Food For Thought

Hi visitors! (If there are actually any of you!)


Well anyway, if you have happened to stumble across my blog and could spare 2 minutes to quickly fill out this questionnaire it would be greatly appreciated!


The questionnaire is about product warning labels and it is part of my research for my degree.

Here is the link: http://www.kwiksurveys.com/online-survey.php?surveyID=OMKNOM_a63294f3 

Thanks for stopping by!

The Man, The Myth, The Legend

Alice Cooper's Halloween Night Of Fear – No More Mr Nice Guy Tour 2011

Sheffield City Hall 25/10/11

When it comes to Halloween, no one quite does it better than Alice Cooper. Let’s face it, he owns this night. He is the king of shock rock, master of the weird and wonderful, and he’s going to damn well prove it on his appropriately titled ‘Halloween Night of Fear’ show, brought to the UK as part of his current No More Mr Nice Guy Tour. With a title like that it hardly leaves much to the imagination, but with Alice Cooper you’re never quite sure what he’s got up his sleeve…
     Opening the show with the chillingly spooky Vincent Price intro, taken from the original Welcome To My Nightmare album, followed by classic hit The Black Widow, Alice kicks the night off in style. As the curtain drops he’s found standing at the top of some stairs dressed (in character of course) as a black widow – this might sound a little odd, but this isn’t exactly your ordinary show. Tearing into an array of killer songs including Brutal Planet, I’m Eighteen, Billion Dollar Babies, and Hey Stoopid, Alice parades around the stage like a demon possessed. He glares into the crowd with looks of sheer menace, waving his cane like a slightly deranged conductor, whilst the crowd go mental for it. Alice certainly has quite a stage presence, and he plays his character to an absolute tee.

     Mid-way through the show Alice takes to the stage (after yet another costume change!) wearing a jacket sporting the words ‘New Song’ across his back, proving he doesn’t really take himself too seriously – but it was nice of him to keep the crowd up to speed with the proceedings! Yes this was the only new song played into the set from the new album, Welcome 2 My Nightmare, but it certainly hit the spot. I’ll Bit Your Face Off has all the elements of a classic Cooper song (just by the name itself really), and Alice really gave this one his all, literally spitting the words out to the chorus. He also busted a few rather interesting dance moves during this number, which of course was in keeping with the over-the-top theatrics of the show. Following a sombre rendition of Only Women Bleed, which Cooper sang whilst sat upon a trash can, he then launched into old favourite Cold Ethyl during which he serenaded an old rag doll (the doll being the corpse of cold Ethyl of course!). Alice waltzed romantically about the stage arm in arm with the doll, before the song took an abrupt turn for the worst as he proceeded to beat the life (quite literally!) out of poor Ethyl. Indeed it was like watching Jekyll and Hyde on the stage. The song closed as Alice wraps the doll in an embrace, and plants a kiss, much to the delight of the crowd.

     It was at here that the theatrics really got into full swing, as Cooper emerged dressed as a mad scientist in a long white coat splattered with blood, before a gigantic Frankenstein monster burst onto the stage. To say this thing was gigantic is by no means an exaggeration, but what really finished it off was the fact the monster sang along to Feed My Frankenstein after chasing Cooper off the stage. 

The band then broke into old hit Clones (We’re All), during which guitarist Tommy Henriksen and bassist Chuck Garric adorned plastic face masks, and ‘acted out’ the song through robotic movements, which I must admit made very entertaining viewing! Wicked Young Man followed and Cooper re-emerged dressed in what looked like a police hat, and took to marching about the stage before “spearing” a photographer (obviously not a real one!) right through his belly with a giant silver cane. He then received his comeuppance by getting beheaded by a giant guillotine, after which his band (all fantastic musicians in their own right I might add) launched into a rather jolly rendition of I Love The Dead much to the crowds delight.

     The night was topped off by a raucous sing-a-long to all-time favourite hit School’s Out, which included a short breakdown of Pink Floyd’s Another Brick In The Wall, whilst balloons were thrown out into the crowd which Cooper proceeded to stab with his sword to unleash showers of confetti. Returning for the encore in silver jacket and top hat, Alice closes the set with Elected, during which he paraded around waving a huge Great Britain flag.

