Despite most of the members meeting in high school and playing together for 16/17 years, Action/Adventure have only just unveiled their debut album. The band first saw success after the release of their 2020 Barricade EP, of which the titular track reached viral status after the band uploaded a video paired with the song onto the platform that entailed them sharing their experiences of being BIPOC in the alternative scene, scoring them 1.3 million views to date. Shortly after, they were signed to Pure Noise Records, and this album is the product of that achievement.
The quintet immediately demonstrate their technical prowess from the get go; the record’s opening song, and the album’s title track, ‘Imposter Syndrome’ comes crashing in with a sense of aggression and urgency through punchy drums, bright, melodic guitar riffs, and roaring vocals packed with clear diction, tone and a message impossible to ignore – they want you to know they’re a “breath of fresh air”. Simultaneously, their dubiousness and anxiety – and overall album message – creeps through in the lines “we’re the imposters” in a true quintessential self-deprecating pop-punk manner, presenting their inner conflicts of feeling like outcasts whilst maintaining pride in their art.
This plays on not only the bewilderment of blowing up on TikTok during the pandemic and being signed to the same record label as some of their favourite bands, but also nods to them being made up entirely of BIPOC members in a scene that’s historically notoriously white. However, vocalist and guitarist Brompton Jackson stresses that the amalgamation of the members happened entirely by chance, and that whilst it’s important not to lose sight of the significance of the visibility of individuals like themselves in the scene, they don’t want to be a “token band”.
The sun beats down on your stetson covered head, the dust swirls around you and dries your mouth and throat. Wandering across a sacred and charred apocalyptic landscape, chaos has been unleashed on the world and somehow, by some miracle, you have survived to live another day. Stu Folsom and SpiritWorld present us with the eagerly anticipated follow up to the band’s infamous debut album Pagan Rhythms, a story of frenzied survival going by the name of Deathwestern. With massive 1980s drum production, crushing hardcore riffs and a hefty dose of thrash metal worship, Deathwestern is even more barbaric and brutal than its predecessor. The album carries on where Pagan Rhythms left off, and brings with it a whole host of intriguing and unlikely heroes with it.
From the first ringing acoustic guitar notes ‘Mojave Bloodlust’, instantly you’re transported to the dusty trails of the desert. This particular desert is located south of heaven and west of hell, in the darkest, most apocalyptic, horror-western inspired corners of Stu Folsom’s imagination. With a massive creative burst leading to the rapid creation of the album and the more vivid and fleshed out world narrative that Folsom had written alongside it, Deathwestern is the savage and blood drenched sequel we’ve all been waiting for. In this hell-scape a gallery of rouges emerges with tales of bloodlust, torture, gore and survival in an ever chaotic world. These characters include; gunslingers, necrophiliac preachers, Comanches (a Native American tribe) and a train hopping, serial sodomite demon slayer. One fascinating aspect about Deathwestern is that events on this album run parallel to the events on Pagan Rhythms, inextricably linking the two albums. However, Deathwestern doubles down on the thrash metal carnage, creating a relentlessly pummelling album that will leave you winded with every thunderous double kick drum barrage. There is a lusciously devastating amount of thrashing, whiplash inducing, sonic violence on this album that would make the likes Slayer, Power Trip and Get The Shot proud.
The story of said ‘Jesus’, ‘flung into an amphetamine-powered wormhole and travelling through time and space’ alongside the hellish artwork and comic strip (for those who picked up the bundle), it is quick to assume that Radillac may be a pedal to the metal record. Rarely slowing below 50kmph in fear of incinerating those that dare to listen.
The intro prepares you to be sent into the void against you will much like the character at the centre of this journey. First track ‘Sleeveless Jesus / The Void’ plays straight into the many cards they have to hand: riffs that have chugged as much beer as they did Friday night, pummelling drums and the crazy vocal range of Will Gardner (who many are very pleased to see back with a mic in hand). Drummer, Sam Simpson, working harder than he ever has with hammer blows to the kit. As the bridge throws you into the aforementioned void. Floating forever into the darkness before elements of black metal strip bubble up. The devil is coming for Christ. The central epic build is face meltingly wonderful as they transition into the latter part of the track which two horns and two middle fingers squarely up at you and yours served up with a cheeky side smile.
Deathless Legacy’s sixth album Mater Larvarum creates an atmosphere evocative of The Blair Witch Project meets The Haunting of Hill House. As soon as ‘Ora Pro Nobis’ begins with its Latin chant, images of black woods, chilling fog, and moaning wind invade the mind. Those brave enough to embark on Deathless Legacy’s quest won’t find hell waiting, but a gloomy limbo is certainly a possibility.
Pray for us: ‘Ora Pro Nobis’ starts off with unsettling chants and icy solos. Thoroughly chilled (but intrigued), the listener is pulled through the treeline with delightful symphonics. By ‘Absolution’, one of the best tracks on the album, it’s clear Deathless Legacy are serious about the climate of Mater Larvarum. By applying elements of symphonic metal, gothic metal, progressive music, pure heavy metal, horror lyrics, and even hints of thrash metal, the Italian horror masters are intent on giving the listener their runtime’s worth.
After a back catalogue including a split thrash metal/acoustic blues double album and a covers album with a cover of a film scene with Paul McGann and a metal version of the Popeye theme – not to mention his work in eccentric post-hardcore trio Reuben – Jamie Lenman’s fifth solo album The Atheist finds a unique voice with a markedly less weird indie-pop influenced sound. This new album is bound to split fans by experimenting with a more accessible approach, especially in comparison to his heavy, brooding previous album King of Clubs but there’s still plenty to enjoy.
The Atheist’s opener ‘This Is All There Is’ is the closest the album comes to trying to appease old-school fans of Lenman’s heavier work. With a focus on hard-hitting riffs and anti-religious lyrics building up to a festival sing-along chorus of “This is all there is/Blood and sweat and piss”. The entire track is reminiscent of Lenman’s song ‘Personal’ from Devolver but more in line with this newer album’s style. Duelling guitar riffs from Lenman and new guitarist Jen Hingley, also of False Advertising, along with returning drummer Jack Wrench’s driving beats accentuated with a bouncy cowbell in the pre-chorus make for one of Lenman’s catchiest songs in years.
Bruce, in the six years that have passed since he stood on a stage with the musicians alongside which he became the quintessential American rock artist, has been incredibly prolific.
A sell-out Broadway tour and subsequent Netflix show, a new studio album (including re-recorded songs from a song vault that must be reaching Swiss proportions at this point) an extensive and rather controversial tour announcement and now, amid rumours of more delving into the annals of Springsteen history, a 15-track soul covers album released seemingly on a whim.
Why? Well, why not should be the better question. After selling his discography for a reported $550m, it appears the Boss is now completing side quests.
