You Me At Six– Lover Boy (25/09/2011 Virgin Records)

 You Me At Six, a pop punk band from Weybridge, Surrey are set to release their third album on 3^rd October this year. The first single from which, ‘Lover Boy’ will be released 8 days prior and an official music video is expected over the next couple of weeks.

     ‘Lover Boy’ is fans’ first taste of what is to come from up-and-coming ‘Sinners Never Sleep’, and if it is anything to go by they will not be disappointed! Firing up with somewhat bland gang vocals, the track takes off when the thumping blues bass line begins. Despite it being simplistic, it sets the stage perfectly for a gritty and intense first verse. Written by the band themselves, this track is personal and bitter without being over the top. It defines some progression from the band’s previous compilation ‘Hold Me Down’ without varying their sound completely, which can be difficult to achieve.

'Lover Boy': Artwork

    The verses of ‘Lover Boy’ illustrate frontman Josh Franceshi’s astounding vocal abilities, proving the possibility of being an earth-shattering singer without being technically flawless. Serious You Me At Six fans will spot Franceshi’s live techniques shining through within the chorus, such as a trace of his Weybridge accent, ‘Don’t you feel bad, don’t you feel bad?’, as well as an insinuation of the original, post-hardcore You Me At Six, ‘of course I would...’.

     Overall, the likeability of this debut single from ‘Sinners Never Sleep’ is unquestionable and the temper filled edge of it lacks sentiment, which is something that adds to a worthy catchy song, ‘this is the night you’ll regret in the morning...’. If nothing else, the band prove opportunity for more artists and bands to write and release memorable material that is not pop based. You Me At Six have done well with regards to writing a relatable track for their fans, without being whiney, soppy, heartless and without screeching about sex, drugs and booze every other lyric.

You Me At Six

     With the gritty and grainy guitar solo and gang vocals, the track is also gig-perfect, particularly for an opener. Additionally, the boys have managed to avoid default pop mode like other bands of a similar genre and have successfully charted their progress as musicians, and undoubtedly people from previous work, despite ‘Lover Boy’ being described as the most similar to the sound of ‘Hold Me Down’.

4/5

Listen to the track here: http://www.youtube.com/watch?v=1slKomFgYBI

The Vaccines – What Did You Expect From The Vaccines (14/03/2011 Colombia Records)

     The Vaccines, an English Indie Rock band formed in London in 2010. Instantly reaching number four in the UK album chart propelled The Vaccines to unswerving success, pushing the indie scene more towards the forefront of the mainstream music scene that it has been in years! After their demo of ‘If You Wanna’ was played and praised by Zane Lowe on this BBC radio show, the band’s first London show at The Flower Pot, Camden swiftly sold out in October 2010.

     Judging from the opening track of ‘What Did You Expect From The Vaccines?’, ‘Wreckin’ Bar (Ra Ra Ra)’, which lasts just one minute and twenty four seconds, is not only an effective opening for an indie album, but also for intimidate and potential arena shows alike. The Vaccines’ potential is mind-numbingly obvious despite their quirk and edge, which some may perceive as a flaw. The clean riffs, rhythms and reverb-rich guitars of the first track provides the band with the underestimated and timeless quality of widespread likability. When releases as a single in November 2010, ‘Wreckin’ Bar (Ra Ra Ra)’ was teamed with fourth track from ‘What Did You Expect From The Vaccines?’, ‘Blow It Up’. This song portrays the band’s various influences, such as The Ramones, pop based components, 1980’s American hardcore and rock ‘n’ roll from the 1950s. The blend of these two tracks illustrates that it is possible to be an indie based band that utilise the occasional pop element, without running straight for the most basic, overused aspects.

'What Did You Expect From The Vaccines?'

     Second track, ‘If You Wanna’, which was sold as a single from March 2011, conveys painful similarities to The Big Pink’s ‘Dominos’ at the very beginning, but thankfully, The Vaccines come into their own and eradicate any strong connections with other indie bands in just over ten seconds. Their soft sound is perfect for any place, mood, and person and the chirpy chorus and lyrics are irristable; ‘That’s what all the friends I do not like as much as you say...’, ‘But if you wanna come back, it’s alright, it’s alright...’ . With this song in particular, the band have achieved something very rare, especially given the competitive nature of the music industry today. They have fresh and light sound despite carrying heavy influences from other genres and artists. ‘A Lack Of Understanding’ commences with quite a heavy bass line for the indie scene, but unfortunately, by the time Justin Young’s vocals kick in, the compilation is screaming out for a more upbeat track to drown out the somewhat whiney texture.