     As you can probably guess, Alice Cooper doesn’t do a show half-heartedly. He puts everything he’s got into it, resulting in a show that’s extremely over-the-top, full of bizarre and eccentric theatrics, and one that is completely unique. Cooper’s show is undoubtedly one of a kind, and he gives his audience so much more than your average rock show – indeed it’s more like a piece of theatre. Alice proved once again he is the shock rock king, and he doesn’t look like he’ll be slowing down anytime soon.

A Hint Of The Future

Sinners Never Sleep - You Me At Six

With two albums already on the table and an ever swelling fanbase, You Me At Six are obviously doing something right, so you would expect album three would deliver more of the same. Well, you’d be wrong.

     Sinners Never Sleep could be seen as the ‘transitional phase’ in the bands career – the stepping stone to where they want to head in the future. Although album openers Loverboy and Jaws On The Floor are the typical perky, poppy delights we are used to hearing from the band, it is Bite My Tongue which shows the first signs of You Me At Six establishing a harder, rock sound. Singer Josh Franceschi delivers the vocals in a harsh, cut-edge manner, delivering the lines aimed for his bandmates “I might be proud, but at least I’m proud of something / You’ve taken pride in becoming nothing” with bitter angst. The guest vocals (or perhaps ‘shouts’ would be the more appropriate phrase here) from Oli Sykes do seem rather pointless, as Josh manages convey his anger perfectly without needing to raise his voice, much like in the equally resentful track Little Death. It seems Josh has developed quite the acid tongue on this album, which is strangely nice to see – it makes a change from songs about parties and girls anyway. But it is obvious the guest appearances’ from Oli and Winston McCall on Time Is Money are an attempt to show the band is heading in a new direction, away from the restraints of their poppy past.

     The band have been wise however to make their musical evolution in a transitional step, so that the essence of You Me At Six is still undeniably there. Abandoning their past completely would have been rather a rash move, so you could say Sinners Never Sleep has the best of both worlds really. Songs Reckless and No One Does It Better are sure to be a hit with die-hard fans, whilst slower numbers Little Bit Of Truth and Crash really show how the band have grown and matured into truly respectable musicians. But it is the last song on the album, The Dilemma, which shows the band at their best. It is probably their most revolutionary song, with its infectious rhythm and its witty, intelligent lyrics, sung with a rather tongue-in-cheek manner which, to be frank, is rather charming really.

     Sinners Never Sleep gives us a hint of the future for You Me At Six. It is the start of their revolution as a respectable rock band, and with the maturity demonstrated in these songs, lyrically in particular, there is no denying that they are on the right track.

**As seen in The Motion Online**

What's Worth More?

I Divide - What's Worth More?

If you’re a rock fan looking for some new music to liven up your iPod then I Divide could be the band to fit the bill. Their new mini-album, What’s Worth More, ticks all the boxes: it’s fun, it’s lively, and it’s so darn catchy that you might have difficulty turning it off.

     For a mini-album, it is far from mini in volume. Kicking off with the musical Introduction, the band gradually build the tempo, allowing the momentum to rise before launching into first single release, The Arrival. This song has all the elements of a power rock anthem with its incessant driving guitars, and the chant-worthy chorus “we are alive,” which is sure to be a hit in a live setting. This Ship’s Going Down, Burning Out and Déjà Vu are also stand out tracks with their explosive energy, and pop-rock vibes, giving this album a sense of fun and vibrancy.

     But don’t be misled by these pop-rock elements because on the whole, I Divide are actually rather a heavy band. The rhythm section has a definite ‘boom’ to it, which can easily be likened to fellow British rock band, Young Guns, and singer Thomas Kavanagh delivers each song with such aggressive force that it’s clear this band really want to make themselves heard – and they’re going to make damn sure you listen.
     With the inclusion of an Introduction and an Interlude, the band give the album a story-like feel, which serves to create a sense of magnitude and grandeur (clever really). Indeed it is only during these brief musical interludes that listeners are given chance to catch their breath, as the rest is undeniably full-steam-ahead. It is this inescapable energy and force that makes What’s Worth More so exciting, and if the band’s performance in their music video The Arrival is anything to go by, their live performance meets the standards set in the studio. So keep an eye out for these guys, they’re certain crowd pleasers.

