Category: New Release


Artist: Glass Tides

Album: In Between

Date Of Release: 17th January 2020

Label: Independent

Track Listing:

1. Crawling

2. Somebody Else

3. Waste

4. Sympathy

5. Insecure

6. The Past Is Dead

7. Mirrors

8. Pointless View

9. Happy

10. In Between



If you have been keeping one eye on the Australian music scene over the past two years then there is a good chance that you have heard of Adelaide post-hardcore outfit Glass Tides. During that time the band have released two EPs that certainly caught a lot of people’s attention and have had the chance to open for bands such as Bodyjar and Spiderbait.

Now Glass Tides have released their debut feature album titled In Between and if you love albums that contain raw passion then you are simply going to adore this album. There is a unique rawness to this album, a rawness that shows a band that is willing to explore as they go on but also a band where the vocals reveal the pain of humanity with everything out in the open.

Smooth tracks like ‘Crawling’ are taken to new levels with stunning vocal work from Paul Bakker while the beautiful layers of ‘Somebody Else’ reveal a band that are much more mature than the fact that this is a debut album would allude to.

‘Waste’ is the kind of track that could see Glass Tides make it on the world stage and it is catchy as hell but still boasts are serious side that will draw on serious music fans. ‘Sympathy’ again sees the smoothness of the band return while the sound of the track itself conjures up memories of bands like Angela’s Dish and Kisschasy. Then there is the brilliant ‘Insecure’ that just continues to build in intensity while the vocals clearly portray the pain the song is written about.

Glass Tide’s aggressive side is revealed with ‘The Past is Dead’ while the beautiful ‘Mirrors’ and the haunting ‘Pointless View’ show the exact polar opposite. In Between then reaches the heights again as Bakker declares ‘take me away’ over and over on ‘Happy’ while that late 2000s vibe returns with the heartfelt title track that wouldn’t have sounded out of place on one of the soundtracks for One Tree Hill.

In Between is the kind of album that shows that Glass Tides have a big future ahead of them. This is an album from the heart that is not going to disappoint.



Rating (out of 5):


Artist: Oceans

Title: The Sun And The Cold

Year: 10th January 2020

Label: Nuclear Blast

Track Listing:

  1. The Sun And The Cold
  2. We Are The Storm
  3. Dark
  4. Payalyzed
  5. Take The Crown
  6. Shadows
  7. Legions Arise
  8. Polaris
  9. Truth Served Force Fed
  10. Water Rising
  11. Hope


When serious music journalists were asked who would be some of the bands to watch in 2020 one of the bands that a lot of people mentioned were Germany’s very own Oceans. The band hit like a tsunami in 2019 with two killer EPs which gave them a record deal with Nuclear Blast and the opportunity to hit the road with the likes of Cellar Darling and Equilibrium.

Now 2020 is here and Oceans haven’t kept us waiting very long for their debut feature length album as they are just about to drop their debut – The Sun And The Cold – and what a debut it is.

The thing that has always stood out about Oceans are they are a band that is not afraid to mash genres together as they go and the result is an album that really feels like it takes its audience on a journey while creating a rare sound that is going to see this band go a long way.

The album delivers sheer brilliance from the start as opening track ‘The Sun And The Cold’ begins with a looming atmospheric feel that then explodes into life delivering a very unique sound indeed. Timo Rotten’s mellow vocals almost have a bit of a Brit-Rock sound to them while his growls more than forced the moral of the song home.

The catchy side of Oceans comes out to play on ‘We Are The Storm’ which again sees the mix of Rotten’s gruff growls and melodic vocals sound a new level of awesome, while JF Grill’s pounding drum work really add intensity to the track.

As you continue to listen to the track you can see that Oceans promise of mixing everything from traditional death metal to the sounds of nu metal certainly come to life here as the layers of how the built that tracks are all there for the audience to hear on ‘Dark’ and ‘Paralyzed’, that latter a truly haunting masterpiece.