     ‘Wetsuit’ provides a dreary tempo, which tarnishes some festival perfect moments and widely emotive lyrics ‘time gets harder to outrun...’ ‘we all got older at break-neck speed...’. ‘Nørgaard’ is the saving grace to this album like sun to a crappy day. It’s upbeat, 1950s and surf-rock influences are nothing if chirpy and full of cheek; ‘smaller tits, skinny frame, tall, short hips and you all end the same...’.  It is a wonder that the following track ‘Post Break-Up Sex’ was released as a single in January 2011 as opposed to ‘Nørgaard’. With its mock-sympathy tone and dull instrumentalities, it has nothing on the previous piece in terms of wit and vigour. ‘Under Your Thumb’ is another song sprinkled with dynamism whereas ‘All In White’, which follows reverts back to the monotonous edge The Vaccines appear to be comfortable and complacent with. However, it’s potential is clear during the opening fifteen seconds which display heavy influences from more recent Coldplay work.

The Vaccines

      Penultimate track, ‘Wolf Pack’, is a bit of an oxymoron within itself with its attempt with sarcastic humour; ‘You’re just someone new I don’t want to talk to...’, paired with a limp back beat . ‘Family Friend’ is almost laughable due to how slowly it commences. It is followed by ‘hidden’ track ‘Somebody Else’s Child’ which follows the same trend.

    ‘What Did You Expect From The Vaccines?’  Well, perhaps a little more high-spirited haste, humour and heart. Although likeable, the album is hardly life changing and lacks lustre and grit.

3/5

We Are The Ocean – Go Now And Live (25/04/2011 – Hassle Records)

     ‘Go Now And Live’ is the second studio album for post-hardcore/pop punk band from Essex, We Are The Ocean. After forming in 2008 and supporting bands such as The Blackout, You Me At Six and Funeral For A Friend on tour, they have brought together a strong set of fans anticipating the release of this album. After managing to sell out most venues on their very first UK headline tour, two EPs and a debut album, their fan base has expanded ever since. Produced by Pete Miles, who has also worked with The King Blues and Canterbury, ‘Go Now And Live’ sets We Are The Ocean on the road to success, despite many detractors.

     Commencing with a false start effect, ‘Trouble Is Temporary, Time Is Tonic’ is a tongue twister of a track, that plunges the listener straight into the albums’ depths. With We Are The Ocean’s signature blend of scream and melodic vocals, topped only by the likes of A Day To Remember, as well as blaring riffs topping off the blend of sounds. However, as the track progresses, it appears that lead vocals from Dan Brown have been tampered with in the studio somewhat, as well as the rest of the band, subsequently tarnishing the band’s organic sound found within previous work, specifically ‘Nothing Good Has Happened Yet’ from their self-titled EP, which remains untouchable. With pseudo gang vocals found in this chorus, ‘I’ve been told just to give it up, give it up...’, and the regular call and response format employed by the two vocalists. Overall, this first track provides a taste of what is yet to come from the remainder of the album, and thus far, it is worth continuing.

'Go Now And Live' Artwork

      Second track, ‘What It Feels Like’ was released as a single on 4^th January 2010. With its gritty yet gentle arrangement, entwined with priceless evocative lyrics, ‘You’ve forgotten what it feels like to be loved...’ , it’s a killer. This is one of those tracks written for crowd control at gigs, despite a steady tempo. Yet two minutes into the song would be a flawless ending for it, with Dan Brown almost singing acapella and seemingly drifting into the following song. But when ‘What It Feels Like’ set off again, the element repetition becomes slightly tedious.

     Unusually, the following track ‘The Waiting Room’ was also released as a single on 21^st March 2011 in anticipation of ‘Go Now And Live’. This is because singles are typically the tracks that are best produced on the album, with most attention to detail provided, and this is not untrue of these two tracks. ‘The Waiting Room’ perfectly utilises the band’s call and response method, simulating a discussion of an overflow of emotions between the two band members, along with the fantastic blending of vocals. The breakdown before the final chorus depicts the band’s creative instrumentality and the tender vocals conveys a versatile vocalist in Brown, although the coarse form of this voice is outstanding. Additionally, We Are The Ocean’s lyrical skill is well portrayed throughout this track,’ and I’m falling faster than I’d really like...’, proving that mood-driven songs can be heated and intense. The track is so energetic that it demands your full attention.