Here from the boys themselves...

Hello! So how are you guys doing at the moment?

“We’re doing really well at the moment. We’re currently in the rehearsal room preparing for our debut UK/Scotland tour.”

How did you come together as a band, and where did the name I Divide come from?

“We all formed from all ex-local bands. We all had the same passion to carry on making music and wanting to succeed in the industry. The name came from a song title, which we thought sounded good. To be honest there is no meaning behind the name.”

Can you describe your musical sound?

“Our sound is energetic, heavy based guitar riffs/licks, mixed with melodic hooks and harmonies with a thirst of wanting more.”

You’ve just recorded your new album What’s Worth More. Can you tell us a little bit about it? What are the stand-out tracks for you?

“The CD was recorded in Guildford at Sharptooth studios. It’s a 9 track mini album which is in your face action, with some slow melodic sections to break things up a little too. We spent over the last year working on the material for the release. As we wanted it to be the best it could be at this time as I Divide. The most stand out tracks for us has to be… ‘Burning out’ and ‘What’s worth more’. They all have their own meaning. But these songs are a little bit more to us on this record.”

Can you tell us a bit about the writing process? Do you write the songs together, or do you each have specific roles?

“The writing process generally starts off with a rough basis of a guitar riff/lick via Henry or Josh. We would then take that and build upon it adding Drums/bass and taking away parts we feel don’t work in the song. We would then add vocals at the end. Although sometimes songs come together the other way round, or sometimes when we have a mess around, it sometimes leads to the phrase of “Hey! i actually like this, let’s try this for a new song.”

Who are your biggest musical influences as a band?

“Musically, when we were writing this record, a band called Sleeping with Sirens was a major influence to us.”

You’re going to be heading out on tour across the UK in mid-October, what can fans expect from these shows?

“We are so excited to be going on tour, some of us have never been to places on this tour. But as a whole the 5 of us are ready to get on the road and show our fans what we’re all about. We can’t wait to meet our fans on the road. Were playing with some amazing bands too, so were stoked for that as well.”

After the tour, what have you got planned to do next?

“Sleep will be on the cards. We’ll be planing on pre-production for our next video for our next single “Burning out” and we are in talks of recording for a double A side for 2012 with touring coming alongside for the next few months.”

**As seen in The Motion Online**

Sweet Sweet Melodies

The Narcoleptic Dancers - Never Sleep

The formation of The Narcoleptic Dancers is certainly an interesting one. The Dutch-French half brother and sister duo, who were born ten years apart and in different countries, came to be united at their father’s funeral. It was during this unlikely meeting, which I’m sure came as quite an extraordinary surprise, that the pair discovered a shared passion of music. And so The Narcoleptic Dancers were born.

     The folksy-pop album is a jolly collection of catchy, infectious songs, with irresistible beats and charm. The sweet, gentle melodies make for easy listening, and give this album a feel-good, relaxed ambiance. Indeed the light summery vibes make it easy to describe Never Sleep quite plainly as ‘happy music.’ Singer Melody Van Kappers delivers the songs in slightly mystic, husky manner, giving the album a rather eerie, hypnotic sound, particularly in breezy pop number Sweet And Soft. One thing has to be said for the singling though; it never changes tone. It is hard to discern any kind of emotion on this album, as each and every song is delivered in the same soothingly hypnotic manner. It’s all a bit monotonous really – let’s just say a change of key wouldn’t go amiss every now and again.

