leaves’ Eyes were set up in 2003 by lead vocalist Alexander Krull and since 2016 he has been joined on lead vocals by Finnish soprano Elina Siirala. The two guitarists in the band are Florian Ewert and Luc […]
Portrayal Of Guilt have dropped two new singles from their next album …Beginning Of The End.
Following 2021 album CHRISTFUCKER and 2023’s Devil Music EP, the trio’s forthcoming LP will drop on April 24 via Run For Cover. Recorded and mixed by Phillip Odom, and mastered by Will Yip, a press release teases that …Beginning Of The End ‘embraces both the groove and avant garde, revisiting the raw, teeth-gnashing intensity of their previous work while toying with nu-metal, alternative rock, trip-hop, dark ambient and other disparate influences’.
Hear what’s to come by streaming new singles Ecstasy and Human Terror below:
Derek Davis (Babylon A.D.) releases his new single ‘Running Man‘ on 10th March, out on Apocalypse Records.
Fresh off the successful releases of the last two “Babylon A.D.” albums (‘Rome Wasn’t Built In A Day’ & ‘When The World Stops’), Derek Davis brings his creative energy to life with his solo project, penning a brand new explosive up-tempo rocker, ‘Running Man‘.
The funk driven, hard-hitting rock/metal track delivers the angst and vocal delivery for which he is known. Both lyrically and musically, the track speaks to the frustration and passion of the forgotten man in today’s ever changing world. The AI evolution and political divide that shapes our thoughts and lives are explored through his cinematic story telling.
“Running Man” is a rock anthem at its core, with an uptempo fist pounding funkifed bass line and searing guitar riffs, the hooks never stop. Davis’s exploration of combining Hard Rock, old school R&B and Funk is awe inspiring and leaves the listener wanting more. Having played all the instruments, mixing and producing the track, as well as editing and creating the accompanying video, he once again proves to be a visionary force in the music industry. Derek Davis is a multi-talented performer, singer, songwriter, musician and producer who delivers it all with ‘Running Man’!
Davis has showcased his extraordinary singing, songwriting, and musicianship in several areas. He has had several songs placed in films and TV, and has recorded six studio albums, three live albums and two EPs with the band Babylon A.D. He also wrote all the tracks, produced and released the band “American Blues Box” album and wrote, created and produced three solo albums “Revolt”, “Revolutionary Soul” and “Resonator Blues” as well as seven solo effort singles and videos.
Over the last few years Derek Davis has performed, produced, wrote or co-wrote all the tracks for the Babylon A.D.s releases: 2018’s “Revelation Highway” Via “Frontiers Records” – 2023,“ Live Lightning” on Perris/Apocalypse Records, 2024’s “Rome Wasn’t Built In A Day”, Perris/Apocalypse Records and in 2025, “When The World Stops” from Kivel Records. He has also created 10 Videos in this time for each single released by the band, and has done multiple tours in the United States, the U.K and Greece, proving once again the band’s staying power in the history of hard Rock.
PRESENT DAY… As 2026 begins Derek Davis a has full schedule set for the rest of the year. Two more video/singles are scheduled for release by Babylon A.D. Davis is in full throttle writing mode for his next solo effort, another Soul inspired Funk Rock album that is set for release in the fall. The first track “Running Man” will be released on 10th March as a single and video.
Over the years, Derek Davis has amassed a published music catalogue of over 200 original compositions, very impressive and quite suitable compared to other artists. Derek has also mastered his video editing skills and production skills and is always trying something new to expand his musical journey. Derek Davis is the consummate, Singer/Songwriter/Musician/Producer, a born creator with a natural gift in the music landscape of our times
Danny Vaughn and I should have spoken several weeks before this interview, but due to the cold that he picked up at Winters End, along with several members of the band, it’s taken a few weeks to rearrange. Danny is back on form and has just completed a couple of acoustic shows ahead of the release of Tyketto’s first album in a decade, Closer To The Sun.
One in Hastings and one in Belfast, Danny Vaughn is pleased that these shows went “very well. and were well attended. “The Belfast thing was really serendipitous because when I finished, everybody was like, you know, when is Tyketto coming back? I said, soon, and then two days later, we announced that we’re coming back. So, I had people already interested and ready to go, which was great.”
Tyketto – Stonedead Festival – Friday 22 August 2025. Photo: Paul Hutchings/MetalTalk
Formed in 1987, Tyketto are as popular now as they have ever been. Danny tells me it still surprises him that the band remains so popular. “On a daily basis, yes. I mean, thank goodness, it’s hard work rewarded, but after COVID, nobody knew what was going to happen. I lost two key band members to retirement and wasn’t sure if Tyketto had a future at all.
