Album Review :: Dave Arcari – Got Me Electric
Traditional delta styled blues Dave Arcari delivers his latest album that grabs you by the throat and never lets go.
Dave Arcari - Got Me Electric © Dave Arcari/Buzz Records
With a powerful, gargling voice and fingers that spit fire across his guitar, Dave Arcari brings a little of the deep south from the windswept Loch Lomond in Scotland. His delta driven, pre-war blues guitar and lyrics that conjure up the far off images of a world much simpler to live in, Acari’s second album Got Me Electric offers new and old listeners a great contribution to the blues scene merging here in the UK.
The Scottish singer/songwriter Dave Arcari is now no stranger to the UK blue scene. Having been hugely successful in a number of indie, blues and country competitions and tours up and down the country, Arcari was recently commissioned by the BBC to compose music for the Robert Burns poem “Parcel of Rogues”. This honour, as part of the Homecoming celebrations and 250th Anniversary of the poet’s birth, has catapulted the bluesy, bearded, badass onto a major stage and subsequent stage, his most recent achievement coming in the form of an appearance at this year’s Glastonbury Festival on the prestigious Jazz & Blues stage.
His latest album Got Me Electric is a fantastic mixture of hard hitting blues and country riffs that shake up the potential stagnant genre. With a positive and progressive attitude towards the more traditional sounding, pre-war sound, Got Me Electric is an album that takes the listener on a journey through the misty, hazy by water way of life and taking the punches, kicks and beatings that life invariably throws at us.
Kicking off the album is the eponymous track “Got me Electric” a great little blues number that demonstrates Arcari’s superb guitar skills, his gargling voice and the meaty sound of the steel guitar he wields with a venom. “Nobody’s Fool” follows this with a melodic, more intricate form of the blues style. Arcari once again demonstrates his deep seated, grimy vocals that perfectly compliment the thumping, constant guitar that makes the listener bob their head with embarrassingly accurate timing. Other highlights of the album include “Homesick and Blue”, “Walkin’ Blues” and “One More Heartbreak” each a delight to listen to and enjoy either with direct contact or even as a background theme track to the drudgery of everyday life.
The jewel of the album is, however, the aforementioned “Parcel of Rogues”, the Burns lyrics given the twenty-first century treatment and pushed through the steel guitar with frivolous vivacity. Arcari’s manipulation of the tempo and historical lyrics are expert in both delivery and production, the audience captivated by the romantic image of Scotland painted by its most famous poet. Although not necessarily still relevant where lyrics apply and some would argue a little too romanticized considering the history that preceded its inception, Dave Arcari never the less brings his own, individual interpretation of blues and country to this piece of classical poetry. It is therefore a fitting tribute to both Burns and Arcari himself for taking material of this nature and bringing them to a wide, enjoyable audience. Got Me Electric is now widely available for both download and purchase from Buzz Records.
Jonathan Whitelaw
Check out Dave Arcari's website and his record label Buzz Records for album availability and tour dates: http://www.davearcari.com, http://www.myspace.com/davearcari and http://www.thebuzzgroup.co.uk.
Promo :: The Twilight Sad – new single The Room out March 29th
There's surely something in the water north of the border; another belter from The Twilight Sad, The Room is out on 29th March with tours commencing around the same time.
Certainly statements of maturation and advancement hold true with the evidence exhibited from The Room:
We have definitely moved on from ‘Fourteen Autumns and Fifteen Winters’, musically and lyrically," says MacFarlane. “It is a step forward from the first record, the song writing and the sound of the band has moved on from that time, which is something we'll always try and do, we don't want to ever stand still and make records that sound like each other.”
Album Review :: Airbourne – No Guts, No Glory
No change please, we're rockers. Airbourne's return to studio work stands and delivers.
Airbourne - No Guts, No Glory © Airbourne/Roadrunner Records
In a world dominated by uncertainty, it is important to appreciate the smaller, infrequent moments that often can pass us by. With a volatile financial climate, seemingly constant threat of imminent doom and the frankly violent level of boredom offered by the likes of The X Factor and other degenerates, it is heart warming to be treated to the brilliantly performed, excellently produced and wonderfully fun latest release from hard Ozzy rockers Airbourne.
