VALENTIINE Valentiine

Valentiine – Vanessa (guitars / vocals), Erica (bass/vocals) and Shelly (drums/vocals) – are a 3-piece all girl garage rock outfit from Melbourne, Australia. And they come with attitude in abundance.

Their laid back, almost nonchalant approach leans on early punk forerunners like the Velvet Underground, while also being heavily reminiscent in parts to the Shirley Manson / Garbage sound of the 1990′s – dark moody grooves, blistered overdosed vocals and a heavily laden hooks. There’s even shades of Nirvana.

Intentionally, or otherwise, the production is particularly lo-fi. Some will see that as attitude and realism, others will view it as inexcusable in this day and age. But I suspect that Valentiine simply won’t give a —-.

Their second single from the album – ‘Chucky’ – a graphic song about throwing up on the bathroom floor demonstrates clearly the band’s target audience. Yes, a band for angst ridden adolescent teens that parents simply can’t abide.

But their insolence and non-conformist attitude is to be applauded and it’s possible to envisage the band maturing into a rare talent. But for now their appeal is likely to be limited to spotty Herberts (and Hildas). **1/2

Review by Pete Whalley

NEVERSTAR I'll Be Waiting

NEVERSTAR I’ll Be Waiting

I posed the question in a review of Delain’s most recent offering whether symphonic metal was reaching the end of its sell by. Or at the very least, whether the market was becoming over saturated.

Most symphonic metal bands seem to adhere to a strict template – soaring female vocals, huge metal riffs, and of course, plenty of symphonic embroidery. And to the uninitiated, it’s probably only some vocal tones that distinguish Delain from Within Temptation and the like.

Brit newcomers Neverstar – founder members Pieter Cronje (guitars) and Vega Sims (vocals), ably abetted by Anthony Evans (bass) and Leigh Prout (drums) – are the latest band to join the club with their debut release ‘I’ll Be Waiting’.

For those with a love of the genre it’s a fine effort that nails all the necessary criteria, and while symphonic rock can have the occasional odious whiff of Eurovision, Neverstar avoid that trap with a guitar sound that is distinctly British.

As a debut and as symphonic rock, it’s certainly a signal of intent. And with a more lavish production it would give some of the ‘best in class’ a serious run for their money. Sadly, I’m not convinced Neverstar are bringing anything new to a table that is already overflowing, but for sympho junkies (and there are many) drink your fill from a fresh vein. ***1/2

Review by Pete Whalley

WHITE CLOUDS & GUNFIRE For All The Non Believers

I expected something more G n R’s from the band’s name, but it turns out that White Clouds And Gunfire are the latest incarnation of the sort of band touted by the likes of NME over recent summers – young lads giving it a 100mph thrash, with massive choruses and big hooks and the odd ‘shouty’ chorus line.

In the case of Peterborough-based White Clouds and Gunfire they add a subtle twist to the genre in the form of Eveleine Verdegaal who fronts up a band on vocals, supported by Bryon Marr and Alex Cox on guitars, and Rob Woods and Lewis Fountain on bass and drums.

Eveline’s distinctly ‘girlie’ vocals add an innocent appeal to an explosive backdrop in a combination that at face value is fairly unique to the genre. Although it could be argued this is ground that Avril Lavigne has already ploughed and harvested. But it’s all rather one paced and hardly looks to be a recipe for longevity (whatever happened to Avril Lavigne?).

To my ears, at least, it’s all rather ‘disposable’. Fine for a festival pogo, but the absence of an obvious killer single, makes me think White Clouds and Gunfire might be just a brief summer flirtation. ***

Review by Pete Whalley

KILL THE CAPTAINS Sounds Mean

You just know, when the opening number name checks broccoli (albeit in the context of being regurgitated) that the omens aren’t good. And I’d have to say that ‘Sounds Unfinished’ might have been a more apt title for the second album from Sheffield’s “best kept new-wave pop secret”.

Following on from their 2010 debut, Leon Carter (vocals / guitar), Ric Booth (guitar /vocals) Giles Robinson (bass) and Paul Collins (drums) continue to serve up their off the wall brand of ‘shout-along choruses, fizzing dual guitars and propulsive rhythmic skulduggery’.