“Would the fans accept Tyketto with one remaining original member? We needed to give it time to work itself out. Now we’re headlining mid-level festivals. We’re being invited to play territories we’ve never played before. There are a couple of, I hope, very big tour announcements coming up in the next few days. So, we’re kind of more popular than ever. And that’s a really wild thing for a 35-year-old band to say.”
Tyketto Sign with Silver Lining Music And Announce New Album Closer To The Sun
With more touring than ever, how does Danny Vaughn and his band maintain a healthy approach to being on the road at 64 years of age? “I’ve always kind of taken care of it, particularly the voice. So, it’s not letting the 18-year-old in your head dictate how you do things. It’s like if you go to the gym, for instance, and you’re going to lift weights, don’t try to lift what you could lift at 20. I used to be able to do this.
“Used to is a keyword. You must accept these things. So, am I running about quite as much as I used to? Probably not. But I’m also not sitting down yet. We’re putting on a solid show. I’ve got a bunch of very excited band members to join in with me. Guys who really understand what Tyketto’s been about all these years and our relationship with our fans, which is obviously completely key to what we do and what we’re doing now.
“So, I don’t have a lot of extra stress as in I got to talk to so-and-so or he said this to that person. Everybody’s naturally on the same page and that makes life much simpler for me.”
All a lot more balanced and measured than when Danny was part of Pete Way’s Waysted, back in the day. “Indeed,” laughs Danny. “Yeah, that was just… Try and keep up and when you couldn’t keep up, try and be sensible. But it wasn’t easy.”
Although it will be ten years since Reach was released, Danny Vaughn explains that it was not meant to be so long between albums. “I mean, we got sidelined for two years by COVID. We really should have put a new album out in 2020 or 2021. Then after that, as I mentioned earlier, having two key members retire and wanting to make absolutely sure I had the right replacements. I wanted to give that new band time to play together, to get to know each other.
“It would have been wrong to just, okay, straight into the studio with a bunch of guys who didn’t know how to work together yet. So, I kept delaying and delaying and pushing it off. So yeah, it stretched into 10 years.
“Quite honestly, I am as excited now as I was when Don’t Come Easy came out. Whilst I have no illusions, the possibilities are open once again. I think quite a bit of that is due to, again, a new band with new momentum, but also a new record company. We’re with a group of people that really believe in us, understand the merits of what we bring to the table and can deliver on the things they promise that they can deliver on, which is all I ever asked from any record company. You know, just don’t make shit up.”
What about the writing process? Is Danny Vaughn one who is always jotting down ideas? “For me, the hardest part is starting. I don’t know if you find that as a writer, like the blank page. I liken creativity to the old steam engines, the steam trains, because apparently, it requires 100% of the full power that a steam engine can exert to get that wheel to turn the first time.
“Then after that, inertia takes over, and it gets easier. It takes less power to do it. That’s creativity. So, if I go for a period where I’m not doing anything musical, it’s really that wheel… Come on, you know?
“I’m notoriously slow. But what happened was basically, I had band members kicking my arse, and I had a deadline, and it was like, all right, we can’t put this off anymore. Can’t hide under that whining ego of, I don’t feel like being creative.
“As Gene Simmons wisely said, fuck you, it’s your job. Get in there and write. There’s a lot of co-writes on this record, as well as a cover song. It’s the first time Tyketto has ever recorded a cover for an album.”
We move on to the reception that the songs already released have received. Album opener Higher Than High is the ideal way to start the record, an immediate marker for inclusion in the new live set. Danny assures me that it will be, along with We Rise.
The preparation for the acoustic shows was obviously less than needed for the full band. “It was a lot less shouting in the acoustic version,” he smiles. “Yeah. It’s similar, though, in that we’re all a mind of, particularly if it’s been a little while since we played together. Right, let’s ease back into it. Let’s just not assume it’s all going to come back to us.
“It’s the same thing I do with the acoustic shows. I mean, you would think, well, he doesn’t need to practice Wings. But it’s probably good that I do and get it under my hands because I’m used to singing Wings with a mic stand and a band. But then, suddenly, if I’m the guitar player as well, I tell audiences this a lot. I would love to ask really proficient players, like somebody like Guthrie Govan, do you still have those moments where you’re about to do something you’ve done 100 times and your brain goes, are you sure?
“It really messes up your flow. And the best shows are when that voice never happens, and you just are sure. And they’re not all like that. They can’t be. They’re actually few and far between those.”
Tyketto – KK’s Steel Mill – 19 May 2023 . Photo: John Inglis/MetalTalk
On the day I was originally due to speak with Danny Vaughn, Dee Snider announced his departure from Twisted Sister and the cessation of all their live shows due to health issues. Danny is not quite in the septuagenarian bracket, but he is closing in on it. Is it something he’s conscious about these days?
“It’s there like a vulture on my shoulder,” he says. “One of the things about getting older, I think if you’re wise, is not to ignore that and to start to address it regularly. Some of the Native Americans have a saying that you walk with your death every day, and that is not a negative thing. That, in fact, is a positive thing if you have absolute knowledge that this ends.
