This sound was utterly original and catapulted the band to international stardom. However, this writer believes the consistency they had always been searching for was finally found on 2002’s By the Way, the subject of this week’s RAMzine Classic.

The album’s tone is pure funk rock. The opening song, the title track ‘By the Way’, is a fantastic fusion piece. The rolling bass in the verse combined with Kiedis’ self coined “rap singing” makes for a wonderful combination, and when the chorus hits, the melody stays with you for days. It’s a great opener that sets a funky tone for the entire record.

‘Universally Speaking’ has a structure that flows perfectly. The drums keep solid time throughout, allowing the vocals and guitar to layer over the top beautifully. RHCP’s songwriting is second to none, and their ability to recognise what makes a song work in the simplest way is unparalleled. The use of a classical string section over the mid section chorus further demonstrates the Chilis’ versatility and cements their status as one of the best bands in the world.

‘This Is the Place’ is a vibrant song and a genuine surprise on the album. It has a 70s psychedelic feel, with guitar effects and keyboard chords adding to the strange vibe. The chorus is a real singalong moment that sticks in the listener’s head long after the song has finished.

‘Dosed’ is a soulful, reflective number. Kiedis has really outdone himself on this album, with lyrics and vocal melodies that stand out throughout. The raw emotion present in this song is remarkable and easy to identify with. This honesty allows fans to connect with the album on a deeper level, no doubt contributing to its amazing success.

‘Don’t Forget Me’ is a real classic, harkening back to The Doors’ more mellow material. Smith’s drums hold an ethereal beat, creating a stunning atmosphere for Frusciante’s manic guitar picking to soar over the top. Combined with Kiedis’ flowing vocal melody, the result is perfect. How a band can be this versatile while maintaining their own distinctive sound is incredible.

‘The Zephyr Song’ is one of the genuine highlights, a proper funk number with the vibe of something Stevie Wonder could have written, though the attitude the Chilis bring makes it entirely their own. The guitar chords in the chorus complement the vocals perfectly, and the piano chords used to fatten the sound work to great effect.

‘Can’t Stop’ is another amazing highlight. The buildup at the start sets the tone perfectly, and that high chorded riff is simple yet devastatingly effective. Chad Smith’s solid drumming here is inspirational, showing why he’s one of the best drummers on the planet. This song is another brilliant showcase for Kiedis’ rap singing, with melodies delivered at a rapid rate that bring out that wonderfully original sound while staying commercial.

‘I Could Die for You’ is a soulful ballad that uses keyboard chords brilliantly, with Kiedis’ distinctive voice soaring high over the music. Through this romantic song, the band demonstrate their versatility once more, with the bass in particular holding everything together.

‘Midnight’ opens with a wonderful classical intro before developing into a fantastic clean pop rock song, bouncy yet emotional. It’s a fantastic hybrid, and once more the chorus stands out as something special. A true unexpected highlight.

‘Throw Away Your Television’ is unbelievably funky, built on a furious tom pattern from Smith’s drums alongside Flea’s toe tapping bass. The lyrics tackle our dependence on television with contemporary relevance. The guitar’s simple yet effective chords really prove that less is more, making this one of the best tracks on the whole album.

‘Cabron’ is a folk acoustic number with such a happy vibe. It’s genuinely underrated and surprising that it isn’t more widely known. The guitar work is fantastic, and the skiffle drum beat keeps the song moving, dropping in and out to let the guitar breathe. Intelligent songwriting at its finest.

‘Tear’ is another soulful track showing Motown influences. The raw emotion on display allows the band to convey deeply personal points. People say the best songs are written about personal experiences and emotions, and that’s certainly the case here. The vocal harmonies are a joy to hear.

‘On Mercury’ harks back to The Clash and Iggy and The Stooges. The melody is wonderful, and the trumpet in the background accentuates the song perfectly. Solid drums provide the ideal foundation for melodies to flow, while the vocal harmonies in the chorus sound absolutely perfect.

‘Minor Thing’ is a class RHCP funk number with added emotional depth. The key to this album, what makes it different from everything they’d recorded before, is that it’s far more emotional and mature. They’ve found their sound and are running with it. The combination here is lethal, producing a stunning song with an utterly fantastic guitar solo.

‘Warm Tape’ is spooky, showing progressive influences. The effects conjure images of a foggy morning, something truly ethereal. The versatility on display is astounding. The chorus is a highlight, with the guitar riff mimicking the vocal melody.