Since they emerged on the major market in 2006 with their debut album Runnin’ Wild Airbourne have quickly rocketed up the rankings and become one of the world’s most popular hard rock acts of the last ten years. Aligned very much in the style of the countrymen AC/DC and with frequent nods to other such classic rock gods as KISS, Van Helen, Bad Company and Whitesnake, these lads certainly know how to get a good party going. With a deliciously grimy blend of pseudo blues based, three chord riffs, eye wateringly accurate bass and a drum line that boils the very beer in your belly, Airbourne consistently deliver in the studio and on the road where they have been relentlessly touring since Runnin’ Wild debuted. It is therefore with great anticipation, excitement and aplomb that their second album No Guts, No Glory hits the shops in Europe on March 8th, April 22nd globally.
Kicking off the album with three traditional rock tracks are “No way but the hard way,” the album’s first single release, “Raise the Flag” and the oddly haunting “Born to Kill” the last of which opens the album with a creepy, screeching solo guitar intro before crunching down to a hard as nails, beaten and bruised rock anthem. Continuing in the vein of their previous album, and those of their aged predecessors, No Guts, No Glory is seeped in the style of songs that, as so many have said before, “The wives don’t get to know about”. Concentrating on all the debauchery, hard drinking, smoking and illicit bad behaviour that hard rock has built its own reputation on, the album more than heartily delivers on both the theme and playing styles that fans have now come to expect of this band. It is perhaps only a shame then that only really Airbourne and a very small handful of others are still producing this style of music. Honourable mention of course go to The Answer who, although not nearly as hard or successful, have at least remained true to the hard rock vein, more than can be said of the likes of Wolfmother and The Steroephonics.
As fine and dandy hard rocking, questionably easy riffs and shouty lyrics can be, No Guts, No Glory also aptly displays the wide array of talent Airbourne have when it comes to pace, lyricism and durability. Widely publicised during the build up to the release of this album, lead singer/guitarist Joel O’Keeffe stated that the band lived in the studio, eating, sleeping and existing during the recording of the album, much akin to the likes of Bruce Springsteen during his heyday. With high octane numbers like “It Aint over till its Over,” “Devils Child” and “Rattle your Bones,” the last two only available on the special edition album, it is surprising and refreshing to have a track like “Bottom of the Well” where the tempo is much more relaxed and melodic, the passion and conviction still very much present.
Couple these along with an epic range in subject matter and the album that stands at a whopping thirteen tracks, eighteen on the special edition, delivers on pretty much every front. The excellent summer anthem “White Line Fever” is sure to be played all throughout the warm months on rock stations the world over. This unashamedly crass feast of excess is stark in comparison to the endearingly heart felt “Steel Town” an ode to working class cities and towns and the bands’ own little tribute to their heritage and lifestyles and their audience.
In all, No Guts, No Glory is an excellent, triumphant return to the market for Airbourne. With a subsequent world tour following and the band gaining an excellent, healthy fan base all over the planet, Airbourne are very much poised to take the step from being sole soldiers on the hard rock front lines to upper echelon, fully fledged members of the community. It is often said that any artist, in any genre, needs a really good, solid, stand out studio performance on which to fundamentally launch their careers from. Now, it would seem, Airbourne have just that.
Jonathan Whitelaw
Check out the band's website: http://www.airbournerock.com
Album Review :: Airbourne – Ready To Rock
Australia's Hard Rock heirs to the throne's often overlooked EP is a lost gem, tragically overlooked.
Ready to Rock by Airbourne © Airbourne
With their second full album now less than a week away from general release here in Europe, April 20th in the States, Airbourne are the latest and most recent rock success story form Australia. Where their first album Runnin Wild was a success story all across the globe, this up and coming piece No Guts, No Glory is set to sky rocket their popularity. However, for more discerning fans there is the EP Ready to Rock available for consideration and definitely worth listening to.
Hailing from Warrnambool in Australia, this four set outfit consist of Joel and Ryan O’Keeffe on lead vocals/guitar and drums respectively, rhythm guitarist David Roads and bassist Justin Streets, all young, fun loving guys who have a penchant for debauchery, hard drinking and all kinds of fornication. It is no surprise then that they have been described by many as being heavily influenced by AC/DC, their first album often unfairly antagonized and mocked as being too much of a tribute. However, with a massing fan base, there would appear to be a vast majority of listeners out there who would claim that to be a good thing, the other ozzy rockers now pushing on a bit.