“As far as my career and my singing, I’m kind of in avoidance. I know it ends, but surely, it’s way off yet, and you just don’t know. You just don’t know. All things being equal, this year, for instance, is the first time I think Mick Box had to duck out of doing shows. But he’s a marvel, as is Dave Meniketti, who basically does it all. That tremendous beating on your body to be lead guitar player, lead singer, leader of the band, and everything else.
“From what I understand from speaking with Dave, he’s going to go out like Tommy Cooper. He is going to keep right on playing, you know? So, part of that’s in my head as far as I will do this as long as I can do it to a high level.
“Thank goodness, I’ve not lost any of my range. That is inevitable because vocal cords thin out and dry out as we age. But I also look at somebody like Robert Plant, who is performing at a wonderful level. I’ve seen him with Alison Krauss, and he’s just like, look, ‘folks, I’m going to make this turn now, and you’re welcome to come with me.’
“That’s probably where I’ll be at some point. If I can’t sing that long note at the end of Forever Young anymore, you know? But that’s also why I do the solo stuff and the acoustic stuff. Is there a place for me to go should I not be able to be Tyketto anymore?”
Part Two of this interview with Danny Vaughn will be out next week. Tyketto release Closer To The Sun through Silver Lining Music on 20 March 2026. The album will be available on Deluxe Limited Edition 12″ Sunburst Vinyl, Limited Edition 12″ Red Vinyl, 12″ Black Vinyl, CD Digipak, Digital Download, Streaming and special D2C bundles.
Tyketto release Closer To The Sun through Silver Lining Music on 20 March 2026. In support of the album’s release, Tyketto have announced a string of dates for 2026, kicking off at Planet
Event Details
Tyketto release Closer To The Sun through Silver Lining Music on 20 March 2026. In support of the album’s release, Tyketto have announced a string of dates for 2026, kicking off at Planet Rock’s Winter’s End festival in Porthcawl, Wales and with a full UK Tour set for the spring and European shows to be revealed soon, fans should keep their eyes peeled for what’s coming next.
For a full list of upcoming shows and tickets visit Tyketto.com.
Tyketto release Closer To The Sun through Silver Lining Music on 20 March 2026. In support of the album’s release, Tyketto have announced a string of dates for 2026, kicking off at Planet
Event Details
Tyketto release Closer To The Sun through Silver Lining Music on 20 March 2026. In support of the album’s release, Tyketto have announced a string of dates for 2026, kicking off at Planet Rock’s Winter’s End festival in Porthcawl, Wales and with a full UK Tour set for the spring and European shows to be revealed soon, fans should keep their eyes peeled for what’s coming next.
For a full list of upcoming shows and tickets visit Tyketto.com.
Tyketto release Closer To The Sun through Silver Lining Music on 20 March 2026. In support of the album’s release, Tyketto have announced a string of dates for 2026, kicking off at Planet
Event Details
Tyketto release Closer To The Sun through Silver Lining Music on 20 March 2026. In support of the album’s release, Tyketto have announced a string of dates for 2026, kicking off at Planet Rock’s Winter’s End festival in Porthcawl, Wales and with a full UK Tour set for the spring and European shows to be revealed soon, fans should keep their eyes peeled for what’s coming next.
For a full list of upcoming shows and tickets visit Tyketto.com.
Tyketto release Closer To The Sun through Silver Lining Music on 20 March 2026. In support of the album’s release, Tyketto have announced a string of dates for 2026, kicking off at Planet
Event Details
Tyketto release Closer To The Sun through Silver Lining Music on 20 March 2026. In support of the album’s release, Tyketto have announced a string of dates for 2026, kicking off at Planet Rock’s Winter’s End festival in Porthcawl, Wales and with a full UK Tour set for the spring and European shows to be revealed soon, fans should keep their eyes peeled for what’s coming next.
For a full list of upcoming shows and tickets visit Tyketto.com.
Tyketto release Closer To The Sun through Silver Lining Music on 20 March 2026. In support of the album’s release, Tyketto have announced a string of dates for 2026, kicking off at Planet
Event Details
Tyketto release Closer To The Sun through Silver Lining Music on 20 March 2026. In support of the album’s release, Tyketto have announced a string of dates for 2026, kicking off at Planet Rock’s Winter’s End festival in Porthcawl, Wales and with a full UK Tour set for the spring and European shows to be revealed soon, fans should keep their eyes peeled for what’s coming next.
For a full list of upcoming shows and tickets visit Tyketto.com.
Tyketto release Closer To The Sun through Silver Lining Music on 20 March 2026. In support of the album’s release, Tyketto have announced a string of dates for 2026, kicking off at Planet
Event Details
Tyketto release Closer To The Sun through Silver Lining Music on 20 March 2026. In support of the album’s release, Tyketto have announced a string of dates for 2026, kicking off at Planet Rock’s Winter’s End festival in Porthcawl, Wales and with a full UK Tour set for the spring and European shows to be revealed soon, fans should keep their eyes peeled for what’s coming next.