Closing the album is ‘Venice Queen’, mellow and a fantastic way to finish what is a stunning, complete record. The vocals flow over the guitar riffs beautifully. Kiedis and Frusciante’s harmonies add an extra musical dimension, creating a truly special sound alongside the piano. Wonderfully written.

In closing, this is one of the most important albums to me personally, and one very close to my heart. It’s the album that kicked me off into playing drums seriously and ignited my real passion for music. With its inherent sense of melody, its understanding of how to play best for the song across all instruments, and its sheer amazing songwriting, this is one of the greatest albums of all time. Please add it to your collection. It will stand up there with the greats across the test of time.

FOR FANS OF: Foo Fighters, Pearl Jam, Jane’s Addiction

The post Red Hot Chili Peppers – By The Way: Classic Review appeared first on RAMzine.

Since its discovery, Scandinavian death metal or ‘Viking Metal’ has become extraordinarily popular despite its more niche folk origins. However as more and more bands commonly made up of big men with big beards appear, you may find yourself asking; can anyone really start up in this style of music with any originality?

Thankfully, Path to Eternity utterly disproves this idea. Unlike most other Viking Metal bands, Valfreya stick to melodies more than anything which gives them a fantastically original sound. The album excels in integrating this original sound into nearly every song without becoming too repetitive; for instance Ocean’s Assault and Confront Immensity stand opposite each other on the album and both include the grandeur clad sound with the sheer pummel of metal but the subtle inclusion of higher tempo drums or tapping on the guitars make the two songs ideally individual.

One of the main things that strike you about the album is the depth of sound it provides. From the very first song Valfreya use the operatic voice of Crook in combination with the many various string instruments to create the heavy but grand sound that they promise. Their song Inferno displays this best with a slightly heavier tone than the rest of the album and affirms their more symphonic approach akin to the more recent Cradle of Filth material.

Overall, Path to Eternity would more than please any regular Viking Metal fan. However, more importantly, they leave the possibility for great gains to be made with popularity among fans that enjoy the more symphonic side of folk music. The combination of different instruments to create a huge sound is masterful and perfectly suits the carefully crafted Norse-inspired lyrics, definitely worth checking out!

9/10

The post Valfreya ‘Path to Eternity’ Album Review appeared first on RAMzine.

Silent Descent really know how to open an album. Overture brings mellow pulses of synthesisers that slowly build with electrified beats and dubstep ‘wubbing’ to play your mind into the desired ‘trance’ state before completely erupting into Psychotic Euphoric which is a song that really does exactly what it says on the tin (or in the title for this instance). Though there is quite an obvious input of metal influence in Mind Games, it’s safe to say that it is quite trance heavy. Even in the most conventional ‘metal sounding’ songs there is rarely the absence of a keyboard melody or dubstep beat in the background. But this is by no means a negative thing; more than often Silent Decent do what can only be described as putting the right ingredients taken from each genre together. Each element of either metal or trance music accompanies its counterpart wonderfully, and there are even occasional moments where something that isn’t typically found in either genre is included. The infectious chant of ‘Eat. Defecate. Sleep. Procreate’ in Breaking the Space or the vocals of Sarah Jezebel Deva typically found in the more gothic areas of metal in Coke Stars add a good degree of originality and particularly beauty with the latter.

This isn’t to say that Mind Games is flawless. After a while you notice the introductions of nearly all the songs seem to follow the structure of beginning with a quiet trance beat which bursts into a high tempo rave accompanied by equally as fast guitars and drums. Whilst it’s only a small part of the album, if you’re the type to listen to records from start to finish this could easily be a downside. Another tiny discrepancy for some fans with Mind Games would be the screamed vocals. Whilst the elongated screeches are very impressive and add to the mad nature of the truly electric parts of the album, lyrics delivered in the same voice are only partially comprehendible. Now, whilst it hasn’t always been in the nature of heavy metal in recent years for lyrics to be understood, if you do catch onto a couple of words and begin to follow the lyrics of the song only to be thrown off by a line you can’t quite hear it does get a little buggy.

But again, these are only minor problems. The album as a whole is extremely well crafted and if you’re open to new fusions of metal then Mind Games is definitely the record you need to hear. Equally if you like your music intense then this is also worth looking at as something a bit different. It made perfect sense in the first place that a combination of trance music and heavy metal would create a truly electric record with euphoric but heavy strands all the way through it. We’re just thankful it was Silent Descent that got there first and did a damn good job of it.