The aggressive side of Oceans is revealed on ‘Take The Crown’ and as Rotten’s growls declare ‘I’ll break your fucking face’ you can tell this is a song written with a real point in mind rather than aggression for the sake of aggression. Then comes the amazing ‘Shadows’ which needs to be the next single off the album while ‘Legions Arise’ is again another track that shows Oceans can take any mantle they set their minds to.

‘Polaris’ sees the album slow for the first time and the breather allows for a great solo from Patrick Zarske while the keys that are also present hails in a bit of a proggy and experimental sound for the band which then lingers around for both ‘Water Rising’ and ‘Hope’. Some may question such a dramatic change in sound but with Oceans and it seems to work, but then this feels like a band that could make any genre work.

We were all expecting something very special for Oceans’ debut feature album but I doubt anyone expected an album as special as what The Sun And The Cold has turned. This is a truly brilliant album that shows why 2020 is the year where everybody will learn who Oceans are.


Rating (out of 5):


Artist: Kenny Wayne Shepherd

Title: The Traveler

Year: 2019

Label: Concord

Track Listing:

  1. Woman Like You
  2. Long Time Running
  3. I Want You
  4. Tailwind
  5. Gravity
  6. We All Alright
  7. Take It On Home
  8. Mr. Soul
  9. Better With Time
  10. Turn To Stone


Subculture Entertainment Kenny Wayne Shepherd Band:  The Traveler Review:

When you listen to a lot of musicians these days you realise that many of them have forgotten the art of great song-writing. Catch a brief listen to any pop radio stations and the tracks seem repetitive with vanity being the main song subject… the art of telling a story or capturing real human emotion in the lyrics seems to be something that is long forgotten. Well I am happy to say that one talented musician that hasn’t lost that art is Kenny Wayne Shepherd. His new album, his ninth, is an album full of tracks that will regain your faith in modern day music… because when it comes to song-writing this man really knows what he is doing.

The Traveler is one of those albums that you can’t just listen to once. Put it on and you’ll have it on repeat for days because it is one of those albums that is not only filled with great tracks but also an album where the lyrics really speak to you and remind you moments from your own life… yes the album’s premise might be able travelling but it is the listener themselves that is taken on the journey here.

Opening track ‘Woman Like You’ shows straight away that you are in for something special. It’s great mix of hard rock and blues shows the unique brand of music that Kenny Wayne Shepherd has made his own. The brilliant guitar playing and catchiness of the track just make it a track that you fall in love with straight-away.

That is a re-occuring theme throughout the album. ‘Gravity’ and ‘We All Alright’ are simply so catchy that you find yourself singing along to them on just the first listen while that infectious catchiness is also present on ‘Long Time Running’. Then there is ‘I Want You’ which shows why Shepherd is one of the best guitar players in the world.

What wins you over on this album though is the brilliance of his song-writing. The emotion that he captures in ‘Tailwind’ is something that is lost these days. The song captures that emotion of travelling back home after being away like very few songs have managed to do in the past. It is clearly one of the best songs of the year and a track that deserves to be heard on radio right around the world. A similar theme is also explored with some exceptional story-telling on ‘Take It On Home,’ another track that is just sheer brilliance.

The diversity of Shepherd’s music is on show as he covers Buffalo Springfield’s ‘Mr Soul’ with a brass heavy rendition and then delivers Joe Walsh’s ‘Turn To Stone’ in true blues rock fashion. The two are separated by ‘Better With Time’ which is just begging to be used on a soundtrack.

For fans of Kenny Wayne Shepherd it is easy to see that The Traveler is going to become a favourite, while for those that haven’t discovered his wonderful music – this will be the album that makes you go out and want to hunt down every album he has ever  recorded. Make no mistake this is one of the albums of the year.