     Opening song and first single, Not Evident, is a bouncy, hand-clapping sort of tune – a bit of a ditty you could say. Plus the constant cries of “la la la la” are sure to get anyone, willing or otherwise, singing along to these infections beats. Similarly, the electro-pop Dusty Cowboy and acoustic folksy number Unique Tree are both delightfully upbeat, and are sure-fire toe-tappers that may leave listeners wanting to jig along. However, the sickly sweet manner in which these songs are delivered can begin to grain after a while, and the repetitive nature of the tunes does start to infuriate by the end. I guess you could say The Narcoleptic Dancers aren’t for everyone.

     With their fresh and original style, The Narcoleptic Dancers certainly stand out. Their quirky, folk-pop makes a pleasant change from what we are used to hearing, and their light, cheery melodies are certainly appealing. Although it has to be said that these sugar-coated, carefree child-like sing-alongs can become rather irritating after a while, and the repetitive tendencies are likely to take permanent residence in your brain and drive you insane. But for a bit of a pick-me-up, these perky poppy delights are sure to do the trick.


**As seen in The Motion Online**

The Nightmare Returns

Welcome 2 My Nightmare - Alice Cooper

Alice Cooper’s latest attack on rock ‘n’ roll comes in the form of a sequel to his 1975 classic album Welcome To My Nightmare. This new release sees him once again exploring his most theatrical and imaginative side which perfectly captures the essence of his earlier work. The shock rock king takes listeners on a whirlwind journey into the depths of a nightmare, proving this album to be so much more than just a collection of songs.

     Opening with the deliciously eerie I Am Made Of You, Alice sets the scene and tone of the record as the nightmare begins. As the album weaves into following track Caffeine, a forceful, chant-worthy number, onto rock ballad The Nightmare Returns, it’s clear that every song on this album is dramatically different from the next. Alice uses every instrument at his disposal, ranging from the delicate tinkle of a piano to the eruption of the guitars, giving the album a true sense of a master at work. Indeed, with Alice surprises are to be expected, so don’t be too alarmed as he raps (that’s right, he raps) along to the disco beat in Disco Bloodbath Boogie Fever. But before those lifelong Cooper fans stir into rage at this unlikely metamorphosis in sound and character, you can rest assured that he is quite plainly making a not-so-subtle mockery of the hip-generation; a genre of music which Alice is so forcefully against.

     The rock veteran certainly hasn't developed a soft touch over the years, as is quite clearly shown in the hard-edged first single release I’ll Bite Your Face Off – well the title says it all really. But alongside these straight-up rock ‘n’ roll hits to which Alice is so accustomed, he ventures into uncharted territory in such songs as Ghouls Gone Wild, a delightfully upbeat, and catchy hit that serves to bring a sense of fun and vibrancy to the nightmare, and What Baby Wants, where he collaborates with pop party queen Kesha. It is an unlikely collaboration to say the least, yet it works surprisingly well. The nightmare closes with the appropriately entitled song I Gotta Get Outta Here. It is during this last charade that Alice battles to leave his nightmare world and head back to the land of the living. Yet as the song draws to an end, and Alice pleads to escape, listeners are left on somewhat of a cliff-hanger – is he dead or not? Can he leave? Is it over? Well, I’ll leave that for you to decide yourself.

     Welcome 2 My Nightmare is a theatrical, flamboyant, and unpredictable album that is quite unlike anything else on the shelf – which of course is Cooper’s style through and through. The album is more than simply music; it is an adventure into the dark and mysterious world of Alice, and it has such a sense of grandeur and class that it leaves you in no doubt that this is the work of a true rock genius: a legend.


**As seen in The Motion Online**

Commit This To Memory

Motion City Soundtrack

4 Albums, 2 Nights, 7 Cities Tour 2011 – House of Blues, LA 19-20/08/2011

As indicated by the title of the tour, Motion City Soundtrack have taken on quite a challenge. Covering all four of their albums across two nights in seven different cities across the US, I’m sure the pressure is on. The first leg of the tour brings them to the House Of Blues located on Sunset Boulevard in LA. You would be hard pushed to find a venue quite as quirky as this one. With its rusty corrugated iron exterior (that looks set to fall to pieces at any moment) and its wooden interior, it’s certainly an interesting place to find yourself, yet it seems the perfect place for tonight’s headliners. Much like the venue, the band are no short of character, and both their originality and uniqueness are perfectly suited to this unusual building.