9/10

Facebook

Official Website

The post SILENT DESCENT ‘MIND GAMES’ ALBUM REVIEW appeared first on RAMzine.

Taking the stage with their latin-infused metal, the band tore into a catalogue of their hits, including “Blind”, a surprising and emotional rendition of “The River” and “Insects”, the stomping title track from their most recent album.

However, the highlights of the set were two stunning covers. “Zombie” by The Cranberries, which was heavy, groovy and soulful all in one and “Poison” by Alice Cooper. This was so unexpected, and it showed how much they respected Hard Rock Hell as a festival. Frontman Paul Isola’s bond with the fans is so strong and the look of sheer joy on his face when he was addressing the audience was exuding so much enthusiasm that you couldn’t help but join him in a smile. The band closed with “La Ultima Hora”, their biggest hit which went down so well and got the crowd warmed up for the rest of the day.

Breed 77 are one of the most unique bands in existence. They are criminally underrated and they put on a hell of a live show. Bring on “The Evil Inside” in 2013.

www.facebook.com/breed77

The post Live Review: Breed 77 @ Hard Rock Hell appeared first on RAMzine.

Released in September 1989, the album was the Crue’s most eclectic collection of songs to date. Featuring the legendary classic lineup of singer Vince Neil, guitarist Mick Mars, bassist Nikki Sixx and drummer Tommy Lee, the album is packed with attitude and catchy songs, which makes it a real timeless album.

The album opens with “TNT (Terror ‘N’ Tinseltown), a collection of sounds which set the tone for the album. “Dr Feelgood” is the opening track, and with its signature drum groove, really blasts Motley into the stratosphere. Neil’s vocals really soar here and his sense of melody is fantastic. He keeps the clean vocals without losing any of the attitude that makes the Crue such a great band. This is a fantastic opener, and one of the genuine highlights of the album.

Next is “Slice of Your Pie” which is a real sleazy rock and roll number, which again really shows the spirit of the 80’s in Hollywood. It is just classic Motley with the epic groove and funk influenced heavy guitar riff. Mick Mars’ guitar really keeps this song anchored together and provides the colour over the top when needed, along with Neil’s vocals.

Following this is “Rattlesnake Shake” which has funk influence all over it. The groove instantly gets the listener’s foot tapping and the simple yet effective riff provides a fantastic sonic palate. The addition of a brass section later in the song really provides an extra dimension to the song, and the piano really shows Crue’s versatility as a band, as well as the fact they are not afraid to try new things.

Next up is arguably the best song on the album, the iconic “Kickstart My Heart”, which was written about an infamous night Nikki Sixx experienced where he had to have his heart restarted after he collapsed on a beach after a particularly hard party. Tommy Lee’s drum performance on this track is simply sensational and he drives the song along at breakneck speed, while the riff and lyrics rattle out with gun-like precision. The true highlight of this song however is the clean breakdown in the mid-section. Again, Motley’s versatility is on show and their well rounded songwriting attitude is here for all to see. This is just a fantastic song.

The song tasked with the job of following this masterpiece is the heartfelt ballad “Without You” which shows Motley’s soft side. Neil’s vocals here really stand up with some of the greats of all time and the guitar line is subtle yet technical. A real surprise highlight, and one that is required to be played at full volume with a beer in hand.

Up next is the brilliant S.O.S (Same Ol’ Situation), a real staple of Crue’s live show to this day. The simple structure of this song makes it a real crowd favourite and the attitude of the effective lyrics make it a sing-a-long classic. This particular song really has the feel of Motley’s album “Girls, Girls, Girls” and brings out the fun loving side of the band; four guys enjoying playing the music they love and having a good time, which really comes across here.

Following on from this is “Sticky Sweet”, which has a classic Mick Mars guitar riff, underpinned by a wonderful Nikki Sixx bassline. This allows Tommy Lee’s drums to really swing and give the song a wonderful feel. Neil’s vocals again soar over the top and make this song one of the best on the album. It is probably the most surprising as it is not as well known as some of the other songs, which is a real shame because it is just fantastic. It’s a real underrated gem in Motley’s back catalogue.

Next up is “She Goes Down”, another underrated song which is possessed of a wonderful riff which gets stuck in the listeners’ head for days. The use of staccato dis-chords by Mars really adds a different sonic dimension, and he brilliantly simplifies the riff when the vocals kick in. This example of fantastic musicianship is what really set Motley apart from their contemporaries at the time, like Poison and Cinderella.