     ‘Runaway’ begins as an apparent ballad, notably slotted onto every rock band’s album for a bit of variety, but twenty seconds in, the band’s various musical methods are thrown into view once more. Their use of steady guitar and drumming is reminiscent of the likes of Snow Patrol, ‘I said some things just to comfort your heart’ yet they manage to retain their own influences with the straightforward rock melody. ‘Trials And Tribulations’ showcases Liam Cromby’s salient stamp on the We Are The Ocean’s music as well as their variety in terms of song writing.     

     Sixth song ‘Overtime Is A Crime’ is punchy and gig-perfect, and is yet another track that does not revert back to dull pop-ridden rhythms used by more and more ‘rock’ bands of late. ‘Godspeed’ exercises one of the oldest tricks in the rock band book; beginning a track with a steady, singular drum beat and building up the rest of the elements around it. But what is interesting about We Are The Ocean’s take on the technique, is that there are so many fused layers and components to each of their tracks that the listener is more inclined to focus on the music itself rather than its construction. Making use of heavy harmonies and instruments for dramatic build up or effect is something the band does very well. It is more difficult than you may think to throw a softer guitar solo into the spotlight in the middle of a track after a vocal fronted piece.

     ‘Now And Then’ is comparable to poppier bands such as Scouting For Girls , but with vigorous vocals and emotional overtones, ‘I won’t cover it up, just give me time...’it is an enlightening take on the rock ballad. ‘Follow What You Need’ is peppered with the best We Are The Ocean elements, but unfortunately, they all appear in an odd order, making this the weakest track from ‘Go Now And Live’. The repetition of ‘follow, follow what you need’ throughout most of the chorus is nothing but dreary, and with lyrics such as ‘Just be yourself...’ are far too cliché! Understandably, bands often write songs based on something specific, but very personal, and therefore never concretely referenced, but a notable anecdote may have saved this tiresome track.

We Are The Ocean

     The mixture of macho retort and positive energy from ‘Before I Die’ is a great send off for the compilation, illustrating that they can order songs effectively, which makes me question why the two singles were placed together. Pieced together with all the extra dimensions thrown into the rest of the album, ‘Before I Die’ documents that post-hardcore bands can provide hope through their music, ‘Before I die, I’ll make sure I’m alive...’, expressing how well rounded and developed the band have become, especially by keeping their musical influences at arms’ length and pin-pointing their collective personality and soul.  

     We Are The Ocean have released a depiction of a decade’s worth of musical development in just twelve short months and despite the associational vocal edit, lusture-lacking track and generic instrumental elements, ‘Go Now And Live’ is confident, emotional and full of hope.

   

4/5

All Time Low- Dirty Work (06/06/2011– Interscope Records)

     All Time Low, a Baltimore born pop-punk quartet formed in 2003, released ‘Dirty Work’, there fourth studio album, marking the band’s move to major label,Interscope. Perhaps it is this change that has influenced the variation in All Time Low’s original sound. Unfortunately, this records illustrates an apparent experimentation with sound and style, but All Time Low have lost the magic they used to have; their sharp and witty yet harmless lyrics combined with powerful pop and ballads have been erased and replaced with a soulless slap in the face for fans that were promised an honest record.

'Dirty Work': Artwork

    The band used to be unconventional, but well-liked by the pop-punk scene, but as they have seemingly attempted to leave the scene, they have been unable to redefine themselves well. Instead of creating a new style, they have really hit a brick wall, proving that it is important for bands and artists to stick to a genre of some kind. ‘Do You Want Me (Dead?)’ appears as sharp as comic as ever, but as the track begins, it is clear this is not the case. From the outset, the ‘guitaring’ is almost laughable and the introduction does not fit together somehow, despite the fact that the album’s release date was pushed back by several months, giving the band more time than expected to tweak any details such as this. Frontman Alex Gaskarth’s voice has been tampered with all too much, and the fake echo used on this track does not suit the band at all. As the song kicks it, it’s a kick in the face for fans expecting a meaningful yet comic track. The melody is simple and limp, but as the song progresses, it is obvious the record will be catchy, but not in a good way.

     Second track, ‘I Feel Like Dancin’ was released separately as a single on 05/04/2011, and after reviewing it myself, I had hoped this track was an lone experiment, but the remainder of the record follows a similar road; with a loss ofAll Time Low’s individual vigour found in their previous work. Making use of words such as ‘shawty’ and ‘crunk’, this song was, according to the band, created as a mocking of modern popular music, displaying just how nonsense-filled it really is, despite being co-written by Weezer’s frontman Rivers Cuomo. However, as the rest of ‘Dirty Work’ is very similar to ‘I Feel Like Dancin’, making All Time Low either hypocritical or oblivious of the same themes appearing in their own music.