For a full list of upcoming shows and tickets visit Tyketto.com.
Tyketto release Closer To The Sun through Silver Lining Music on 20 March 2026. In support of the album’s release, Tyketto have announced a string of dates for 2026, kicking off at Planet
Event Details
Tyketto release Closer To The Sun through Silver Lining Music on 20 March 2026. In support of the album’s release, Tyketto have announced a string of dates for 2026, kicking off at Planet Rock’s Winter’s End festival in Porthcawl, Wales and with a full UK Tour set for the spring and European shows to be revealed soon, fans should keep their eyes peeled for what’s coming next.
For a full list of upcoming shows and tickets visit Tyketto.com.
Tyketto release Closer To The Sun through Silver Lining Music on 20 March 2026. In support of the album’s release, Tyketto have announced a string of dates for 2026, kicking off at Planet
Event Details
Tyketto release Closer To The Sun through Silver Lining Music on 20 March 2026. In support of the album’s release, Tyketto have announced a string of dates for 2026, kicking off at Planet Rock’s Winter’s End festival in Porthcawl, Wales and with a full UK Tour set for the spring and European shows to be revealed soon, fans should keep their eyes peeled for what’s coming next.
For a full list of upcoming shows and tickets visit Tyketto.com.
Tyketto release Closer To The Sun through Silver Lining Music on 20 March 2026. In support of the album’s release, Tyketto have announced a string of dates for 2026, kicking off at Planet
Event Details
Tyketto release Closer To The Sun through Silver Lining Music on 20 March 2026. In support of the album’s release, Tyketto have announced a string of dates for 2026, kicking off at Planet Rock’s Winter’s End festival in Porthcawl, Wales and with a full UK Tour set for the spring and European shows to be revealed soon, fans should keep their eyes peeled for what’s coming next.
For a full list of upcoming shows and tickets visit Tyketto.com.
Tyketto release Closer To The Sun through Silver Lining Music on 20 March 2026. In support of the album’s release, Tyketto have announced a string of dates for 2026, kicking off at Planet
Event Details
Tyketto release Closer To The Sun through Silver Lining Music on 20 March 2026. In support of the album’s release, Tyketto have announced a string of dates for 2026, kicking off at Planet Rock’s Winter’s End festival in Porthcawl, Wales and with a full UK Tour set for the spring and European shows to be revealed soon, fans should keep their eyes peeled for what’s coming next.
For a full list of upcoming shows and tickets visit Tyketto.com.
Mors Verum – Canvas (Transcending Obscurity Records) [Mark Young]
And, just like the White Rabbit, I’m late with this review. I thought I had more time and suddenly its March.
With apologies to Mors Verum, and to those fine folks at Transcending Obscurity (have you seen their website?) for being late Canvas is another one of those ‘where have you got these from’ scenarios that they seem so good at doing. And as EP’s go, this is a corker. It’s a unique take on what makes Death Metal essential, taking the core of that music and passing it through their filter that sees each song veer from progressive dissonance through to atmospheric. It’s knows what it needed to be, but its executed in a style that remains true to them.
The most important question is: Is it heavy?
Oh yes. Sonically, its as dense as it comes but it doesn’t stop the songs from having that feeling of speed. Bloodied Teeth is as good an opening blast as it comes. It opens fire on you from the moment it starts, bringing all of those disparate themes together and then hammering them into form, which manages to be brutal and possess an approach to melody that is sometimes lacking elsewhere. And then they drop the 7 minute assault and battery exercise that is Your Apocalypse.
The early engages are basic until they change things – there is this wonderful off pattern drum and melodic guitar line that is just spot on. Like Bloodied Teeth, it remembers that it the key to its success is ensuring that the songs satisfy your metal needs first (it does) and then brings you accoutrement with some fiendish lead breaks that I didn’t expect. They can’t go long without bringing more melody into the piece, just check out the final minute and half for how this should sound, in fact just how an exemplar example should sound. Because its this.
Once we get onto Serenade, there’s a feeling that we have moved beyond the norm (not that they were close with the first two) with a choked-out rhythm that still manages to be heavy and still groove. And speaking of heavy grooves, the title track Canvas comes in and stakes its claim as to song of the EP. Its another 7minute masterwork, one that goes down a different path than Your Apocalypse. The end effect is still the same, it’s a journey that keeps you engaged and doesn’t let go. Heavy, riffed out but without going down traditional routes. Just top class.