Having achieved their popular status from their first album Runnin Wild it now often overlooked that it was their inaugural EP that brought them to the attention of Capitol Records. Released in 2004, Ready to Rock heralded a triumphant debut into the less than populated world of heavy rock. With traditional sounding “Three Chord” riffs, Airbourne hearken themselves back to a simpler, cruder time when rock music was in its infancy.
The eponymous opening track “Ready to Rock” coupled with “Stand and Deliver” are run of the mill hard rock songs, the brothers gelling well with the percussion and rhythm section, a solid foundational opening for the rest of the EP. Other excellent sounds come in the form of “Come on Down” a great little pub anthem and a must for any pre-night out warm up playlist. “Runnin’ Hot” and “Women on Top” which, as the popular advert used to say, does exactly as it says on the tin. The jewel in the sweaty, static and beer soaked crown comes in the form of “When the girl gets hot (The love don’t stop)”. Apart from having a frankly awesome classic rock title and subject matter, the opening, almost haunting guitar riff of Joel O’Keeffe leaves the listener wondering how this band had gone so long without being snapped up by a major record label. Couple that with the frankly brilliant production behind both the song and the rest of the album, the boys do an excellent job of getting the right mix of sleazy, grimy sounding Gibson SG with thunderous drums and a thumping bass line.
In all, although perhaps more of a tribute to AC/DC and other classic rock bands that made the mid seventies to early nineties so memorable for this music than their first official release, Ready to Rock is never the less a wonderful introduction to the Australian outfit. Not as widely available as it perhaps should be, the songs on the EP are slowly and surely being bled into the western market via exclusive downloads and bonus tracks on re-releases of the Runnin Wild album. The upcoming album, released March 8TH, and subsequent tour are set to send Airbourne into the upper echelons of hard rock stardom and with a lot of life and fight left in this band, let us hope that they are ready to accept the responsibility of being hard rock’s royal dynasty for the next four decades.
N.B Look out for the review of No Guts, No Glory coming soon.
Jonathan Whitelaw
Check out the band's official website at: http://www.airbournerock.com
News :: BBC to Close 6 Music
The Times Online today announced a heavy blow to listeners and lovers of alternative music around the world with the shutting down of BBC Radio 6 Music soon.
Since it's inception in 2002, 6 Music has been at the forefront of decent music with specialised shows ranging from funk & soul (Craig Charles), heavy rock (Bruce Dickinson) and unsigned (Tom Robinson) to the now legendary Theme Hours of Bob Dylan and Dance Anthems of Dave Pearce.
Mark Thompson, BBC Director-General, believes the BBC's road is one of 'quality over quantity' - ironic, then, to scrap a station whose tagline is "closer to the music that matters". Although the decision is not definite, the rating-chasing BBC need only look at the figures for a pseudo-justification if this action goes ahead: only 20% of people have even heard of 6 Music, quarterly listening figures of 0.4% and, probably most importantly, the impending freeze of the TV lience fee in 2013.
All those are besides the point though: if the BBC would step back, look at it's charter and realise that to carry on with 6 Music would cost less than a third of last reported wage of Jonathan Ross, it's possible they would see that cut-backs from decent, adored services are not the way forward. Even more, if you were to judge the BBC's services on their benefit to the public, I'm sure those of a floppy-haired cunt talking shite would be much further down the list than 6 Music.
With the closure of 6 Music as a whole, I sincerely hope some of the shows at least will get moved to other stations or be recorded as podcasts for download, but even this seems too much to hope for. With the small but passionate fan-base that 6 Music has, I'm sure there'll be a few harsh messages posted on message boards and what-not, but unfortunately, I think we all know what the final outcome will be....another series of Holby City.
Promo. :: Stigma – Concerto For The Undead, out May 3
Italy’s extreme metal act STIGMA are set to strike again with their sophomore album ‘Concerto for the Undead’
Produced at Fear Studio by guitarist Jona Weinhofen and mixed and mastered by Scott Atkins (Behemoth, Cradle of Filth, Sylosis), the album presents listeners with a crystal clear barrage of uncompromising brutality; fusing staccato riffs with relentless blast-driven percussion and wholly punishing beatdowns
The albums lyrics are centered on the cult-classic comic book series Tales From The Crypt and are delivered via a vicious vocal attack from front man Stefano ‘Vlad’ Ghersi and guest vocalists Jamie Hope (ex-The Red Shore) and Jon Hunt (ex-Dead To Fall). Artwork from Andrea Barton calls upon the timeless style of vintage b-movie horror covers as influence and firmly positions the quartet as a powerful force in an era where extremity reigns supreme.