Rating (out of 5):

Eluveitie - Evocation II - Pantheon - Artwork

Year: 2017

Label: Nuclear Blast

Track Listing:

  1. Dvressu
  2. Epona
  3. Svcellos II (Sequel)
  4. Nantosvelta
  5. Tovtatis
  6. Lvgvs
  7. Grannos
  8. Cernvnnos
  9. Catrvix
  10. Artio
  11. Aventia
  12. Ogmios
  13. Esvs
  14. Antvmnos
  15. Tarvos II (Sequel)
  16. Belenos
  17. Taranis
  18. Nemeton

Subculture Entertainment Eluveitie:  Evocation II: Pantheon Review:

It’s not many bands that can boast that their latest album is 2,000 years in the making… nor can many say that their album had to have the help of scientists and history professors when it came to the lyric writing – but that is exactly what has happened with Swiss Folk Metal masters Eluveitie. While putting together an album that meant spending countless hours with professors of language and the like sounds like an ordeal upon itself the band also had to deal with the fact that three members had left the band to form Cellar Darling while five new members joined the band (four were returning after a brief hiatus) including a new clean vocalist Fabienne Erni.

Fans of Eluveitie at their most extreme should be warned that Evocation II: Pantheon does fall more on the side of folk than does to metal – largely due to the fact that the band have chosen to not only record the album in the Gaulish language but also because they have chosen to record with the instruments that were around 2000 years ago. The result is folk music written as it was intended but with the power of a metal band… and it is one of the best things I have heard all year.

The emotions that Eluveitie manage to conjure up during this album really does show that true emotion in music comes through the music itself and not through any digital enhancements that can be done using computers and such. The atmospheric feel of tracks like ‘Belenos’ show the true skills of Eluveitie, while the infusion of a true tribal and haunting feel of ‘Catvrix’ and ‘Esvs’ is a true beauty that will stick with the listener.

The metal grunt of Eluveitie comes to the fore with the faster paced tracks – ‘Lvgvs,’ ‘Taranis,’ ‘Nantosvelta’ and ‘Cemvnnos’ – but is the fact that slower tracks – ‘Artio,’ ‘Aventio’ and ‘Antvmnos’ – work alongside other tracks of spoken word that really show that Evocation II: Pantheon truly captures its audience. Of course the most amazing track on this album is lead single ‘Epona’ which for me is one of the best songs of 2017, the instrumentals behind it are amazing while on the album it serves as a great introduction to the vocals of Fabienne Erni. Her amazing voice really comes through on the track and throughout the album you are constantly reminded of what she know brings to the future of Eluveitie.

Evocation II: Pantheon is truly a masterpiece. Close your eyes while listening to this album and you are transported back to the Celtic times of 2000 years ago. There is a power in the music here that is rare in modern day music. Eluveitie have created a work of art with this stunningly beautiful album.



Rating (out of 5):


Thy Art Is Murder - Dear Desolation - Artwork

Year: 2017

Label: Nuclear Blast

Track Listing:

  1. Slaves Beyond Death
  2. The Son Of Misery
  3. Puppet Master
  4. Dear Desolation
  5. Death Dealer
  6. Man Is The Enemy
  7. The Skin Of The Serpant
  8. Fire In The Sky
  9. Into Chaos We Climb
  10. The Final Curtain

Subculture Entertainment Thy Art Is Murder:  Dear Desolation Review:

Take a bow Thy Art Is Murder because you boys have delivered one of the most brutal albums of 2017. I could use all the traditional clichés when it come to talking about Dear Desolation – it’s in your face, it’s the kind of album that your Mum doesn’t want you to listen to yada yada – but really this album is a lot more than that. Yes it’s brutal, yes it’s in-your-face but an album this unrelenting is extremely rare.