They bring things to a close with Mortal, bringing that discord back, at least until its run its course here. The way it changes tack, from one approach to another whilst making it seem completely seamless is class and shows that at the moment they have total clarity in how their music should sound. My only regret is that I only got onto this now, but you should seek this out immediately. 9/10
Utopia Development Corporation – Industrial Area Swimming Centre (Kill Flamingo [Spike]
There is a certain kind of British melancholy that can only be found in the repurposed ruins of a mid-century dream. Utopia Development Corporation have captured this perfectly with their latest EP, Industrial Area Swimming Centre. It’s a title that evokes the smell of chlorine in a concrete box, a testament to the failed promises of urban planning, and the music contained within is every bit as stark, rhythmic, and delightfully cynical as the name suggests.
The EP moves with a mechanical, almost bureaucratic precision. It opens with Rinse, a track that establishes a cold, motorik pulse that feels like a factory line finally stuttering to life. It doesn’t ask for your attention; it demands it through sheer, repetitive persistence. This leads seamlessly into Repeat, which, true to its name, doubles down on the rhythmic friction, creating a claustrophobic environment that mirrors the monotony of the modern workplace.
Where the record truly finds its voice, however, is in the sharp, social-realist wit of Art Deco Tesco. It’s a title that could have been plucked straight from a Mclusky B-side, and the song lives up to the billing. It’s a biting look at the gentrification of the mundane, delivered over a jagged guitar line that sounds like it’s being played on a serrated edge. The “Utopia” here is clearly ironical, a corporate branding exercise for a world that’s increasingly grey.
Dance, Demons, Dance offers a brief, frantic shift in energy. It’s the heart-attack pulse of the record, a moment where the industrial discipline cracks and reveals a more chaotic, desperate core. It’s an aggressive jolt that prevents the EP from becoming too sedate in its own gloom, providing a visceral counterweight to the more atmospheric stretches.
The finale, No Factories, brings the concept to a brooding, inevitable close. It’s a study in absence, a sonic landscape of what’s left when the industry moves out and only the “Swimming Centre” remains. The production is deliberately lean, allowing the grit of the rhythm section to carry the weight. It’s a grey-afternoon-in-the-suburbs sound; honest, unpolished, and entirely necessary.
Utopia Development Corporation have documented a specific kind of architectural malaise on this EP. It’s a sophisticated, often uncomfortable listen that uses the language of industrial noise to talk about very human frustrations. If you like your music with a side of sharp-tongued social commentary and a pulse that won’t quit, this is a development worth investing in. 8/10
Necrosexual – Road To Rubble (Black Metal Archives) [Spike]
There is a specific, grimy intersection in the metal underground where the leather-clad theatrics of the 80s sunset strip collide with the blackened vitriol of the early thrash scene. It’s a place where the booze is cheap, the gear is cranked, and the frontman probably has a collection of vintage horror comics in the back of a rain-slicked muscle car. Philadelphia’s Necrosexual have been the resident mayors of this particular district since 2011, and their latest full-length, Road To Rubble, is their most focused attempt yet at bottling that specific “intoxicating elixir” of horror punk and high-velocity metal.
Musically, the “thrash” tag is well-earned. Tracks like The Brimstone Brothel, a frantic tale of cannibalism in an old west bordello rely on a relentless, blast-beat driven momentum that recalls the early, unpolished days of Venom and Celtic Frost. Nick Roskow and Anthony ‘Vigo’ Gabriele provide a dual-guitar attack that is heavy on “divebombs” and scything lead work, particularly on the burlesque-horror of Kiss The Knife. It’s a competent, high-energy engine that keeps the record moving at a heart-attack pace.
However, the real talking point here is the vocal delivery of The Necrosexual himself. While the music leans into the darkness of the metal mindset, the screams possess a distinct, melodic rasp that feels surprisingly reminiscent of Mötley Crüe-era sleaze. It’s an interesting juxtaposition; you have these blackened, aggressive riffs being capped off by a vocal style that wouldn’t feel out of place on a glam-metal anthem. It ties back to the band’s name and their “horror-punk” leanings, adding a layer of 80s rock swagger to a genre that usually takes itself a bit more seriously.
The record finds its real core on the title track, All Roads Lead To Rubble, and the gothic drama of Nocturnal Ignition. These are the tracks where the band allows the “wasteland warrior” vibe to take over, shifting between moonlight-and-dust atmospheric stretches and muscular, “dirty punk” sleaze. It’s here that the Plasmatics influence really shows through, a defiant, “road to ruin” energy that refuses to settle into a standard thrash-metal blueprint.