Text: Anna Meachem
TV on the Radio: Feeling the Glee
Forget The Kids From Fame, Grange Hill asking you to ‘just say no’, or Zac Efron prancing around a basketball court. The class of 2010 is a different kind of animal and the lesson is only just beginning.
There is no denying the resounding success achieved by the latest fad television craze ‘Glee’. Chronicling the hardships of a group of surprisingly attractive, social-status misfits and their desire to perform. This has all the usual elements that ensure a hit: multiple loveable protagonists, spiteful yet hilarious antagonists and heaps of chiselled cheek bones, tights abs, and sculpted physiques, plus a couple of ugly ones to make us feel better. However it is the soundtrack that has made ‘Glee’ such an international phenomenon. With their unique brand of over-produced, auto-tuned harmony rich renditions of various contemporary classics the ‘Cast of Glee’ has stormed the charts both sides of the Atlantic. At the time of writing there are currently five singles in the UK Top 75, two of which sit in the top ten.
It seems many moons ago now that made-for-TV band the Monkees first made their debut on American screens, since then original programming has been an excellent way to make a quick dollar in the charts. Afforded the luxury of building a back story surrounding each member of a band allowing audiences to relate to new artists much faster than if musicians were to arrive through more usual means.
In a lot of ways this formula for success can be seen in the Cowell mastermind of X-Factor. From very early on certain artists have their sob-stories broadcast to the nation with a change in positivity towards the end of each segment often echoed in the backing music with a shift from minor to major keys.
The triumphs of ‘reality’ television have allowed for a lot of artist manipulation disguised as viewer democracy. Performers with little or no real talent other than the ability to execute karaoke are moulded over the course of several weeks for a public who vote on a nationwide popularity contest rather than anything truly based on vocal prowess.
The flipside of this argument is that those which choose to be drawn in by the instant celebrity facade of such programming claim that the charts are made by what people enjoy the most and therefore X-Factor is the perfect outlet to relay a multitude of choices to the public.
Is this democracy at work or the decline of individuality and virtuosity in the art of composing? Is there any master-craft or undeniable talent being employed here? In much the same way that no-one would claim a microwaveable dinner to be Michelin star food can any person truly believe that X-Factor singles are gleaming examples of good music?
As with X-Factor, stars whose sales may have taken a dip in recent years are queuing up and banging down the doors of producers to be featured in the next series of Glee. There is really little by way of surprise to see Madonna and J.Lo already linked with guest appearances, Mariah Carey is presumably also not too far behind. The appeal of such a program is easy to understand, with a week in week out story involving mild peril which invariably turns out well for the good guys finished off with an upbeat number - this is a recipe for success.
Despite the pockets of Hollywood’s money-makers ringing, the major winners from this entire event are surely once-forgotten, 80’s Hair metal group Journey. They have seen their one time minor hit transformed from cult favourite to international anthem of the drunk, lonely girl almost over night. The appeal hasn’t just ended there, with every clique from the cool kids to the rock misfits finding something to love in the decadence of the un-inventive, overly emotional nostalgia of a four-minute affirmation; leading the track to peak at number 2 for the cast version and a top ten finish for the original in the UK charts.
Granted Journey hasn’t just got Glee to thank, with the likes of Scrubs and Family Guy originally boosting the number albeit with sneering intent. The release of Journey’s greatest hits is almost laughable with even the TV advertisement struggling to play anything except for the infernal piano intro now so indelibly scorched into so many ears.
Glee has made such an impact on the music industry it surely won’t be long before a succession of spin-offs and copycats fill the airwaves. The original series is not without its highlights and is certainly very watchable, but with the extreme rise of revenue it is hard to imagine a small snippet of original programming won’t now have lost its way instead heading hell bent on taking over the charts.
‘Real’ music may just have been dealt a fatal blow and Television is the box it’s going to be buried in.
Valentine’s Hangover – An alternative playlist
Are you just about sick to death of this whole Valentine's nonsense. Well you've come to the right place then!
Now that all of that soppy, squishy Valentine’s rubbish is over, its time for a bit of classic rock and roll to shove down your gullet. For those of you who had just about enough of “Everything I do” and “Lady in Red” and so forth, here’s a quick alternative list of “love” songs to fill your head with reason and sanity once again.