      Continuing the in un-inspirational direction, ‘Forget About It’ utilises voice variation and dance-inspired elements designed to block the listeners’ attention from the vocals. Although melodic, All Time Low have hit rock bottom by becoming lyrically lame, ‘You know, there are some days when I really feel like this could work. Like, you and I are finally gonna get it right. Then there are days like today, when you make me want to tear my fucking hair out." Understandably, relatable lyrics are the key to emotionally connecting with fans, but there is no heart placed into the lyrics themselves, as if they are the first draft of a work in progress. ‘Guts’, supposedly the new ‘Vegas’ (‘So Wrong, It’s Right’, 2007) commences with a start stop outline eventually crashing into off-beat drumming and more over-edited vocals. The sound of the chorus is almost pleasing, until you hear the pointless lyrical input that is, ‘I’ve got the guts to say anything...’. Where are the notable anecdotes from funny or emotional love stories?

     ‘Time Bomb’, if nothing else, makes an attempt saves this album. It hints at the ‘old’ All Time Low, with more natural vocals, actual audible use of instruments, a haunting yet varied melody and steady, crunchy pop-punk beat, it is everything that the rest of the album should be made up of. With a track such as this, you can visualise the venue yelling and shuffling along. ‘Just The Way I’m Not’ is immediately reminiscent of The Big Pink’s ‘Dominoes’, but with nothing but unnatural vocals and a back-beat, it is a wonder the song made it onto the record. It’s a track that will stick around in your head, but one you’d rather drown out with whatever you can. Seventh track ‘Under A Paper Moon’, ‘Return TheFavour’ and ‘No Idea’ are nothing but monotone, and the band’s only attempt of a ballad or sentimental song on the compilation, aside from acoustic versions of other tracks, ‘A Daydream Away’ has nothing on the band’s back catalogue of love songs; it is unrepeatable and almost fickle for a love song.

All Time Low? Exactly.

     ‘That Girl’, ‘that girl, she’s such a bitch’. Need I say more? Like the rest of the album, there is no heart or theme for this track, it is both dull and meaningless. Final track, ‘Heroes’ is anything but heroic. Its lyrical imagery if you man ‘you’re not a hero, you’re a liar, you’re not a saviour, you’re a vampire, sucking the life out of all the friends you’ve ever known...’ is laughable. Bonus track ‘Get Down On Your Knees And Tell Me You Love Me’ is the second best track from ‘Dirty Work’ and it is criminal and baffling as to why it is not actually on the record. Other bonus tracks‘My Only One’, ‘Bad Enough For You’ and (appalling) acoustic attempts of ‘I Feel Like Dancin’ and ‘Time Bomb’ revert back to the disappointing sound from the rest of the record.

     Blunt, honest, yet tinged with emotion, the old All Time Low were edgy and tinged with dramatic drive. Aside from one or two tracks, the band have lost their way with this new sound on this album. Track after track of immature meaningless melodies, the soul has disappeared from their sound, with no individuality or rock edge in sight. ‘Dirty Work’ is a slap in the face for their fans! All Time Low? Exactly.

   

1/5

Coldplay – Every Teardrop Is A Waterfall (03/06/2011– Parlophone)

      Coldplay, probably the most famous alternative rock band on the planet, released ‘Every Teardrop Is A Waterfall’ a few days ago to give fans a taste of what is to come when their yet-to-be-named album eventually drops in the next few months. If this song track is anything to go by, the London-based band has hit the jackpot yet again.

'Every Teardrop Is A Waterfall': Graffiti-Inspired Artwork

           Written by the entire band, with assistance from various co-writers, a monster track has been formed. Coldplay have always done admirably with writing timeless tunes, full of vim and vigour, and never selling out. Yet to be honest, when I heard the first lyric of ‘Every Teardrop Is A Waterfall’, my heart sunk, ‘I turn the music up, I got my records on...’. And despite the seemingly morbid title, the track is uplifting to say the least, with one of Jonny Buckland’s infamous riffs and a strong and steady backbeat of military marching drums driving the piece, as found in ‘Viva La Vida’.

