Slam Dunk- 02 Academy, Bournemouth, Friday May 28th. Set Your Goals, Out of Sight, Hit the Lights, Four Year Strong, New Found Glory.

Independent music label Slam Dunk sports an annual in-door festival of the same name to showcase their clients and play host to larger bands from all over. The festival has seen Fall Out Boy, Reel Big Fish and Paramore on its stages during its 4 years and this year was as big as ever. Its sister show – with bands from the festival’s main stage - stopped by Bournemouth’s 02 Academy this weekend to give fans of the scene a taste of what’s to come. And it started on a very good note.

Unlikely openers Set Your Goals have somewhere else to be so get the night underway, much to everyone’s confusion and the disappointment of those who are running late.
These guys are not a band to be judged on appearances as what you see, at times, resembles a hyper group of mathletes fronted by an uncool, white Keenan and Kel.Following a command to form a circle pit from Kel, Keenan quickly steps in with a terrified look and a cutthroat signal - a sign that circle pits are not allowed. You could almost imagine his counterpart declaring “aaaaah, here it goes...” That was not very METAL. Then, pop punk isn’t particularly metal. If you’re paying more attention to the music then you’d notice the pair works well with contrasting vocals and as a unit they are tight and seem flawless, full of an infectious energy and somewhat daring confidence which makes them a difficult act to follow.

Unfortunately those with the task of following are fresh faced four piece Out Of Sight. There’s nothing too wrong with what they’ve written but it’s certainly not original, no one knows who they are and no one is here to find out. Seeing as they were opening main stage at the festival this weekend you feel some pity that they have to beg the crowd to sing back lyrics that just aren’t as inventive or anthem worthy as they think.

“Who’s drunk yet?” bassist Sean slurs. Clearly him. Given that it is only 6.30pm and a great deal of the crowd are still in secondary school, only a handful of punters respond – which is awkward. It’s a shame they’re not as good as they think they are and no amount of sex faces or pleading for crowd participation is going to change that. A highlight comes mid-set when they attempt a cover of Black Eyed Peas ‘I Gotta Feeling’ which, admittedly, stirs some excitement. And, yes, it is going to be a good night. But when Journey gets a better sing along during the following sound check it’s apparent that it really is Out of Sight... out of mind. Chortle.

The 400 capacity venue is still filling up when Hit the Lights hit the stage. With copius amounts of energy and a guitarist who could pass off as a possessed Moss from the IT Crowd, they sound more like New Found Glory than New Found Glory. Well, almost. This is no accident as NFG spawned this scene and, although theirs is not an entirely original sound, those watching and listening start bouncing and singing and take to them well. The response from the crowd gives the Journey record a run for its money and its volume during the frequent breakdowns invites goosebumps every time.
It is obvious from the continuing roar of the crowd that Four Year Strong are as popular as the headliners and, if one didn’t know better, one would think everyone was here to see them. As far as their sound goes they’re not what the night has dictated so far and boast an aggression that has left a whole in what has come before. If you can look past the fact that front man Dan O'Connor looks like an angry saliva beleaguered Brian Blessed, who’s Gruff vocals are a welcome break from the whine of the pop punk, then what stands before you is a vat of sounds combining classic Rise Against with the hardcore hooks of Story of the Year. With no shortage of material and songs with intriguing titles such as ‘What the Hell is a Gigawatt?’ and ‘Prepare To Be Digitally Manipulated,’ Four year strong are definitely one to watch.

This year marks the 10th anniversary of their self titled release and, as they bound onto the stage to the sounds of Miley Cyrus’ ‘Party in the Usa,’ New Found Glory bring a sense of completion to the bill tonight. “We are going to play a shit load of songs for you!” front man Jordan Pundik beams. And they do so with the flare and precision that they’re known for, the crowd following every word and every song being met with a colossal scream. Classics ‘Hit or Miss,’ ‘Catalyst,’ ‘Dressed to Kill’ and ‘My Friends over you,’ as well as an excellent cover of ‘Kiss Me,’ are highlights and it hits home just how much NYG have brought to the scene when guitarist Chad Gilbert thanks the fans for their support and promises that “no matter how uncool we may be, New Found Glory will always be there for you.” Judging by the energy in here tonight, they are definitely still cool and - even after 10 years - show no signs of slowing down.