     As the house lights go down and the cheers go up, the band come out in a blitz of high energy sending the crowd into something of a frenzied bloodbath. The first album, I Am The Movie, is met with delighted enthusiasm. Old classics The Future Freaks Me Out and My Favourite Accident go down a storm, with the crowd eagerly snatching the words from singer Justin Pierre, leaving him to stand beaming gleefully. Tonight’s crowd certainly aren’t newcomers to this band, as the first and oldest records are greeted with such almighty adoration. After taking a brief ten minute interlude between albums, the band head back to the stage to power through their second, highly acclaimed record, Commit This To Memory. Openers, Attractive Today, and Everything Is Alright, are greeted with such an ear-splitting roar that the crowd threaten to blow the bloody doors off. The set is a powerhouse of soaring rock anthems and delicious melodies, delivered with such wit and charm, that you leave with a tingle of excitement at the thought of reliving the whole thing the very next day.

     As the second night dawns, the fans are out in force once again for another chaotic, music filled night of frivolity and mayhem which the band doesn't fail to deliver. Launching in to Fell In Love Without You, from the third album Even If It Kills Me, the venue is packed to bulging point with po-going fans, each over enthusiastically singing along to each and every word. Indeed you would be hard pushed to find a more adoring crowd than tonight’s bunch. The band themselves seem a lot more relaxed tonight, with frontman Justin Pierre becoming noticeably chattier and more at ease. Between tracks he frequently shares amusing tales and stories behind the songs inspirations, much to the delight of the sea of gleeful faces staring back at him.

     The band cruise through the mammoth set with ease, showing themselves to be true professionals. Well, they were doing ever so well until Hysteria, a song from their latest album My Dinosaur Life, which managed to throw them a bit off course. Pierre manages to sing the first line before tripping up over his own lyrics and forgetting the words. At this loss of focus he can’t help but laugh at his own misfortune, whilst appearing mildly surprised that he hadn’t messed up earlier. As he prepares to tackle the song again, he stands and ponders the lyrics for a moment which seem to have utterly bypassed him, so he turns to his band mates for help… but that didn’t seem to help much either. With a bit of assistance from the crowd (and the internet!), he gets his thoughts in line and is ready to try again – after he has promised each person a personal apology and two dollars compensation for his hiccup! Of course this didn’t actually happen, but he did pop out to greet people afterwards, where he happily signed autographs and posed for endless pictures with ecstatic fans - now that’s what you call star service!

     The rest of the night went without a hitch, with My Dinosaur Life being received with such fervent enthusiasm, proving that Motion City Soundtrack have simply got better and better with time. Opting to play all four albums back to back over two consecutive nights is a pretty momentous challenge to take on – a task which some artists may not have been able to deliver on, but the band simply rose to the occasion. There simply isn't a bad song across all four albums, highlighting that Motion City Soundtrack are light years apart from one hit wonders with only one decent song to their name. No, if this band is good at anything it is consistency, and their uncanny ability to endlessly deliver more than just one songs worth of good music. And with confirmation of a fifth album “in the bag”, they aren't planning on slowing down any time soon. So keep a look out for this band – they are certainly ones to watch.

Check out some of the videos from the show: http://www.youtube.com/user/clairelaura19

**As seen in The Motion Online**

Don't Look Back, Just Keep Moving

Young Guns – All Our Kings Are Dead, Gold Edition

In the wake of the success of their first album, All Our Kings Are Dead, Young Guns have reissued the disc as an exclusive Gold Edition. This little gem is an essential fan must-have, and is sure to be a hit amongst newcomers alike.