      The band are also well known for being one of the first emo bands with their depressive undercurrent, but although their sound has not varied considerably since most recent album ‘Viva La Vida Or Death And All His Friends’ , there is something comforting and calming about this song. Along with their timeless qualities, Coldplay manage to compose music for any person of any age; just someone who simply appreciates their inspiring lyrics and stunning melodies, this song being no exception. Although, fans of the band will note the lack of leading piano on this track, adding to its optimism. Commenting on a true love for music, ‘I feel my heart start beating to my favourite song...’ the track can make a connection to so many people.

Promo Shots: Coldplay

           Additionally, with elements from the 1976 song ‘I Go To Rio’, Coldplay, this pop song laced with rock ‘n’ roll elements is both moving and blissful. Having received many a Radiohead comparison through the years, Coldplay have turned a ‘poppier’, repetitive corner over the last few years. ‘Every Teardrop Is A Waterfall’ marks a continuation of the bands high standards of produce, with a track that is bold, bright and when placed with harmonic layers and Chris Martin’s wonderful vocals, it’s a killer.

      Coldplay happen one of my favourite bands of all time, but I listened to this track neutrally and was not disappointed. Whether you are a Coldplay lover or hater, this single is undoubtedly addictive and escapist, and you can practically hear a sold-out chanting arena.


5/5

All Time Low- I Feel Like Dancin’ (05/04/2011– Interscope Records)

     Baltimore born Pop Punk band All Time Low have released this, their first single from upcoming third studio album ‘Dirty Work’. Co-written with Weezer’s frontman Rivers Cuomo (along with the All Time Low’s own Alex Gaskarth), this track is everything most people expect from a Pop Punk band; harmless.

All Time Low

     In recent interviews, the band have expressed a delight in composing their new album with more personal and emotional songs, and unfortunately, this track utterly undermines that concept. The tune appears to be
‘borrowed’ from Joan Jett and The Blackhearts’ ‘I Love Rock And Roll’, as well as ‘Pour Some Sugar On Me’ by Def Leppard’. Undeniably, both are catchy, impressive songs, but cloning of them is unnecessary.

     Beginning with the word ‘shawty’ followed by ‘crunk’, the boys have managed to construct a real ‘facepalm’ moments for themselves.  As the song progresses, some of All Time Low’s edge and vigour return, with mischievous lyrics (if a little immature), ‘Everybody get kinda awesome...’, and an infectious chorus. Any fan of the band can recognise that this track will be nothing compared to previous work live as it has none of the punch as, for instance, ‘Damned If I Do Ya (Damned If I Don’t’) (Nothing Personal, 2009), but its likeability makes it impossible to completely hate. All Time Low have never come across as a serious (emotional) band, but this song fails to even capture the party-mode they tend to embrace so well.

'I Feel Like Dancin': Artwork

     Lyrically, this track is a train wreck; without depth or hint of sentiment. Of course bands experiment all the time, so let’s hope this is recognised as an unsuccessful one by the guys, and not a new sound. However, it has been reported that Gaskarth wrote the song as a joke to make am ironic joke of mainstream music and the tedious party songs many people adore. But why write a song embracing it...and then release it as the first single from a brand new, more poignant album?

     Only time will tell if All Time Low have produced an album bursting with tracks like this and return to their lovable characters so many know and love.


2/5


 Watch the official music video for ‘I Feel Like Dancin’ here: http://www.youtube.com/watch?v=MTJkE8Ki3Gg

Destroy Rebuild Until God Shows- D.R.U.G.S. (22/02/2011 Sire/Decaydance)

     Formed in L.A. in late 2009, Destroy Rebuild Until God Shows (D.R.U.G.S.) is a post-hardcore rock super-group lead by ex-Chiodos frontman Craig Owens. After his well publicised 2008 overdose and departure from Chiodos in September 2009, fans were desperate to hear something new from the vocalist. Via Twitter, Owens announced the official formation of new band D.R.U.G.S. Approximately a year after forming, D.R.U.G.S. have released their bitter, anger-driven self-titled debut.

Frontman: Craig Owens

     

     The aggressive first track, which was released as single in November 2010, ‘If You Think This Song Is About You It Probably Is’, propels the band comfortably into the heavy-handed alternative scene with a thumping drum solo commencing it, along with breathy vocals courtesy of Craig Owens. The lyrics immediately provide the listener with a perfect taster of what is to come from the rest of the album, ‘Today was the day you tried to shut me down.’; anger-fuelled, intense sounds flavoured with softer elements such as dance-inspired mixing. By utilising a start-stop format and various tempos for this song, D.R.U.G.S illustrate their song writing skill. This, along with Owens’ powerful, soaring vocals and the versatile abilities of the rest of the band layered together convey the venue-filling potential this band have.