By the time the “bloodthirsty dominatrix” of Hard Leather Woman finishes the job, the experience is complete. Is it a masterpiece? Perhaps not. While the musicianship is top-tier and the production is clinical, the sheer campiness of the persona occasionally clashes with the “bestial” intent of the riffs. But as a piece of irreverent, high-octane horror-thrash? It’s a hell of a ride. For those who like their thrash with a side of leather, grease, and a very specific kind of 80s sleaze, Road To Rubble is a fun, bloodstained detour. 7/10 Horseman – No Surrender In Dark Days (Recordjet) [Mark Young]
There are times when you are faced with the realisation that no matter how many times you listen to a song or a band; you will never get onboard with them. For me, Horseman are such a band with their latest full length release No Surrender In Dark Days. Its not that they aren’t heavy, it’s just that there’s a missing piece in their sound which I just cannot get past. I appreciate that I’m also late with this review (and offer apologies accordingly) which probably doesn’t help either, but it doesn’t alter my feelings toward it.
Its all very ‘hard’, Dark Days and its acoustic introduction pointing towards an Americana of sorts that gradually plays out into No Surrender and its almost immediate lift off. It’s the very definition of what you would want an album to start with. The velocity is there; the vocals are savage and its replete with all the riffs you can eat. So far so good, and on its heels is Time To Defend which basically does the same thing. What comes through these early moments is hints of Arch Enemy (no bad thing) but its not exciting me. They don’t trigger a visceral feeling from me, its simply aye, they are ok but its not essential to me.
Its on Shards And Lies that a response Is finally produced. Its one of those kind of sung into full throated roar sort of affairs which seemed to be everywhere a while ago. On here there is a real struggle with the cleaner sections, they don’t sound right especially when the roars are on point. It just doesn’t sit right at all. I don’t want to sit here and complain about it so its on to Codeine Cowboy which is a lot like Arch Enemy in its initial build.
Again, its fine but the damage has been done. Its no different than No Surrender containing a lot of the same beats. There’s nothing wrong with it, its simply onto the next one which happens to be an instrumental so its onto Banish The Fake, which doesn’t have anything different about it apart from a ripping solo. It’s got to the point that you can more or less guess how the songs will play out but what that doesn’t show is the commitment to them shown by the band themselves. You cannot say that it is half-hearted in any way, the way they approach the material is always full on.
Kissing Dirt starts out with a lead that scorches and we settle into standard territory, another variation on the material presented already. It runs a course that we have passed along already, with no surprises. Again, I have to stress that there is nothing intrinsically wrong with this music, its just there, doing its thing and racing from point A to point B without a backwards glance and ultimately that is the thing for me. It wants to run as quickly as possible it doesn’t stop to breathe. 6/10
My first encounter with Taylor Acorn was her support slot for Bowling For Soup as a part of The Good Things 2024 sideshows. It should have been my second, but that’s a story for another day. Tonight is Acorn’s first Melbourne headline show at the iconic 170 Russell.
That first time seeing Acorn at The Corner Hotel I must admit I didn’t know what to expect from her. In all honesty Bowling For Soup was the reason I attended that show. Sure, I had heard her name but i never really took it beyond that. Until that December evening. For me an important part of being a music journalist is I like to check out the opening artists whether I am familiar with them or not and over the years I have come across some of my favourite bands through simply turning up early and being open and curious.
Taylor Acorn
Acorn’s infectious brand of pop-punk instantly grabbed me and from that point I was hooked and the dive into her work began. As an artist the collaborations and covers Acorn has released are impressive on their own, but her body of work is simply feel-good infectious fun with a great message behind it all.
With her new album “Poster Child” having just dropped in February. Acorn is armed with an arsenal of new material and without a doubt the hits and fan favourites will all be here.
Arrows in Action
Kicking off tonight’s proceedings is Arrows In Action a band that I wasn’t familiar with until the drive in for tonight’s show. I like being surprised by opening artists in general and I have to say I’m excited to about what I am about to see and hear. They share the same indie pop/pop punk sensibilities as Taylor Acorn. Arrows In Action are possibly a little more pop but nonetheless less I’m keen to see what they bring live.
2000’s rock blasted through the PA; Sum-41, Papa Roach, Buckcherry and Nickelback (who had the loudest singalong) ….. I think you get the idea and the crowd was already singing along which is a great sign.
Arrows in Action
Arrows In Action take to the stage to a louder than I expected response. It appears as though they have quite the fan base judging by the screams of joy. My initial impression is one that’s a little well …. different.
Arrows In Action are a three-piece consisting of Victor Viramontes-Pattison (vocals/guitars), Matthew Fowler (guitars) and Jesse Frimmel (drums). Yep, that’s it ….. no bass player, no keys and I’m not sure how I feel about it. However, having said that the music does loan itself to that level of production and AIA have only ever advertised themselves as a three piece so it probably shouldn’t have been such a surprise.
Arrows in Action
Once I calibrated the set up for the AIA set and settled into it I found the band to be a ton of fun. It’s pop music that dare I say it leant into boyband territory with a modern edge. Their fans in the front row were passionate singing every word with the band and might I say they have a broad fan base; ages went from eighteen through dare I say it my age, in their fifties. Fans were consistently scattered through the crowd too, all singing along and engaging with the band and then there were the new fans too. You could see AIA winning over this audience and I absolutely love seeing this stuff. This is the power of live music working its magic.