Opening track ‘Slaves Beyond Death’ doesn’t just start playing when you hit play this bloody thing erupts and explodes from your speakers. The drumming work of Lee Stanton is off the scale and when CJ McMahon’s (welcome back to the fold, mate) suddenly hit this album goes to a whole new level. ‘The Son Of Misery’ is a wall of sound that shows that Thy Art Is Murder is a band that just continually keeps pushing the boundaries while McMahon’s vocals on the title track drift from deathcore through to manic growls.

The early instrumentals of ‘Death Dealer’ build like an air raid siren before launching into the best track of the album which has a real feel of tribal cries while that tribal sound returns on ‘Into Chaos We Climb’ which also features some fine melodic guitar sounds from Andy Marshthat sweep through the track from time to time. Marsh’s work also makes ‘The Final Curtain’ a stand-out as everything comes together while the guitars soar above them all.

The wall-of-sound element that Thy Art Is Murder manage to achieve with Dear Desolation is nothing short of amazing. The sheer brutality of tracks like ‘Man Is The Enemy’ is rare while the creativity that allows the band to let ‘The Skin Of The Serpent’ and ‘Fire In The Sky’ just build and build until they reach new epic heights of deathcore separates this band from the pretenders once and for all.

Dear Desolation is the pinnacle of deathcore music. While people in the past have compared Thy Art Is Murder with bands like Behemoth and Cannibal Corpse this album plants them in that exclusive club right beside them.
Rating (out of 5):


Once Poster

Summary: Set in modern day Dublin, Once is the story of a Guy who gave up on his music and his love and the Girl who inspired him to dream again.

Australian Premier Date: 4th October, 2014

Performance Review Date: 4th October, 2014

Director: John Tiffany

Playwright: Enda Walsh

Cast: Anton Berezin (Bank Manager), Andrew Broadbent (Older Male/Male Swing), Ben Brown (Emcee), Gerald Carroll (Eamon), Colin Dean (Billy), Margi de Farranti (Baruska (understudy)), Matthew Hamilton (Guy (understudy)), Lisa Hanley (Swing), Brent Hill (Svec), Shanae Icovski (Ivanka), Madeleine Jones (Girl), Stefanie Jones (Swing), Keegan Joyce (Andre), Amy Lehpamer (Reza), Tara Lyon (Ivanka), Summer Moore (Ivanka), Lachlan Neate (Young Male/Male Swing), Tom Parsons (Guy), Jane Patterson (Ex-Girlfriend), Greg Stone (Da), Susan-ann Walker (Baruska), Paul Watson (Young Male/Male Swing)



David Griffiths:

Over the years there have been a number of theatre musicals that have been turned into big stage spectaculars. Even in recent years films such as Les Miserables and Rock Of Ages have successfully made the transition, although as Spider-Man recently showed the trade back the other way often flops.

It was for that reason that I was a little sceptical when first heading into the theatre to see Once. Once first surfaced in 2006 as an Irish film pieced together by director John Carney (who recently was responsible for the brilliant Begin Again… which I am praying also gets turned into a stage musical). The film has a bit of a cult following but isn’t exactly the kind of film that all members of the general public have heard of so the fact that it has been turned into a theatre production was a brave one to say the least. But if the Australian production is anything to go by it is a decision that I am very pleased to say I’m happy they made.

For those that haven’t seen Once the story revolves around Guy (played by Tom Parsons in the Australian production) and Girl (Madeleine Jones). Guy is a gifted musician who is about to give up on music due to the fact that he is heartbroken by the fact that his girlfriend (Jane Patterson), whom most of his songs have been written for or about, has moved to America. A chance meeting introduces him to Girl who falls in love with his music and begs him to launch into a music career.

At first Guy is reluctant but with further persuasion from Girl soon recruits the local Music Shop Owner, Billy (Colin Dean) and a higgly-piggly group of Dublin musicians together in an attempt to record a low-priced album.

Meanwhile Girl, who is a Czech immigrant (she is serious she is Czech) faces problems of her own as she raises her daughter Ivanka (Tara Lyon/Summer Moore) with no support from her husband. Her mother Baruska (Susan-ann Walker) and friends such as Reza (Amy Lehpamer) help her out in any way they can.

