Category Archives: Album & EP Reviews

THE GAMBLERS – Tonight / Let Your Yeah Be Yeah

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As a fixture within the punk underground, Booze & Glory have spent years carving out a niche with a street punk sound that crosses the more melodic aspects of Rancid with Swingin’ Utters. For lovers of that style, B&G have more than succeeded in sharing a world of rousing hooks.

A new project launched in 2024, The Gamblers finds the band’s vocalist – the mononymed Mark – branching out into the world of reggae. Their first release gives listeners a really well formed and direct example of the band’s sound, and by coupling a self-penned workout with a tune that’ll be familiar to almost everyone, it provides an easy entry point into their catalogue.

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ECCE SHNAK – Shadows Grow Fangs EP

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When a band re-appears after a long time away, it often leads to fan apprehension. The return of a favourite act can be exciting, but what if the new material isn’t up to scratch? What if it’s really different from the old stuff? What if, as a listener, it’s your ears that have moved on, and you now crave different thrills? None of these concerns apply to the return of New York’s art rock band Ecce Shnak. The five years since their ‘Metaphorphejawns’ album assaulted an unsuspecting audience hasn’t diluted their desire to bend sounds into almost impenetrable shapes and, at its best, their ‘Shadows Grow Fangs’ (released in February 2025) presents material that’s as unclassifiable and inventive as ever.

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ENVY OF NONE – Stygyan Waves

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The first album by Envy of None – the first new post-Rush music from guitarist Alex Lifeson – very much conveyed the attitude of a musician moving on. The fan reaction, on the other hand, proved that many of his followers were incapable of doing so. Many of them were hoping for something prog based, or at least something hugely guitar oriented in the vein of his vastly underrated Victor project. What they got was an album full of hooky songs that sounded like the missing link between ‘Blood For Poppies’ era Garbage and Chvrches.

Taken on its own terms, the music’s broad, melodic sound – coupled with great vocals from Maiah Wynne – provided something hugely enjoyable. Although the songs occasionally took a little while to sink in, it was an album that had more than enough potential to find its way under the skin of those willing to keep an open ear.

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MORLOCKS – Amor, Monstra Et Horrore Profundi EP

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In terms of musical interest, Morlocks’ 2023 LP ‘Praise The Iconoclast’ didn’t sell its listeners short. On the stand out track, ‘I’m The Payload’, the band managed to fuse orchestral sounding synths to a relentlessly mechanical rhythm, before loading the arrangement up further with alt-pop vocals, 80s keys and a few rock-edged guitars. The result sounded at times like an industrial band channelling early Oingo Boingo, with a couple of vocal phrases in the latter part of the number that hinted at a love of KMFDM. Rather fittingly, that legendary band’s Käpt’n K would also make an appearance on the record, and somewhat predictably, his presence throughout ‘Mean World Syndrome’ leant that number more of a KMFDM flavour. Elsewhere, ‘Instigation’ swamped vocal samples with a heavy groove and nods to classic Ministry, and taking another curveball, ‘Cold War Fusion’ melded soundtrack-like elements and darkwave melodies into an epic closer that more than suggested this most cult of bands still had musical ground to cover somewhere in the not too distant future.

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YAWNING BALCH – Volume Three

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The first two albums by Yawning Balch – the side project featuring members of Yawning Man with Fu Manchu guitarist Bob Balch – yielded some fabulous music. The lengthy, improvised jams filled a pair of records with brilliant, almost ambient desert rock sounds; a whole world of sonic textures that really capture a moment, but really allow listener to be really drawn in by the band’s almost cinematic qualities.

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