Oh and, let’s face it, everyone knows Hayley meant to send that picture to Chad. Lol.

Bullet For My Valentine- 'Fever' (2010)

1. "Your Betrayal"
2. "Fever"
3. "The Last Fight"
4. "A Place Where You Belong"
5. "Pleasure and Pain"
6. "Alone"
7. "Breaking Out, Breaking Down"
8. "Bittersweet Memories"
9. "Dignity"
10. "Begging for Mercy"
11. "Pretty On the Outside"

A group who have won music awards both on their arrival to the scene and for an early single, Bullet For My Valentine have played festivals across Europe and have already conquered America. They had nothing to prove when it came to writing new stuff except if they could deliver a devoted fan base something special. Having read Kerrang!’s review beforehand and even a certain amount of acclaim from BBC Music, I was expecting to praise every last inch of their third album ‘Fever.’ To be honest- having been a fan since their 2004 EP- I was a little disappointed.

Starting, logically, from the start, Fever sounds immense. The rolling military-like beats and axe layers of opening track ‘Your Betrayal’ get the double peddles tapping and pulse racing. The whole thing works immaculately, especially front man Matt Tuck’s experimental invasive whisper. The louder the midsection is, the better it gets. Despite questionable lyrics “come here you naughty girl, you’re such a tease” title track ‘Fever’ is as gripping as it needs to be, although without a growl it lacks any sort of bullet-esque punch. Lead UK single ‘The Last Fight’ is as perfect as they come and, with a hook that will imbed on first listen, it’s easy to see why it‘s a single. Basing the album on the hugely promising first three tracks – you can’t argue the quality. Unfortunately it rapidly fires downhill as the structure of galloping guitars and clichéd violence-driven lyrics tires and what follows feels awfully like a selection of b-sides.

The biggest issue for me are the vocals. Remembering Tuck recently had surgery on his throat his effort is commendable and his voice has never sounded better. But there is an obvious hole where the hard scream used to lie. It’s a new direction in its own right and, in a way, it would be wrong to criticise the new work on just this fact. But that's very difficult. The first taster you get of any bullet-esque hard vocals is the penultimate track ‘Begging For Mercy,’ but is it worth waiting 10 songs for?

The bulk of the song writing hasn’t changed and its clear Bullet For My Valentine have honed in their sound, taking the best of both of their previous efforts. As with before, penning lyrics isn’t a notable strength and tracks are often let down by cheesy crones of ‘I never said goodbye, can’t even tell you why’ (‘A Place Where You Belong’) or ‘I still want you, it’s easy to see... but guess what honey, you’re not that good for me’ (‘Bittersweet Memories.’) The latter has one of those ballad-like chorus’ that will no doubt warrant a decent lighter-worthy singalong. But remove the vaguely hard-rock guitar and obvious Bullet charm and it would resemble an S Club 7 single. A poor one, at that.

There are positives. ‘Pleasure and Pain’ and ‘Alone’ boast what are arguably amongst the finest solos Bullet have written and at the pace you’d want from modern metalcore. On a side note, I can’t get over how much the fading synths in ‘Alone’ sound like Still Remains' 'The Serpant'. The production is fantastic and, like I said before, the vocals are flawless. The first time I heard the final track ‘Pretty On The Outside,’ I hit to play it again. It’s original and gritty and provides relief that ‘Fever’ both begins and ends well.

But they’ve hailed ‘Fever’ as their best album yet and, for me, in terms of excitement and originality, it doesn’t even touch their somewhat sub-par sophomore album ‘Scream, Aim, Fire.’

It’s pure and simple critical negativity to bitch about the vocals and lyrics and it’s so easy to complain. I couldn’t write songs of the calibre they do. But it’s not my job to, it’s theirs and they’ve proved they’re capable of so much more and I loved the brutality they created before. It’s true to say that just three albums in, Bullet For My Valentine are one of those bands who write stand out beauties and simply crap fillers. You could create the perfect metal album by combining the likes of ‘4 Words’, ‘The Poison’, ‘Waking the Demon,’ and even ‘The Last Fight’ from the latest effort.