Any doubts that Once is going to work is quickly eroded as soon as you enter the theatre as director John Tiffany puts the productions bar set to good use by throwing open the stage and letting the patrons drink at the bar while the cast mingle amongst them playing traditional Irish folk music to really create the feeling that you are no longer in a Melbourne theatre but instead in a friendly Dublin bar. Tiffany’s excellence is on show throughout the production as he constantly finds creative and new lighting techniques and ways to complete set changes all night long.

My biggest fear for Once was not knowing any of the music. This wasn’t going to be like Rock Of Ages, there are no famous rock tracks known universally around the world that you can sing-a-long to, this is original music that has the audience going in cold, and to the productions credit it works wonders. And while you may not be able to sing-a-long while they are being performed you will find yourself singing them to yourself for days after watching the production, I’ve been humming If You Want Me and Falling Slowly ever since the curtain dropped.

Also deserving a lot of credit for how spectacular Once is the very hard-working cast. This has to be one of the most challenging musicals ever put together for a cast as they really have to be a quadruple threat. Nobody gets to hide here as the cast are called upon to act, sing, play musical instruments, dance and even act as stage-hand throughout the production. To their credit the Australian cast work so well together that they leave you in awe.

Leading the way is the brilliant Tom Parsons who has a folk music to die for and demands a great stage presence despite playing the shy and reserved Guy. Matching him at every turn is the talented Madeline Jones whose vocals on If You Want has to be heard to be believed… it is one of the reasons why you will be stopping by the theatre store on the way out to grab a copy of the CD. Cast wise Colin Dean and Brent Hill also provide amazing comedic relief while Amy Lehpamer announces herself as an actress to watch as she proves more than capable with some great violin playing while playing the very ‘friendly’ Reza.

Once is a stunning put together musical that truly deserves the awards that it has won overseas, something that it is guaranteed to do here in Australia as well. John Tiffany’s creativity makes this a theatre production that the audience is going to remember for a long time to come, while the production’s musical numbers are guaranteed to become classics. They are so well performed it feels like you are at a concert and not a theatre. Once is most likely the first ever folk musical… but it is one production that you should not miss.


Subculture Rating (out of 5):  Stars(5)


Jxckxlz cover

Year: 2014

Label: Art As Carthasis

Track Listing:

  1. Cicada – Grasshopper (Fat Man Wears Mystic Wolf Shirt)
  2. Carpenter Ant (Fat Man Wears Mystic Wolf Shirt)
  3. Distractions From You (Jxckxlz)
  4. Solace (Jxckxlz)
  5. Trophic Level (Jxckxlz)
  6. Cause And Effect (Jxckxlz)

Subculture Entertainment ‘Fat Man Wears Mystic Wolf Shirt vs Jxckxlz’ – Fat Man Wears Mystic Wolf Shirt/Jxckxlz Review:

As Art As Carthasis continues to grow to becoming one of Australia’s heaviest labels it brings together two of its very unique acts to form a LP that is going to be a sought after classic as it lifts to the alternative music scene in Australia to whole new level.

Kicking off the album are the brutal Fat Guy Wears Mystic Wolf Shirt kicks off the LP with the short and manic ‘Cicada – Grasshopper’ and then follows it up with the drawn out ‘Carpenter Ant’ which sees vocalist K deliver another healthy dose of mania vocally.

Then it is Jxckxlz (pronounce Jackalz) turn to step up to the mic… and boy of boy do they deliver. If you are yet to hear these guys at full flight then you really are missing something. Jxckxlz show what they are all about with their opening track – ‘Distractions From You’ a track which first of all hits the audience with some real brutality before then taking them on an epic journey.