It cannot be stressed enough how much love songs are well and truly terrible. You merely have to look at the warbling antics of such felons as Westlife, James Bl(C)unt and the derisive, fake tanned caterwauling of Peter Andre to have bile pushed to the very tip of your throat. Luckily for us who still remain firmly on the right side of sanity, Rock music comes to our saviour once again, asking little more than a quick fumble and frolic in return.
Starting off the playlist are those long haired, heavy drinking, Ozzy rockers Airbourne. From their debut album Runnin’ Wild, we have a fine selection of songs where the word love is merely a four letter synonym for womanising, drinking and general debauchery. The most notable would be the finely titled “Girls in Black”, “Cheap Wine & Cheaper Women” and the more than double entendre “Diamond in the Rough” make your own minds up about what that could possibly mean. These tracks are, admittedly, mostly appreciated by single characters, the prospect of a night on the town much more appealing than a night on the couch, exposing our dead eyes to Mamma Mia, again. Indeed the winner does take it all.
However if the prospect of a fornicating romp around your nearest bars/clubs and inner city apartments isn’t quite your cup of tea there are plenty of much calmer songs to do with the affairs of the heart. Led Zeppelin’s “Goin’ to California” and “Ramble On” provide a much more tempered approach to love, dealing with the ups and downs, highs and lows, trials and tribulations of unrequited and lost love. Couple the enigmatic, fantasy ladened lyrics with master guitar and mandolin work from Jimmy Page and John Paul Jones and a wonderful mixture of volatile imagery allows the listener to slip off into a calming world, void of hallmark confectionary and consumerism.
Thunder also can provide a harder bighting edge to the lost love of this cruel world we inhabit. “Does it Feel like Love” and “Like a Satellite” from the album Laughing on Judgement Day give the listener a much needed boost if they are sick and tired, or even heartbroken from the toils of pre, post and general Valentine’s madness. “Dirty Love” from Backstreet Symphony also provides a wonderful alternative to typical love songs, guaranteed to bring a smile and jolt to any down and out rocker, long parted from their significant other, whatever that may mean.
So there it stands a quick, alternative playlist to get you through these disgustingly soft times. Whilst the rest of the world may be bleary eyed, staring through their rose tinted glasses to the tune of an overpriced restaurant bill, at least we amongst the rock and roll community can raise a glass and toast to their ignorance. But after all, even us rocker’s can feel the flutter of cherubs around our heads, every now and then.
Jonathan Whitelaw
Band official websites follow: www.airbournerock.com, www.ledzeppelin.com, www.thunderonline.com
The Super Bowl Halftime show – A future rock classic?
The Super Bowl halftime show, glamorous, spectacular and it would now seem an annual place for classic rockers to show off their stuff.
The Who, Roger Daltrey & Pete Townsend (c) AP Photo/Rob Carr
The annual spectacular known as the Super Bowl has often provided highs and lows both on and off the field for sporting fans and casual viewers alike. As the trend of the event being watched by ever increasing amounts of hundreds of millions of people globally, it is interesting to note that the spectacle of the half time show has come to rely on aging rockers in recent years. The Who are the latest to join the long list of performers in the forty four year history of the event, joining others who have carved a path of glory on one of the world’s biggest stages.
Save perhaps for the opening and closing ceremonies of World Cups and summer Olympic games, the annual Super Bowl of American football provides one of the grandest stages on which an artist can be asked to perform at. Of course only the biggest and brightest names are chosen for the half time show, usually comprising of a whirlwind stage being erected and typical American glitz and fireworks. It is compelling and interesting to note however that since 2005 megastars of the classic rock genre have graced the stage and delivered memorable performances, perhaps not for the artists themselves but certainly for the Super Bowl audiences.
Beginning this current trend was Paul McCartney in the early months of 2005. With a typical medley of his more famous songs including “Baby you can drive my car” “Get Back” and “Live and Let die” the decision to go for a vintage rock act, Sir Paul of course hot off of endorsing the iPod at the time, was heralded as a bold move considering the predominantly RnB and hip hop dominated music scene of the era. Criticism of the performance were mainly down to the distinctly flat sounding production of the clearly pre-recorded set list, the typical NFL and American broadcasting paranoia that when the cameras were on, never trust a rocker, even one in his sixties.