When an advert for a folk singer on Spotify interrupts you mid album and you find yourself distracted by the floating sounds of a eukalale- you know the metalcore album you’ve waited 2 years for just isn’t doing it for you. For the critical appeal of Fever it’s also awkward that a breath of fresh air comes as the final track merges into the first track of 2008’s ‘Scream, Aim, Fire.’

The lack of aggression, like an actual fever, leads to tediousness and discomfort and you may rather overdose on Lemsip and pass out than endure the entire thing. Save yourself disappointment- download: ‘Your Betrayal’, ‘Fever’, ‘The Last Fight,’ ‘Begging For Mercy’ and ‘Pretty On The Outside.’ As cynical as it is, you wouldn’t miss much if you avoided the rest.If you’re at all interested in the band, their first and by far most impressive album ‘The Poison’ is the best way to go. Lie down with BIG headphones, immerse yourself in the guitar flow intro and then experience ‘Her Voice Resides’ in all its raw growly glory.

Just don’t let anyone catch you air screaming, shredding and double-peddling.

Nothin' But A Good Time.

A wonderous insight into my teen years
put to a happy tune.



All footage filmed by Kyle Reed or my friends.
Song: Reel Big Fish- Nothing But A Good Time (Fame, Fortune and Fornication, 2009)

Creating writing? That's so old school.

It's been a while since I've posted anything on here. What with the ridiculous law revision cramming of the soon to be revised ridiculously crammed law unit. Bleurgh.

I took a few precious moments out of my revision to delve into the relics of a document folder labelled 'school,' in which i found an abundance of essays and rehashed Wikipedia pages fobbed off as 'research'. I really should have erased these years ago but somehow my obsessive compulsions scream at me that sonnets about my friends 'being attracted to men' and guides on how to PEE must live as long as I.

Among such things I also found a file titled Johnny's Johnny. I used to thrive on writing creatively in any way I could and somewhere in my room hidden from humans are the remains of crude half finished Goosebumps books and spy novellas. Well, they used to exist. I looked most forward to the English classes where I had to generate something original and something inspired. Johnny's Johnny was my answer to the brief of GCSE Creative Writing and one of my first and favourite inventions.

It's no Bloody Chamber, but to cut a long 'you had to have been there' story short, here is my somewhat dramatic account of when my best friend and I took some guys clothes while he showered.

Johnny's Johnny: Beast In The Showers

I waited. The cracked window rattled in the wind. I knew it would break, any second. It was like waiting for a bomb to go off. The whole cabin shook. The weather outside was insane. However, the eight-hour hike had knocked all strength out of me.

Everyone was upstairs, watching some b-rated movie on channel three hundred and something. This place sucked. We were literally in the middle of nowhere. ‘The Lakes,’ they called it. Same difference. Jim and Tom filled the silence with immature laughter, the dirty magazines controlling their minds. Pathetic. No, I preferred to waste away on my bunk.

He was in the shower. Secretly, I hoped he would drown in his own smugness. He’d made this trip hell. He was known as Johnny and was pure evil. When we’d reached our goal, The Old Man, highest mountain peak in the area, I could have finished him off. I didn’t, so instead I feared for my life.

Another giggle. I was getting tired of this. “You guys up for a laugh?” I said, obviously disturbing an important pastime of theirs. Like they could laugh any more than they were anyway.

“What like?” Tom asked, in a curious tone. I had their attention. I told them my plan. Told them it would be easy. They were just as much afraid as I was, but I didn’t show it.

The lock on the cubicle door slid away with ease, completing my flick knife’s task. He sang a deadly chorus of poison as he washed his filthy self. It sounds over the top, but he’s not human.
“Look!” Jimmy whispered, shaking like a pager. Johnny’s boxers were in view. They were his spies. Tom reached in; aware he would lose his life at any moment. There it was. In a flash, the shower room was empty, Jimmy plunging it into darkness with the click of the switch. It was empty, except for the trapped beast in the shower. A howl of fury escaped as I leapt to my bunk.