Arrows in Action
Frontman Victor Viramontes-Pattison played guitar for a few songs but seemed most at home being a frontman and vocalist. It allowed him the freedom to let his natural stage craft and charm shine though. So much so that before long he let his hair down literally and metaphorically. Guitarist Matthew Fowler is a ball of smiles and energy, while a little low in the mix is a solid player and has a huge presence on stage.
Drummer Jesse Frimmel certainly loves what he does on stage and is a solid drummer. Frimmel is not afraid to head out from behind the drum kit as he shared vocals on ‘Head In The Clouds’ with Viramontes-Pattison. Let’s face it this show is quite a bit of fun. I must admit that as the energy built in the room, the crowds engagement lifted song by song I got pulled into the performance and almost forgot that a lot of the music I was hearing came from tracks.
Arrows in Action
‘Stop Talking’ is a new track from the band and went over well, mind you at this stage AIA could sell ice to eskimo’s, they truly did have 170 Russell in the palm of their hands. A guest appearance from Miss Acorn for ‘Uncomfortably Numb’ received a loud reception and Acorn joining AIA is a fantastic pairing. No wonder these two artists have decided to come to the other end of the world together. With my knowledge of Arrows In Action being quite limited I quickly fell into the fact that they write great pop songs. Infectious, instant and fun.
Arrows in Action
Closing out their set with ‘Over it’ that dove into them covering a verse and chorus from Jesse McCartney’s ‘Beautiful Soul’ possibly gives you the best indication of the bands style and how I sit them in more of a pop styling. It is the final song of the night ‘Cheekbones’ that seems to have the biggest response from the crowd. In full voice, most of them grooving along as well, the crowd at 170 Russell were well and truly engaged with Arrows In Action. For a first-time appearance in Australia they certainly kept their fans happy and undoubtedly walked away with a such of new fans.
Setlist: Empty Canvas, Light Like You, Put You Through Me, High, Head In The Clouds, Stop Talking, Uncomfortably Numb, All The Ways I Could Die, Over It/Beautiful Soul, Cheekbones.
Taylor Acorn made such a strong impression upon me the first time I saw her. There was a magic about her set and at the first time I saw her the set was very different to tonight’s. The main reason for that is her new album “Poster Child”. Tonight was a showcase of no less than eight of the twelve songs from the album. For me “Poster Child” is a record of growth and playfully dipping her toes into the styles of other artists sounds while still being herself. “Poster Child” fells like it’s quite a personal record lyrically and thematically. It’s vulnerable, honest and almost like a dose of therapy for her.
Opening with the title track ‘Poster Child’ Acorn bounced onto the stage with her infectious energy and everything from that first time seeing her rushed back. The smile, the presence and of course that voice. 170 Russell were completely in tune singing along with every word. Hearing and seeing the engagement is enough to make the hairs on my arms stand up. This continued through ‘People Pleaser’ and it’s now completely obvious that Acorns fans have simply consumed her new music and have connected with it. With that we are taken back to ‘I Think I’m In Love’ from the 2023 album “Certified Depressant”, another song that has arms waving and a crowd in full voice.
Taylor Acorn
Taking a moment Acorn asks us to give it up for her best friends in the whole wide world Arrows In Action. Acorn goes on to say “The very first tour I didn’t in this genre pop-punk/pop-rock, we don’t really know what it is honestly, sometimes it’s a country, we don’t know what it is. But the very first tour I ever did was with Arrows In Action and they were so kind, they came and played as my band for that first tour. They would play, come off stage, I would go on and they would come on as my band. It’s pretty cool to bring them out here with me and to see you guys because you guys are the best and we love it out here”
‘Coma’ has everyone singing again. It’s just insane see how well Melbourne has embraced Taylor Acorn. I love seeing this organic connection. Acorns lyrics and delivery are so full of feeling, so emotive and you feel the anger and hurt within this song. It really is one of those things you have to experience live.
Taylor Acorn
‘Blood On Your Hands’ takes us back into the “Poster Child” album. This song is amazing and was the first song from the album that hooked me. As with every song the audience were just completely in and as one with Acorn.
What I have begun to notice in the set is that as with Arrows In Action it’s a three-piece band using backing tracks. Where this seems to affect Acorn is that the live drums, guitars and vocals seem to be controlled by these tracks. What I mean by that is that the song endings seem cut or clipped by the tracks and leave songs feeling very sterile. All of the energy seems to stop and doesn’t allow for improvisation or a truly live feel. When the track stops so does some of that live magic. This really is the only criticism I have of the show. Working with this formula can make moving into the next song a little rough and it feels like the tracks really do hold back some of the live magic and spontaneity.