     Something rare about D.R.U.G.S. is their capability to be a post-hardcore group using scream vocals that are actually audible to listeners, something shared with the likes of A Day To Remember and The Blackout. Owens’ distinctive voice drives the band, with his flawless quick changes from melodic moments to burly scream sections and back again. Although it is only their debut, this album could easily be mistaken for a second or third album, reflecting the experience of the band’s members. Second track, ‘The Only Thing You Talk About’ is more a scene-associated song, obviously reaching out to younger listeners as it commences with soft gang vocals, ‘We all know, we all know, that you’re the only thing you talk about.’ Lyrics such as this aim to attract the younger ground, such as fans of You Me At Six, All Time Low, and others from the Pop Punk Scene.  This track contains thrashing guitaring and a catchy pop-inspired chorus, a hardcore breakdown before the final chorus, followed by Owens bellowing, ‘I knew as soon as I’d left that you’d go and fuck someone else, you whore.’

     Third track ‘Graveyard Dancing’ begins with mild melodic beats that lull the listener into a false sense of security. But by twelve seconds in, the thumping drumming and boisterous sound return, employing the timeless component of light and shade within a track. Having said that, the lighter aspects come across as sarcastic when juxtaposed with the theme of the album, ‘You’re not as pretty as you maybe think that you are.’ The mature backbone of this album sets D.R.U.G.S. apart from other similar bands, as well as the unusually heartless and hate- fuelled lyrics, ‘Why is it I love you so much and all you do is hate, hate, hate...’. It is clear that the band took time to evolve their sound in order to produce this ambitious debut offering.

      Released on 6^th December 2010, second single and fourth album track ‘Mr Owl Ate My Metal Worm’ not only has a pop punk inspired title, but from its inception, retains D.R.U.G.S.’s energy entwined with emo elements, ‘I’d like to keep cutting...but I can’t stand to watch myself bleed...’. Placed against forceful backing vocals this track rewrites the emo rule book, making the band groundbreaking and well established in their debut. ‘Sex Life’ premiered in January 2011 and it complements previous tracks with its tricking the listener about the strength of the song, which foregrounds the fact that it is possible to compose an ‘I-hate-everything-and-everyone’ compilation and be talented musicians. 

Destroy Rebuild Until God Shows (D.R.U.G.S.)

    Stunning in its apparent simplicity, ‘Laminated E.T. Animal’ begins with the subtle strumming of an acoustic guitar, alluding a Parkway Drive type breakdown and negative emotion filled remainder including epic group vocals. Seventh track ‘Stop Reading, Start Doing Push Ups’ fires up with a Green Day/Rise Against moral-yelling introduction before sweeping in Craig Owens’ perfectly gritty tone. It is clear that the band spent time developing their sound as every note and occasional sound effect combines seamlessly with the vocals. ‘I’m The Rehab, You’re The Drugs’ is punchy without endorsing pop elements. It derives from a sense of self-pity minus any whining.

     ‘I’m Here To Take To The Sky’ incorporates a slight sense of optimism, ‘If the sky is the limit, then I’ll build a bridge up to it!’, so much so that it could be mistaken for an All Time Low track. However, the album was crying out for some hope by track nine. ‘The Hangman’ returns to the heavier form which appears to be D.R.U.G.S’s most comfortable sound, ‘Sometimes hate can be so beautiful...oh please, oh please, just let me bleed...’ . Final track ‘My Swagger Has A First Name’ closes the album with guest vocals from Underminded’s Nick Martin and high creative energy and drumming just begging to be heard in a sweaty, sold-out venue. Bonus tracks ‘A Little Kiss And Tell’, ‘Ghost Town’ and ‘The Holly Situation’ unfortunately come across as very generic compared to the remainder of the album.

      Music is undoubtebly Owens’ emotional outlet, proving there’s nothing like honest and personal lyrics, ‘I’m so used to being a coward!’, together with great music. Infectious and fiery, D.R.U.G.S. have managed to generate a fresh and almost exclusive sound and establish themselves as flexible, resourceful and great musicianship overall. But, this offering is pleading for a chilled acoustic track to throw some variety in with the other solid tracks.


4/5

D.R.U.G.S.' Debut Album Cover

www.thisisdrugs.com