It seemed like forever before he appeared; dripping with the acid he had washed in. That’s when I saw it. That’s when he infected me with his evil. That memory; a life sentence. Jimmy was first, his forehead being slapped into the future. I could feel his pain. He was on his knees, begging for mercy. Still, Johnny screamed with pleasure. I wanted to help but was frozen by my fear. I fell down the side of my bunk, now trapped between it and the wall. This was the end. I had no chance. Tom, protesting his innocence, joined alliance with the evil. Together they taunted me, trying to capture my soul. I resisted, struggling to get under the bed. But it was too late. Johnny crushed my chest with his monster size 12’s, forcing my gaze towards his weapon. It ruined me. From underneath the bed I could see Jimmy. He wasn’t moving. I wished to hear him laugh. I couldn’t call his name. I couldn’t breathe. I could only hear the beast’s howl of satisfaction; could only see him step off me, cursing me one last time.

I thought the movie would end soon. But it didn’t. They didn’t save me. I’d seen it. I’d seen what no male teenager should ever see. So a bomb did go off. It was nuclear, left my mind paralysed. It will leave my children with horrible defects. I should be thankful I have lived to see them. But I am scarred with this permanent image. The image of evil; Johnny’s Johnny.

Move over, R.L.Stine.

Imperial Leisure @Mr Kyps, 20/03/2010

What has six heads, one horn and a whole new albums worth of material to show off? Skankalicious London based six-piece Imperial Leisure have descended on Mr Kyp's for a night of singing, dancing and a lot of beer. Previously a ten headed, three horned beast, the newly honed ska-rap mob have spent this month on tour around the country, showcasing brand new tracks from their upcoming second album due out in the summer.

Known for their hyper guerrilla gigs and eclectic mix of sounds and styles, Imperial Leisure have played Glastonbury and Reading, toured with ska legends Less Than Jake and even played a mobile gig in front of France’s most recognisable structure. “That place is so iconic,” vocalist Denis Smith remembers, “we didn’t realise what we were doing until we saw the video footage back and couldn’t believe we were actually at the Eiffel Tower!”


Tonight’s set is -as expected - full of bounce and flair. Their music is as infectious as the smiles on the fan's faces and the new material goes down a treat. Its classic tracks 'In a Letter', 'Man On The Street' and 'Alperton' from debut album The Art of Saying Nothing that incite energy in the faithful attending that any band would be envious of.

What makes Imperial Leisure special is the lack of distance between the crowd and the band members themselves. Everyone in the 300 capacity venue tonight is here for the same reason- to have the best time. They’re proud to show off their new work, described by guitarist AJ White as a ‘melting pot of ideas’, and do so with confidence and pizzazz.

At one point the front man finds himself bounding through the crowd, pouring a bottle of cava over their heads and inviting those at the barrier to sing down the mic. Who, of course, are more than willing to oblige. It’s a moment that really highlights the fact that Imperial Leisure are a fans band - and they revel in the interactivity.

As they leave with set closer ‘Untouchable’ and the fitting lyrics of “this place makes my heart pump, when I’m feeling low this lifts me up”, everyone is satisfied and no one could be happier. Especially the young 17-year-old invited backstage for a CD signing for his birthday.

Imperial Leisure are going places and this summer should prove the most exciting yet, when their second album is unleashed amongst the public. A Great British Summertime it shall be indeed.

The Rebel Alliance Tour, Sunday 7th February@Mr Kyps

If one were to ‘skank’ – the dance form associated with the feel good music of ska - then one would lean forward, out stretch the arms and, essentially, jog on the spot. To the upbeat of some reggae inspired tunes, of course. On February 7th The Rebel Alliance Tour stopped off at Poole’s atmospheric live music venue Mr. Kyps and ‘skanking’ is exactly what those who checked it out did. The tour sees the union of three of the UK’s young heroes of the ska scene today; Random Hand, Mouthwash and The Skints, as well as international acoustic artist Chris Murray.

First on the stage tonight, Chris Murray and Friends –comprising of The Skint’s drummer and bassist – has the unenviable task of playing to a crowd that is yet to reach 20 in number. Despite this his set is flawless and filled to the brim with melody and bounce and it’s clear he’s in his element, ‘daring’ the inquisitive couple dozen to come closer. “Welcome to Mr. Kyps, it’s a cool place to be…and the crowd goes wild!” he jokes with a smile and genuine adoration for the support he’s received. You can’t help but warm to his charm and, frankly, he deserves a bigger audience.