Brutality is also the key to ‘Solace’ which then sees the band switch to a more atmospheric sound within a heartbeat while they deliver a pure wall of sound with ‘Trophic Level.’ It’s then back to their heavy best to close out the album with ‘Cause And Effect.’

‘Fat Guy Wears Mystic Wolf Shirt vs Jxckxlz’ may just be six tracks in length but this is an album that heralds in a much needed new sound into the Australian alternative music scene. This is some of Jxckxlz finest work and they clearly show why they are a band that everybody must now have in their collection.



Rating (out of 5):

Grindhouse Sleeping At The Peeps

Year: 2014

Label: Desert Highways

Track Listing:

  1. Dapto Dazzler
  2. Wild Sex And Machine Guns
  3. If You Say So
  4. Demolition Dirtbag
  5. Suss Us Out
  6. High On The Side Of The Road
  7. Two Dollar Spoof Bin
  8. Muthaf**ken Punk Rock Power

Subculture Entertainment ‘Sleeping At The Peeps’ – Grindhouse Review:

It’s ironic that the closing track on Melbourne punk rock outlaws Grindhouse’s latest offering is called Motherf**ken Punk Rock Power because to be absolutely blunt that is exactly what this album is… it is the only way to describe it.

If you’re a new fan of the punk genre and have been little confused by these so called modern punk rockers who are actually pop-stars in disguise then one listen to ‘Sleeping At The Peeps’ is going to jettison you back to the mid-1990s and show you exactly how good Aussie punk rock is supposed to sound.

There is no mucking around for Grindhouse ‘Sleeping At The Peeps’ simply creates a punk rock sound so pure that it sounds like it could have been recorded in a suburban garage or your local bar. For the most part lead vocalist Micky ‘Two Fingers’ Simpson lets his high vocals (seriously these guys are right up there with The Darkness) do the talking on tracks like ‘Dapto Dazzler,’ ‘If You Say So’ and ‘Demolition Dirtbag.’

Then there are the fun songs, stuff like ‘Wild Sex And Machine Guns’ and the afore mentioned ‘Muthaf**ken Punk Rock Power’ but the one thing you could never label Grindhouse is a gimmick band. Oh hell no, these guys are a lot better than that, if anyone needs proof of that then simply listen to Rick ‘Pony Club’ Audsley’s guitar work throughout the album. Or take a quick listen to ‘High On The Side Of The Road’ a track that ventures into rock territory more than punk but just shows how good these guys really are.

At the end of day ‘Sleeping At The Peeps’ sees Grindhouse deliver a healthy dose of pure hi-energy punk rock and no punk fan is going to complain about that.


Rating (out of 5):  Stars(4)

Public Service Broadcasting

Year: 2013

Label: Test Card Recordings

Track Listing:

  1. Inform Educate Entertain
  2. Spitfire
  3. Theme From PSB
  4. Signal 30
  5. Night Mail
  6. Qomolangma
  7. Roygbiv
  8. The Now Generation
  9. Lit Up
  10. Everest
  11. Late Night Final

Subculture Media ‘Inform Educate Entertain’ – Public Service Broadcasting Review:

There are some music lovers out there that would be quick to dismiss English act Public Service Broadcasting’s latest album “Inform Educate Entertain” as a flash-in-the-pan gimmick. But the people that would say that are the same kind of people that like to enter into the art vs art installation argument. Art is art and music is music and if you dig a little deeper the concept behind “Inform Educate Entertain” is a gutsy one with merit.

Public Service Broadcasting is made up J. Willgoose Esq. (who pretty much plays every instrument under the sun on the album) and Wrigglesworth who brings the drums and some haunting saxophone playing to the table. Also playing a key role in the sound of this album are the voices of various public service films (read into that propaganda films) that have been made over the years.

The idea behind “Inform Educate Entertain” is to point out that often videos disguised as public announcements or safety messages are in fact a way to try and control the public. Whether or not Public Service Broadcasting get that message across to their listeners is debatable but this is still an album that can be enjoyed by those who enjoy a good electronic or experimental album.