Up next is the brilliant “Don’t Go Away Mad (Just Go Away)”, one of the band’s signature songs. The acoustic led rock and roll song is a real driving ballad which combines all the elements which make Crue such an amazing band. The vocals lead the way, with intelligent lyrics and harmonies creating a beautiful effect. The rest of the band drop back slightly to allow the vocals to take more of a lead and make this song utterly stunning.

Closing the album is “Time For A Change” which is a wonderfully reflective song and a perfect album closer. The pure nature of the music in this song again reflect Motley’s versatility and their ability to write songs about the world around them. Neil’s falsetto vocal on this song is fantastic and is up there with the best in the world. The lyrics are poignant and makes the listener leave the album with a few thoughts about the world. An album that makes you think. Now isn’t that something!

In closing, this is one of the classic albums of the 80’s. With many underrated hidden gems alongside classic tracks which are known by everyone, it really offers up a wide variety of music that everyone can enjoy. Purchase this for your collection, grab a beer and turn it up. It’ll be one of the best things you’ll ever do.

FOR FANS OF: Van Halen, Poison, Def Leppard

www2.motley.com

The post Motley Crue – Dr Feelgood appeared first on RAMzine.

So you’ve been on tour for a few days now, how are things going?

Good, very well. We know everyone on the tour already so we knew it was going to be pretty good. The shows have been super fun.

Are you looking forward to your European dates?

Yes absolutely. We love going to Europe. I think a lot of American bands don’t enjoy going to Europe ‘cause they’re not used to having some of the amenities taken away like 24 hour stuff. But we all love it.

You released your 3^rd record entitled ‘Demonocracy’ back in February how would you describe the reception to its release?

It’s been really good. Even better than ‘Ruination’ which I thought was pretty awesome considering that was pretty well received. We’re just building upon what we had from ‘Genesis’ and it just keeps getting better and better. With ‘Gloom’ as well, since it’s the same line up, I don’t think many people had heard ‘Gloom’ as much as ‘Demonocracy’ only because it was an EP. But the fact that the people have heard ‘Demonocracy’ has made it really popular. Even when we play the new songs live kids are freakin’ out. So I’m very happy with it.

With the release of ‘Demonocracy’ how would you say Job for a Cowboy has evolved over the years since the release of ‘Ruination’ in 2009 after you joined the band?

Just a new band, essentially. We have a new guitar player and bass player, different outlook and different writing styles collaborating together. When writing ‘Ruination’ it was all very straight forward. But with the arrival of Tony and Nick; they’re both way too good with their instruments so you get these challenges thrown at you that are really fucking cool.

Can you take us through the writing process for Job For A Cowboy.

Yeah sure. Al and Tony sit down and they just jam essentially and try and go through structural stuff and get a bare skeleton for songs going. Then I come in and I use the idea’s they’ve given me to figure stuff out. If we don’t like something as a group it gets re-arranged. Then Jonny does all his vocal stuff in the studio. It’s pretty straight forward apart from the fact we all live in different parts of the country in the US. So we can’t really all be together when we write so it’s very much a segmented thing with us, the internet really helps.

When you were last in the UK the album hadn’t been released for that long, now that it’s been a few months would you say now that you will be playing a lot of new songs in your set?

Definitely. On the Cannibal Corpse I think we were only doing one or two songs off ‘Demonocracy’. But this time round we’ve got 3 new songs in our set list which should be enough because they’re all longer songs and they comprise most of the set.

Do you have a favourite song off the new album?

You know, it’s weird because I wanted to play a couple of songs that we’re not playing. And now I’ve realised the one’s we are playing are probably the better options. We’re playing ‘Tarnished Gluttony’ tonight and it’s so much fun to play because you lock in with the other members of the band since it’s such a ‘doomy’ song. Playing slower songs really makes you think.

So would you say that’s your favourite song to play live now?

We’ve actually only played that song live 3 times now and it’s grown to become my favourite to be honest.

‘Demonocracy’ is arguably your most politically charged record to date. So if you could rule the world for a day, what would change?

Probably hunger, definitely hunger. My band eats so much food I feel bad, it’s ridiculous. Everyone deserves food.

Is there anything different you would like to do in future releases? For example have a guest vocalist or try out a full blown concept album?

Well ‘Genesis’ was a concept album so I don’t know about that so much. As for something different I don’t know, we got a pretty good thing going already. The idea of a guest solo or guest vocalist is something we could do for sure.