     Moving away from the performance side of things, the disc also contains a short documentary entitled, “Don’t Look Back, Just Keep Moving,” which follows the journey of the band from their humble beginning, right up to the present. The band talk about how they formed (albeit after several line-up attempts!), what it was like to eventually play in front of a crowd of people , and the success of both their EP, Mirrors, and of course, the highly acclaimed full length debut, All Our Kings Are Dead. It has to be said, since the release of their album the band have had quite a whirlwind of success. The buzz of the record led to magazine cover shots, sold-out headline tours, along with the band landing high profile support slots with the likes of Lostprophets and Bon Jovi. Not bad. They even managed to score a nomination for the Best British Newcomers in the Kerrang! awards in 2009. Despite not winning the title, making the shortlist is still quite an impressive achievement for a relatively new band, and it shows people are really excited about what they have to offer.

     The disc comes with an assortment of delights. Along with the twelve original tracks, the edition includes all of the music videos from the album, an acoustic set recorded and filmed at the Red Bull studios in London, and three live recordings performed at the Electric Ballroom in Camden. The performances are rather short and sweet, but are certainly worth watching. They give a little taster of what to expect at their shows, leaving viewers wanting more.
     So with numerous achievements under their belts and a new album brewing, the future for Young Guns looks promising. This disc is only the story so far, but this band clearly has a lot more to offer. Like they said themselves, they’ve got to “just keep moving….”


**As seen in The Motion Online**

The Truth Is... It's Pretty Damn Good

Theory Of A Deadman’s long awaited follow up to 2008’s Platinum selling Scars And Souvenirs has finally been unleashed unto the world. It’s been a long time coming, but worth the wait.  The album is delivered with style and ease, with that trademark Theory power that really packs the punch. Indeed, this album isn’t for the faint-hearted; it’s a straight up, no nonsense, classic rock ‘n’ roll album that’s designed to be played loud.

     Kicking the album off is the rocking hillbilly anthem Lowlife. With the comical, jokey banter, it’s nice to see the band exploring their fun side lyrically, and with a melody that’s so dang catchy listeners will find they’re already hooked by the opening of track two. Songs Bitch Came Back and The Truth Is.. are the most stand out tracks on the album purely for their hilarity. Lead singer, Tyler Connelly, clearly had a bone to pick with somebody as he unleashes two power, angst ridden anthems, with lyrics so inundated with vengeance and hate you kind of feel sorry for the person who might be on the receiving end. As he bellows through the lines “no matter what I do somehow it’s always my fault. She says I must be cheating ‘cause I turned off my phone, but that’s the only frickin’ way she’ll leave me alone” it seems he’s still having relationship problems, much like in the previous album Scars And Souvenirs – either that or someone really loves to give him a hard time. But you have to admire his no-holds-barred attitude, which has sent him coming out all guns blazing: he’s got something to say, and he’s damn well going to say it.

     Delivered with a similar vehemence, Gentlemen  keeps the fire alive and the party rocking, whilst the softer, ballad numbers Hurricane and Head Above Water are interweaved allowing Tyler to calm down. A lot of the slower anthems on the album are very similar to songs from the band back catalogue, which is slightly disappointing in that the band haven’t stretched themselves to take bigger risks. The album also closes in rather a downbeat, lacklustre manner, which is a shame since it got off to such a flying start, yet it seems to run out of steam by the end failing to recapture that vigour of earlier tracks.

     With the irresistible lyrical hooks, and the pure power of the guitars, Theory Of A Deadman are sure to get any listener rocking. This album certainly has a lot of clout. It’s extremely well produced, and far from dull as the band seemed to have included every instrument under the sun, as well as some cheeky little sound effects serving to give songs that extra bit of spark. It’s one big hoedown, packed full of straight-talking crowd pleasing anthems that wouldn’t be ill-fitting in a stadium setting. The Truth Is… it’s a beast of an album.


**As seen in The Motion Online**

Soundtrack To Summer

After a long three years, Simple Plan have finally put themselves back on the radar with brand new album Get our Heart On! With an album title like that, and with the excitable exclamation point, it’s clear Simple Plan have made a record they simply want people to love. And to be quite honest, it’s pretty hard not to. 