Taylor Acorn
Having said that when they do work it right, the little drum solo Eathan Hart does leading into ‘Goodby Good Riddance’ is perfect. Hart hits with intent, he is a heavy hitter who simply kicks this set of songs along. Of course there is Acorns partner in crime and right-hand Ricky Jab who is quite simply has the energy of the Tasmanian Devil from the cartoons. Spinning, kicking, throwing his guitar around his body, Jab is exhausting to just watch. There is a magic about Jab that caught me the first time I saw him perform.
Again, it is this energy and the perfect delivery of the music that makes me question how many layers of guitar there may be in the tracks. It’s an unfortunate rabbit hole that is easy to slip into once you start to look at and begin to analyse it.
Acorn goes on to address that it’s summer here and her allergies are off the rails and she can feel her voice going and asks if we could sing so loud with her, to which we do. For me Acorn’s voice is amazing even with the effects of allergies. She is definitely live as you can hear little live differences to the pre-recorded harmonies.
Taylor Acorn
‘Burning House’ from “Survival In Motion” feels like the most live track tonight. Deep heartfelt and a little raw, all the hallmarks of great live energy and sees Acorn pick up a guitar. Again 170 Russell is again in fine voice and the connected energy.
Acorn tells us of how they are all in such a strange personal time space having just been in Europe and then back in America and now here in Australia. Their body clocks are all kind of messed up, admitting that they do love it here and could live here, the climate is perfect for Acorn.
‘Home Video’s’ is that little bit of country she spoke of before. Acorn plays an acoustic and the crowd is harmonious with her words. This feels magical, raw and completely live. In this song I realise just how incredible a stripped back acoustic show from Acorn would be. Catching that storyteller side, hearing the songs as they would have been written would be simply sublime.
Taylor Acorn
‘Crashing Out’ picks up the pace again and highlights yet another side to Acorn on her most recent release. I love this song and the chorus is an ear worm. It’s a little grittier and dives into territories that suit her so well.
‘Hangman’ is the last song from “Poster Child” in tonight’s set and again takes you to a place that uses that grit that I love. There is space and power here and that really does aid the delivery. Where it really could take off seems to be controlled again by tracks taking away some of that live magic.
Taylor Acorn
‘Greener’ and ‘Birds Still Sing’ take me back to the songs that grabbed me the first time live. The big hook in ‘Greener’ hits as it should and there does seem to be some improvised spaces in this song which feels great. ‘Birds Still Sing’ is that folky, country infused lighters (or phone light) in the air feeling, beauty in simplicity, power full in delivery. Again, I find myself wanting to see a solo acoustic show by Acorn more than before.
Acorn goes on to thank us all for turning up, listening to her songs and helping her save her own life. Her application is raw and heartfelt and when you put it into context with her lyrics and songs this is therapy for her and it is clearly something much bigger for each of us that have engaged and let her music into our worlds as I am sure she has saved hundreds of lives with her music and words. This is the beauty in music that I do love.
Taylor Acorn
The encore consists of two of Acorns biggest songs ‘Shapeshifting’ and ‘Psycho’. ‘Shapeshifting’ has 170 Russell sing the first half of the verse pretty much on their own and by the time the chorus hits everybody is all in and loud. Acorn works damn hard live; she knows how to work a room and how to work a stage and I guess that’s advantage of having quite a sparse stage.
‘Psycho’ has the room bouncing and sees Jab just find his performance space leaving no trick or move unused. Seeing every pair of hands clapping and voices at their loudest does give this finale something very special.
Taylor Acorn
In summary what a show, what a performer. I cannot wait to see what Acorn has in store for us next. I will be back again. While I do miss seeing amps on stage, I miss hearing stage sound, and having my ears roared at by a guitar and bass amp in the photo pit. For me amps are the soul and life of a live performance, they add atmosphere too. A sterile stage with nothing but modelling amps that look like pedal boards feels empty. But when it comes to touring these days it makes sense, minimal gear to lug and arrange at shows, easier to travel with too.
Maybe, just maybe next time we will get to see Acorn with a full band, that would be perfect. To see how she and a full band feed off live energy and really dive into these songs and arrangements. Seeing those stage interactions and moments would be perfect and I think necessary to elevate her to the next level as a touring artist.
Setlist: Poster Child, People Pleaser, I Think I’m In Love, Coma, Blood On Your Hands, Cheap Dopamine, Goodbye Good Riddance, Burning House, Home Videos, Crashing Out, Hangman, Greener, Birds Still Sing Encore: Shapeshifting, Psycho
With thanks to Tiana from Dallas Does PR & Destroy All Lines for the media access.
01 – MANCHESTER HMV 02 – LEEDS Project House 03 – LIVERPOOL Rough Trade 04 – LONDON HMV Oxford Street (Signing) 05 – LONDON The Garage
Tickets for all events will go on sale on March 06 at 10am from right here.
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