You’ve been in the band for 6 years or so now, you’ve seen some members come and go, would you say that, as a band, you allow new members of the band to bring their own influences to the music?

Oh yeah, absolutely. As soon as Nick and Tony came in they were bringing their own unique stuff to the table immediately. We’re 100% a democracy, there’s no one guy laying the hammer down ever. Everyone has a say, everyone has input. Especially with the writing, merch designs, touring, take out; everyone gets a say.

The story of how you came to be in the band aswell is quite interesting; we understand it via a video audition posted on youtube? So you posted the video, what happened from then on?

Well I found out they needed a drummer and they were taking video submissions which I thought was pretty cool. So I learned a song and I sent in the video. It was a month before I heard back from them because Shannon Lucas now of The Black Dahlia Murder was essentially in the band. But he couldn’t tour so that didn’t work out. So they went back and dug up my video and I was told to make another video. After I posted that video I flew out of Phoenix, Arizona to audition in person. About 3 weeks later I was on tour with them.

So there wasn’t much time to learn the songs then?

No not really. I was learning stuff from ‘Genesis’ which I hadn’t heard much of since it hadn’t been released yet. I already knew the ‘Doom’ stuff, but learning brand new music on the spot was a challenge.

How did your nickname of ‘The Charn’ come to be?

It originates from my e-mail to the band when I auditioned. Instead of signing it off as John I put that for some reason, I don’t know why. Perhaps I thought it would make me stick out. I think it’d worked, I’m here now.

You’ve also recently put out a video for ‘Tarnished Gluttony’. This thing is a 9 minute long clip and it’s quite disturbing but clearly has the story of Abraham an Isaac flowing through it. Can you tell us how you came to decide on what you wanted in the video?

Well we went with this Danish guy (Michael Panduro) since Cephalic Carnage has a video with him for their song ‘Ohrwurm’ and it’s an incredible video. As a band we don’t particularly like being in the videos, so when our old management told us we needed to a live video it was god awful. Of course that was scrapped and we met up with Michael who eventually came up with this whole Lovecraftian theme. Even just seeing the first edits we knew this was going to be so good. We put a lot of faith in the guy just to do whatever he wanted and he nailed it on the head, it has nothing to do with the lyrics but it is so good. It’s got to be our best video so far and I really enjoyed it. You know it’s a good sign when my parents, who follow everything the band does, tell you they couldn’t even get through half of it.

On all of Job For a Cowboy’s album covers there’s the motif of the ram’s skull. What does it mean?

I don’t think it really has any meaning as such. It may relate back to the bands hometown of Phoenix with the deserts and all the desolation. To be honest I think it’s just more of an artistic thing more than a symbol. Jonny did the ‘Doom’ EP cover and I’m not sure why he threw it on there.

What would you say you do as a band to make your live shows unique and enjoyable?

It’s funny, ‘cause as a death metal band we’re supposed to be super serious I guess. But we all have this thing where we try and get all flamboyant, as in borderline hair-metal flamboyant, and it makes it so much fun. For example last night, because we have wireless systems and it was only a small club, Nick and Tony went up to the bar while we playing and tried to order beer. You’ve gotta keep it light. Some bands do it well like Cannibal Corpse, those guys don’t move anywhere on stage; they just stand there and headbang. I don’t wanna say we can’t do that but it’s better for us if we move around a bit, running everywhere and being obnoxious.

If you could do a headlining tour anywhere with any 3 support bands, who would you take and where would you go?

See that’s a hard one ‘cause all the bands I’d wanna tour with are much bigger than us. I don’t know about where; we’ve been so many places now and I’ve hit nearly every spot I’ve ever wanted to go in my life. I guess right now the only place would be South East Asia. For support bands I’d go with Black Breath, basically bands of that ilk.

So do you feel that death metal bands are also paying more attention to Asia now?

Yeah, Hate Eternal just went to China and Malaysia. Misery and Exodus have been to Indonesia and all these bands go over there. We actually have stuff in the works now to go over there. It’s just a really foreign territory where they don’t really get too many shows, so when they do get a show we’re expecting some crazy nights. It’s going to be so much fun; the culture is going to be totally different.

You also frequently play festivals in the UK, would you say you prefer festivals to touring?