  Kicking things off with You Suck At Love, a song with a chorus that’s so unbelievably addictive, with undeniable All Time Low-esque qualities, the band make an energetic start that’s sure to get any toe-tapping. Following on is hit single, Can’t Keep My Hands Off You, featuring guest vocals from Weezer frontman, Rivers Cuomo, serving to keep the party atmosphere going, and the heads bopping. It’s fair to say this album is no short of get-up-and-go, and with openers like these two, along with the vibrant and melodic Loser Of The Year, and Freaking Me Out, featuring guest vocals from All Time Low frontman, Alex Gaskarth, Simple Plan are already onto a winning record - and are likely to please any All Time Low fan along the way.

     But it’s not all carefree, lively songs that fill this album. The band tone things down with Astronaut, and Gone Too Soon, which serve to show off a calmer, softer side to this group, whilst the typical infectious chorus lines manage to keep you hooked. Songs Anywhere Else But Here, and Summer Paradise are some of the weaker, throw away tracks on this album, and are extremely repetitive in places. But the stand out track on this album would be This Song Saved My Life. Although it’s a far cry from the upbeat, enthusiastic start to the record, it is undeniably a perfect way to finish. With the steady intro which builds to the powerful eruption of the chorus, and the deep, heartfelt lyrics, it seems as if the band are dedicating a symphony to music itself: a song which will 

undoubtedly be appreciated and respected by music lovers everywhere.

     Get Your Heart On! is a fun, vibrant, infectious pop-punk record, full on infectious, foot-stomping beats, heart-felt ballads, and an energy that is simply inescapable. This is a band who know how to deliver compelling, and irresistible music: they do it with ease. The record is bursting with vibrancy and life, making it the perfect summer soundtrack, and with guest vocals form Rivers Cuomo, Natasha Bedingfield, Alex Gaskarth and K’naan, it’s certainly no short of star quality. But it’s the contagious, catchy beats of Simple Plan that make this record so addictive.


**As seen in The Motion Online**

The Only Way Is Up

A Swell-Effort From The Swellers

Good For Me is the latest instalment from Michigan skate punk band, The Swellers, and is certainly a record worthy of your attention. The album soars through raging, driving guitar riffs, delivered in the excitable, blistering pace that is signature to The Swellers, taking listeners through a whirlwind of captivating punk anthems.   It’s fair to say this is a fairly stable and consistent record, demonstrating how the band have grown and progressed to finally discover their sound. Indeed there are no big surprises on this album, with the band avoiding experimenting with new sounds, or incorporating synthetic elements. What they have produced is quite the opposite. Good For Me is a straight up, high voltage, in-your-face rock record: No nonsense.

     The instrumentation is undeniably the driving force behind the album, with rhythm section, Anto Boros on bass, and Jono Diener providing a powerful backbone with his double-time drumming paving the way, giving it that energy and kick which makes this record far from boring. Songs The Runaways, Parkview, and Inside My Head are some of the catchier ones on the album, capable of prompting chant-worthy sing-a-longs, whilst songs Better Things and On The Line serve to slow the pace down slightly. The lyrics, although a little repetitive in places, are kept simple yet meaningful, allowing listeners to enjoy the record without having to dig too deep. Much of the lyrics on this album are quite nostalgic, particularly on lead single The Best I Ever Had. It is this simplistic, straight-forward honesty of singer Nick Diener, set against the blistering melodies which make this album so engaging.

     The Swellers have returned what with what is certainly their best album yet. The band have produced tight, well delivered, catchy songs, with a meaty guitar sound, which ensures this album will be well received within a live setting. Indeed Good For Me is a well-crafted record, showcasing the band’s growth and maturity, but yet it retains echoes of that ‘typical’ Swellers style, proving them to be a band who has stayed true to their roots and are in no hurry to shed their former identity. This is a vibrant, energetic, but above all enjoyable record, packed full of melodic punk-rock anthems, which are simply irresistible. For The Swellers, it seems the only way is up.

**As seen in The Motion Online**

Sugar, Spice, And All Things Nice

Dirty Work is everything you would expect from the young pop-punk quartet. It’s fun, vibrant, energetic, and so damn catchy it’s near impossible not to get hooked.