The only main weakness of this album is that some tracks just seem to glide by and become background noise but they are largely outnumbered by the amount of tracks that actually stand out. Late Night Final is smooth jazz at its best while for the most part tracks like Inform Educate Entertain, Everest, The Now Generation and Spitfire show that Public Service Broadcasting are one of the best groups going around at capturing that mix of electronic and rock.

Other tracks that certainly make a splash are the 80s pop sounding Theme From PSB (that also uses banjos to good effect), the rockier Signal 30 which incorporates some voiceover from road safety videos remarkably well and the smooth Lit Up which constantly reminds the listener that this is in fact ‘all just fairyland.’

The naysayers are pointing out that Public Service Broadcasting might find it hard to have a future after this but stay in the now people, what they have delivered here is a great sounding electronic album that has a memorable concept. I also hear that they do a pretty awesome live show so check them out if you can.


Rating (out of 5): Stars(3)

The Living Eyes

Year: 2013

Label: Z-Man

Track Listing:

  1. Sittin’ Sick
  2. Wrong Doings
  3. Down And Out
  4. Heard It All Before
  5. Up And At Them
  6. Economy First
  7. Outta Doubt
  8. Slave Labour
  9. Ways To Make A Living
  10. Stuck In My Own World
  11. Cry In Shame

Subculture Media ‘The Living Eyes’ – The Living Eyes Review:

For the younger generation of music fans there is a familiar daydream – a dream where they once found themselves packed into a beer-soaked, smoke-filled concert hall in the 1960s as they watched a young band made up of musos with the names of George Harrison, Ringo Starr, Paul McCartney and John Lennon plying their trade. This of course would have been before The Beatles were international stars, the daydream doesn’t work if you can’t say you were one of the first people to discover The Beatles. Well now you can do that with another band.

The comparison between Geelong band The Living Eyes and of course The Beatles isn’t exactly such a far-fetched one to make. Certainly The Living Eyes have learnt a thing or two listening to The Beatles over the years, not only are their music styling very similar but Billy Gardener, Mitch Campleman, Dayle Herbert and Nicholas Hill know how to create a special brand of pop rock, a brand that to be honest it has felt that The Beatles have a hold on for all of these years.

The band’s self-titled new release is an absolute gem of an album, one that you know you are going to listen to over and over for years to come. Opening track ‘Sittin’ Sick’ reels you in with its garage rock fused with 1960s pop sound and the album has you from there.

Short and sweet tracks like ‘Wrong Doings’ and ‘Slave Labour’ leave the listener wanting more while you just know if a track like ‘Down And Out’ had been released back in the 1960s it would have graced itself on the soundtrack for the television series of ‘Heartbeat’, as it certainly would have been a track that would been remembered for a long to come.

‘Heard It All Before’ sees Billy Gardener bring an almost punk vibe to his vocals while it’s the brilliant guitar chords he pulls together with Mitch Campleman that makes you want to give ‘Up And At Them’ another listen.

Again it’s the guitar work on the opening of ‘Economy First’ which reveals The Living Eyes as a band with pure skill while it also shows that as a band these guys know how to write music so catchy that any audience will fall in love with it straight away… a really handy skill for a band to have if they want people coming to their shows and buying their CDs.

Even an average track like ‘Outta Doubt’ is worth another listen while ‘Ways To Make A Living’ again brings some raw emotion to the album… it’s track like the latter that makes seeing The Living Eyes live something to put on your bucket list.

‘Stuck In My Own World’ consists of some melodies that most bands would kill for while it is once again Gardner’s vocals that brings back that raw emotion with ‘Cry In Shame’.

This self-titled album really proves The Living Eyes to be one of the finds of 2013. If you are serious music lover then buying this album is a must while seeing them live should be a dream you fulfill really soon.

Rating (out of 5): Stars(5)