This was followed in 2006 with the ever enduring Rolling Stones. Like Macca before them, The Stones, led by the increasingly thinning, handbag face of Mick Jagger, this performance still showed many critics of the group, who have failed to release anything of great note in what seems like a lifetime, that they could still get the job done. The band had come under some criticism having publicly lambasted The Eagles that year for apparently over charging fans to see them play a “best of” set list, confusing considering Jagger et al had been doing that for the better part of forty years. Typical crowd pleasers like “Start Me Up” and ”(I can’t get no) satisfaction” were included as Jagger stomped around the giant lip logo stage, Keith Richards and Ronnie Wood being propped up by their guitars and Charlie Watts looking distinctly bored on drums.
Next in 2007 and 2008 were Prince and Tom Petty respectively. For Prince this was a return to a stage he had graced in his heyday and for Tom Petty a chance to take a break from his ‘King of the Hill’ acting and perform to the predominantly American audience that he enjoys huge popularity with. Highlights of the performances were a thrilling rendition of “All along the watchtower” and “Purple Rain” from Prince, although once again The Artist was upstaged by his flamboyant symbol guitar which dazzled the flashing camera bulbs. Petty’s highlights were, in truth, the entire set including “Free Fallin’” “Won’t back Down” and an obvious “American Girl”. The usual lack of enthusiasm displayed by the crowd, 71000 plus strong, taking away a little from the well performed shows put on by both acts.
Which brings the list neatly to last year’s performance from The Boss himself, Bruce Springsteen and the E Street Band. Singing his ever popular “Born to Run” and “Glory Days” the press at the time took the surprising turn of lambasting their hero for not playing “Born in the USA”, The Boss seemingly still a little embittered by his blatantly social issue based song being used by George Bush snr’ presidential campaign in the early 1990s.
So it would appear that the popularity of rock music is as powerful a selling tool as it is a predominantly thriving music culture and scene. Although it must be stated that the performers and artists contributions to the Super Bowl halftime shows were by no means “classic’ on their parts, it still remains one of the most watched events of the sporting and televisual year and to have classic rock represented in such a large way can only be good. This begs the question as to how long this trend will continue, and also who will fill the pretty big shoes already. The likes of U2, Phil Collins, ZZ Top and Michael Jackson have also headlined the event and with KISS, AC/DC and others now refinding their form, surely it must only be a matter of time before the powers at be make the Super Bowl halftime show a kick ass rock fest to keep the frothing fans thirsty for more.
Jonathan Whitelaw
All of the above performances can be found on YouTube. Band Links: http://www.thewho.com, http://www.rollingstones.com, http://www.tompetty.com, http://www.lotusflow3r.com, http://www.brucespringsteen.net, http://www.youtube.com
Doll & The Kicks Interview Coming Up
Hey guys, I just thought I'd let you know that myself and Ian will be interviewing, Brighton-based, indie-pop foursome, Doll & The Kicks this coming Wednesday. If anyone has any questions post them in the comments below.
The guys supported Morrissey on his last two tours and have gained quite the fan base. I urge everyone to try and see them live this year as that's when they're at their best. Be sure to check them out, they're coming to a town near you very soon.
:: Tour Dates ::
8/2 - Boileroom, Guildford
10/2 - Ruby Lounge, Manchester
11/2 - Hare & Hounds, Birmingham
12/2 - Korova, Liverpool
14/2 - Barfly, Cardiff
18/2 - Mad Hatters, Inverness
19/2 - Woodlands Centre, Stornoway
20/2 - The Arch Inn, Ullapool
21/2 - The Tunnels, Aberdeen
24/2 - The Doghouse, Dundee
25/2 - Cabaret Voltaire, Edinburgh
26/2 - Greenside Hotel, Fife
27/2 - The Classic Grand, Glasgow
2/3 - The Dutchess, York
3/3 - The Cellars, Portsmouth
4/3 - Camden Barfly, London
6/3 - Audio, Brighton
For more info and extra tour date's check out the band's MySpace page. You can buy their, self titled, debut album here.
- Anthony
Latest Posts ::
- Promo :: Frank Turner – New Single ‘Isabel’ Released April 12th
- Album Review :: Dave Arcari – Got Me Electric
- Promo :: The Twilight Sad – new single The Room out March 29th
- Album Review :: Airbourne – No Guts, No Glory
- Interview :: Fun Lovin’ Criminals Discuss Classic Fantastic
- Interview & Review :: Tiffany Page
- Promo :: Cha-Cha – Phonographic Love
- Promo :: Subsource – The Ides, released 29/03/10
- Album Review :: Airbourne – Ready To Rock
- Guest Playlist :: ArdentJohn