     The album kicks off in true party style with Do You Want Me (Dead?), a song that soars through chant worthy choruses sure to prompt raucous crowd sing-a-longs and a healthy dose of incessant pogoing. The party vibe continues with hit single I Feel Like Dancin’ (co-written with Rivers Cuomo of Weezer) – a title that undeniably rings true after listening to this album – through to anthemic numbers including Just The Way I’m Not, Forget About It and Heroes to name a few.

     But it’s not all party-system-go on Dirty Work. The band have shown they’re capable of producing a more sophisticated and mature record, both musically and lyrically. Ballad-like numbers such as A Daydream Away and No Idea, show the band producing more in-depth, meaningful and heartfelt songs, contrasting greatly to their typical party animal attitude. Another surprise with this album is the step away from the formerly raw, cut-edge sound of All Time Low, into a more refined and somewhat synthetic sound - a sound we’re not used to hearing from this band. It seems they have chosen to take some risks this time around, and are experimenting with a range of different sounds. But this all adds to the excitement and fun of this album, giving it diversity. Besides, who wants to the same old thing over and over again anyway?

      Dirty Work is a vibrant, energetic album, packed full of addictive, irresistible hooks and driving riffs, which give the album energy and drive. Despite the evident growth in maturity with this album, the ever witty and cheeky lyrics are unquestionably still within the mix, shown off particularly in Merry Christmas, Kiss My Ass – well, the title says it all doesn’t it. Indeed, these songs are no short of entertaining. Even though there’s a loss of pace slightly mid-way through, as the band launch into more sombre, ballad-like songs which leaves the album struggling to regain its former enthusiastic start, there’s no denying that Dirty Work has plenty of get-up-and-go, with charm, wit and charisma by the bucket load, making this album pretty damn hard to resist.

Radio Radio: Are You Getting This?

¡Hey, Hey Pioneers!

¡Hey, Hey Pioneers! is the first full length album offered by the Minnesota five piece, The Farewell Continental Group of North America. This is a band who are no short of the ordinary, so as you can imagine, the album is slightly unusual. Indeed there isn’t a set stereotype in which this band can fit neatly; they seem to exist on the outer realms of typical cliques and clichés, and simply do their own thing – and you’ve got to admire them for that. In fact, it’s rather refreshing to see a band attempting something innovative and kind of whack, making a pleasant change from the “certain amount of crud that gets through.”
      The album kicks off slowly, gradually building tempo, offering a blend of punk and pop numbers. It has a raw, energetic feel to it, avoiding the feeling of being over produced or too ‘polished.’ Over the course of the album, listeners are taken on a journey of highs and lows as they descend into the strange and weird world that is Farewell Continental. And by the hypnotic ending of Tiger Claw, it simply begs you to press repeat.

      Vocalists Dr. Richard Kimble (aka Justin Pierre from Motion City Soundtrack), and Allie Fox (Kari Gray), frequently play off each other throughout, particularly in songs The Greatest Of All Time(How you feelin’ now?), and New Tiled Floor, making themselves seem like the John Travolta and Olivia Newton John of punk rock. To put it simply: A perfect pair. Along with the charm of the singing duo, this album oozes originality. With such a wide variety of styles, ranging from pure punk numbers like Who’s The Boss?, to pop hits including Dagger Dagger: Terror Terror, to the downright weirdness of A Story From The Bottom Of The Sea; listeners are undoubtedly kept on their toes. In fact, you’re not quite sure what’s going to be thrown your way next.

      Indeed this album is pretty unusual to say the least. With the ever quirky lyrics from Mr Pierre, it adds a certain charm and fun to the music that makes it inescapable. Even if you aren’t particularly struck with by the music, you may find it rather challenging to keep the quippy, witty lyrics and driving guitar riffs from storming through your mind.  But you have to admire this band for their oddness. They don’t appear to give a hoot about following what others do, or appealing to certain clichés: they go their own way. As Richard Kimble proclaims himself in his radio intermission during Radio Radio: Are you getting this?, “it’s really interesting when a band gets together and thinks I want to do something that’s been done before a million times” – but where’s the fun in that right?


**As seen in The Motion Online**