No, and it’s only for one reason. We love playing festivals don’t get us wrong. But playing a club show, to us, is more fun because you’ve got the intimacy. Obviously we love going to festivals ‘cause you get to see bands you never get to see anywhere else. We’ve done Wacken twice and pretty much every other major festival in Europe and the UK. It’s mind blowing to be playing on the same days as KISS or The Prodigy. You just don’t get that in the US.

Whilst on tour what are some of the things you do in your spare time?

Take weirdo walks, especially in Europe.

Weirdo walks? What are those?

You just explore the city. We just walk around anywhere looking for cool stuff. But you don’t always get the time to do it because there’s always something going on. That and listening to music in your bunk and sleeping.

Your most recent EP, ‘Gloom’, was given a limited physical release of only 2,500 copies. Jonny is known to of said this was so the diehard fans had something to get their hands on. Would you say you see yourselves doing similar exclusive releases in the future?

Maybe, yeah. That EP was interesting because it was a test run for our new line up to see how it would work, thankfully it worked out well. I could definitely see it happening again. We’re definitely one of the more aesthetic bands, especially when it comes to our merch and our back drops. We love the visual feel.

2013 will be the bands 10^th anniversary; do you think you’ll be doing anything special for this occasion?

Probably not. I think the bands typically save that for 15^th or 20^th anniversaries and I can’t foresee that far in the future. But for that year we’re going to be touring heavy; definitely coming back to Europe for sure and doing US stuff. Possibly in other places of the world that are more isolated. But nothing is confirmed yet.

Finally, is there anything else you’d like to get out there to our readers?

Yeah just, come out to the shows and have a beer with us. Come down, have a good time and pick up the record if you like it.

www.facebook.com/jobforacowboy

The post JOB FOR A COWBOY INTERVIEW @ O2 Academy3, Birmingham appeared first on RAMzine.

There is a heft to this album that was sincerely lacking from the previous effort from the band “American Slang”, felt both lyrically and in the sound. Producer Benden O’Brien has definitely lent some of his metal experience over to the band. The albums sound is heavier, and it’s a change that fits extremely well. In moving away from the pop sensibilities of their previous effort, “Handwritten” manages to keep safe the classic rock sensibilities that garnered the band a following in the first place whilst also expanding their capabilities.

The Gaslight Anthem’s influences are worn proudly on the bands hypothetical sleeve. There’s a smattering of Dylan, a huge nod to Springsteen, and even a passing wave to Mr. Cash. The album’s opener “45” is a sturdy little piece of radio play – simply chorus and power chords a-plenty. But past that the album is quite happy to delve into some deeper tricks, never quite stepping off the punk pedal until the closing track. Even when the band slows things down, the riffs are dirtier, packing a heftier punch, such as in the terrifically brooding “Too Much Blood” or “Biloxi Parish”. It’s all guitar solo and wrought out lyrics, and it just works. Lyrically is where the Springsteen influence can be seen most clearly, not completely in content, but in structure. The lyrics come quickly and on a first listening may be missed entirely, but for those with patience there is some fantastic work. Fallon’s not the best singer in the world, but the passion seared into each line and each shout is undeniable. The synchronicity between each lyric and note is damn near perfect, and the result is an adrenaline shot of an album, one that’s hard not to turn back to the beginning once it’s over.

There’s a remarkable job of levelling the slower tracks with the punk, the album only truly drawing breath at the end, with “Mae” and “National Anthem”. Even then, it feels natural. “Mae” is a sweet little track musing on unrequited love, saved from cliché by its own simplicity. “National Anthem” compares sets the singers relationship to America to an affair that has lost its chemistry and joy. It’s gaudy, but it works, slowing the pace down to a light acoustic strum. One almost wishes the album ended with kind of apolomb it carried in its earlier tracks, but why complain about a good song?

This is a damn good album, and if you want some pure, fast rock it’s going to be hard to find better. The Gaslight Anthem are constantly playing to their influences strengths, and it would be interesting to see what would happen when they try and step out from that shadow. But if this is the quality that the band is going to produce for the rest of their career whilst under it, I think I’ll definitely live.

 By David Lamb

9/10

The post The Gaslight Anthem ‘Handwritten’ Review appeared first on RAMzine.

https://www.facebook.com/bleedfromwithinband

The post Bleed From Within Interview @ Hevy Festival appeared first on RAMzine.

https://www.facebook.com/nevermeansmaybe

The post Never Means Maybe Interview @ Hevy Festival appeared first on RAMzine.

The post Andrew WK Interview @ Hevy Festival appeared first on RAMzine.