Random Hand are tipped as one of the fastest rising ska punk bands in the UK today. The four-piece have previously toured with eclectic homegrown skankers Sonic Boom Six - founders of the Rebel Alliance Label – as well as Californian ska punk legends Reel Big Fish. Mouthwash have supported Florida party-band Less Than Jake and have years of experience of headline tours under their black and white checked belts. Tonight this experience shows and both bands shine at times with a raw punk energy and clear blues roots. It’s clear the crowd is never going to exceed 50-odd and both bands make the most of the fantastic atmosphere of Kyp’s to incite a dance pit. “You’re all like minded, if one dances you’ll all dance” Random Hand front man and class joker Robin Leitch screams. And, for the remainder of theirs and Mouthwash’s set, they do.

By the time bill closers The Skints take to the stage the beer is flowing and the quality of music remains high. It’s still the same faithful skankers down the front but in this environment a pit of 10 is no less impressive than a pit of 100. That said it is unfortunate that so few were in attendance tonight as those who were enjoyed every second. Ska is certainly not dead; it just needs to be prodded awake. See for yourself- catch the mighty Sonic Boom Six at Kyp’s in April.

Rammstein Burn Birmingham

It’s a bitingly cold Wednesday night in Birmingham. The LG Arena is about to play host to one of the world’s most controversial bands and one known best for their live presence. 100’s of believers stampede through the halls to be first through the arena doors. Everyone knows that something colossal is about to go down and everyone wants to be caught in the explosion.

It must be said that without the impressive light show, support act Combichrist would be a dull and odd looking experience. With their assortment of industrial spaz-metal and a somewhat baffling resemblance to the Muppet band Dr Teeth and the Electric Mayhem, it takes a pinch of salt to appreciate what they’re trying to achieve with songs like ‘What the F**k is Wrong With You?’ and ‘*F**k That S**t.’ Ironically, the sentiments of many in the crowd by the end of the set. There is a moment of intrigue when the drummer-duo pour water over their kits, sending droplets soaring with every perfectly executed beat. But, with an audience of 12 000 eagerly awaiting Germany’s biggest musical export and well aware of the wonders their 20-something trucks have carted across the continent - nobody cares.

It is near impossible to explain just how good Rammstein are. It simply is something you have to witness for yourself. You can’t just sling clichés like ‘they put on a great show’ or ‘the audience loved it.’ Imagine the best Guy Fawkes Night - indoors - meshed with the scene where the ring is destroyed in the Return of the King.

They take to the stage using pickaxes to break through their set walls, exposing a blinding light behind. Front man Till Lindeman booms opener ‘Rammleid’ with mini lights illuminating his mouth as the crowd sing back their name. He says very little for the 2 hours of their set – comprising mainly of their latest work from Liebe ist für alle da - and he doesn’t have to. The thousands in front of him are gripped from the start by every double beat of the drum, every relentless power chord and every eclectic tune from Flake’s keys. At times you can’t move from sheer bemusement that the stage is on fire or that there is a skinny man crowd surfing above you in a Quicksilver boat. There are flames every other song and there are explosions in between. Now you can understand why it takes a whole year of advance planning and dress rehearsals.

But enough about the show. Rammstein said recently with regards to their tour that they worry fans care more for the flames than the music. Understandable, as no other band in the world would dangle a couple dozen laser emitting doll babies from the light rigging in poetic symbolism of the antics of Josef Fritzl. However, the German six-piece still have the repertoire to ignite a good sing along – even in a foreign language. Fan favourites 'Ich Will' and 'Du Hast' stand out as the spine tingling stadium anthems of the night. It’s new single ‘Pussy’ that gets the biggest reception, possibly because it’s mainly in English and possibly because it’s about sex. It’s probably because Till mounts a cement mixer-come-fallice and sprays the crowd with sweet smelling foam at its climax. Seriously, had to be there.

By the time they reach their second encore and set closer, 'Engel', those who bore witness to what came before stand in awe as Till takes to the stage sporting flame throwing angel wings. Not the kind you wear to ballet. The kind you would imagine the perpetrator of the end of the world wearing as he demolishes all human kind. The German government may be ashamed of them but metal fans across Europe love them. And, with flames that touch the ceiling, fireworks that scale the arena and exploding laser babies, there can be no argument that - when it comes to pure spectacle - Rammstein are hands down the greatest live band in the world.

Flames, Fireworks and Exploding Laser Babies
http://www.youtube.com/watch?gl=GB&v=tnHrGVp0jiw