Although to my ears it sounds more like a bunch of unfinished demos, and frankly, horrible – God help us if this is what passes for ‘music’ with today’s youth (and most likely Jools Holland).

Discordant indie pop with some weird noises thrown in for good measure – I thought my ear canals were being fracked during the intro to the lead single Disco Nazi. A most unpleasant experience.

Of course you need to bear in mind that I’m a boring old fart brought up on a hearty diet of ‘classic rock’ so many would argue that I’m just too old and past it. And they may be right. But classic rock quite rightly refuses to die while ‘new wave indie pop’ will be here today and gone tomorrow. And hopefully sooner. **

Review by Pete Whalley

Midnight Juggernauts - Uncanny Valley

MIDNIGHT JUGGERNAUTS Uncanny Valley

The album cover for this third long playing release from Australian ‘psychedelic rockers’ Midnight Juggernauts is dominated by the letters UV. They might equally signal a linkage back to Ultra Vox because the 80′s synth sound dominates ‘Uncanny Valley’.

Since forming in Melbourne in 2004 the three piece have forged something of a unique path mixing traditional rock instruments through samplers, pedals, patches and assorted effects to produce a sound that on UV seems light on psychedelia and rock, and far more Teutonic than from ‘down under’.

Recorded in the French countryside and various studios in Melbourne and Sidney UV is built on a bedrock of 80s synth pop sounds that brings many of the pioneers of the genre to mind – OMD, Eno, The Buggles, and forefathers Kraftwerk. But the pop vocal hooks that those bands deployed is largely absent with what other bands would perhaps deploy as backing vocals harmonies being mixed to the forefront.

The overall result is a rather new age and ambient soundscape where one track blends into the next without much of a fanfare. Previous albums seem to have been well received, but apart from perhaps enhancing the odd ‘trip’ I’m at a bit of a loss to see the appeal. **1/2

Review by Pete Whalley

FACEOFF The Colour Of Rain

In these days, when there’s a rock band on every corner, probably several in between, and players are becoming more adept, you’re going to need a strong usp to crack an overcrowded marketplace.

Sadly, European female fronted rockers FaceOff don’t have one. Yes, they more than competently crank up the volume and power their way through the 9 tracks on their doom / power metal debut, but I heard nothing to make me think the Serbian quintet are likely to crack Europe, or beyond. At least, not in any mainstream manner.

Established in 2006 by vocalist Marija Kovacevic and guitarist Stefan Vitasovic it’s thundering guitar work and staccato riffery that drives the band’s sound, iced by Marija’s melodic vocals (although to my ears, they’re perhaps somewhat under mixed).

A metal version of Evanescence? I can see the lineage, but the band’s sound is hardly ground breaking and to my mind lacks sufficient commercial content to attract an audience far beyond metalheads. But in Marija they do at least have hard rock eye candy and a centrefold in the likes of Kerrang or Metal Hammer is almost certainly guaranteed. But that could be their pinnacle. ***

Review by Pete Whalley

Featured Artist: JOSH TAERK

Since early 2020 Josh has been entertaining us with exclusive monthly live sessions, streamed via Facebook.
In 2023 he signed a recording deal with Sony in Canada and released a new single on 15 September.

Next session: Sunday 1 December

Check out videos here: https://www.facebook.com/getreadytorockradio

David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast on 20 October 2024.

UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). This show was first broadcast 22 October 2024.

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Power Plays w/c 28 October 2024

THE RASMUS Rest In Pieces (Better Noise Music)
THE PLAGUE What Else Can I Do (FiXT)
STAR CIRCUS Turn The Tide (indie)
DEFENCES Breathe It In (Long Branch Records)

Featured Albums w/c 28 October 2024

09:00-12:00 The Best of 2003-2023 (Melodic Rock)
12:00-13:00 The Best of 2003-2023 (Melodic Hard Rock)
14:00-16:00 The Best of 2003-2023 (Singer Songwriter)