ALBUM REVIEW: Bastille – Give Me The Future

Success came quickly and early for UK indie pop quartet Bastille, topping the album charts in their home territory with their 2013 debut. Top 5 accomplishments followed for each subsequent album; a run the band is looking to continue with their fourth album, Give Me The Future (EMI), a release that arrives with a fair dose of expectation. Predecessor, Doom Days, critically, didn’t hit the heights of the band’s first two full-length outings, but the lead-off singles from …Future gave assurance that all was back on track.

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Watch a Mini-Documentary About Two Fans’ “Lost Weekend” with Van Halen in the 1980s

Released in February 2020 and shared by the now postponed (and heading to online) Tribeca Film Festival as part of their A Short Film a Day Keeps Anxiety Away series online, a new documentary tells the story of two fans that got to party with Van Halen for an unforgettable and life-threatening time thanks to winning a contest on MTV during the 1984 tour! Lost Weekend by Bradford Thomason and Brett Whitcomb tells the story of two 20-year-olds from Phoenixville, PA who won a contest to party with rock band Van Halen, then in their debaucherous prime. The clip is one part cheesy 1980s goodness, one part classic rock history, and one part MTV legend. Check it out now! Continue reading

Saint Vitus – Saint Vitus

At what point does a band stop striving and just settles into a never-ending victory lap? Take L.A.’s finest Doom Metal group, Saint Vitus, who’ve been at it since the late seventies, and pretty much defined the genre in the eighties. And yet, here we are, in 2019, and a new self-titled album (Season of Mist) from the band is due out soon. It also sees the return of the band’s first lead singer, Scott Reagers, after a twenty-four-year break.Continue reading

Van Halen’s Masterpiece “1984” Was Released 35 Years Ago


The 1980s was a truly golden age for rock music. As a lot of the successful bands from 1970 transitioned to new era of music competing with heavier styles of rock, New Wave, Punk, Post-Punk and Pop music, many acts had to step up their game to stay alive. While some adapted to new sounds to stay a float and reach for ears and hits, others fell by the wayside. One band that managed to changed while keeping true to what made them great was Van Halen. As proved by their definitive work on 1984 (Warner Bros.), released thirty-five years ago on January 9th, 1984, the album would not only mark the final chapter (at the time) for the David Lee Roth led period of the group, but set a new bench mark for them at the same time.

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Hateful Abandon – Liars/Bastards


Want some happy music? You know the sort that makes you want to stand up, shout and throw your cares away? The sort that makes sense with beer in hand and shouting along to every chorus…? Then steer well clear of Hateful Abandon as happiness is not a vibe you are going to get from their dystopian vision of a civilisation rotten to the core, its maggot-ridden corpse exposed through musical and lyrical expression. The two-piece from Bristol have carved out something of a cult following with music verging on Killing Joke and Burzum downing fistfuls of barbituates and their latest release Liars/Bastards (Candlelight) is packed with cadaver-ridden angst at the state of 21st Century humanity, all kicking off with the agonised shouts and military drumming of ‘Maze of Bastards’. Its downbeat electronics echoes the sludge of some bands but reaches further through tone and arrangement.

It’s not easy to pick a highlight form Liars/Bastards as it is such an agonised expression of where we have reached in our species evolution. The deceptively upbeat opening of ‘Culprit’ serves to lull the listener into another tale of terror and elsewhere ‘The Test’ opens with a quotation from 1984 that serves to introduce a swirl of keyboards and precision drumming.

Despite their bleak outlook on the world Hateful Abandon declare that they are “not a political band” saying that “we are not preaching to anybody, we merely hold a mirror up to the world. We deal in truth not trickery.” But on ‘There Will Never Be Peace’ there is both their declared penchant for reflecting the world, but it is close to a political statement; a musical single finger thrust at those who would send sons of mothers off to die.

A fair summary of the band, and this album, is on the 10-minute plus closer ‘December’. This where they express themselves, producing an almost epic take on industrial metal and electronica in its purest form with Swine’s drum lines providing a subtle underscore that ensures the keys and vocals don’t disappear up their own ass, something that they stray close to on other tracks.

Vice Martyr and Swine may not want to be anyone’s rock heroes, but there is a distinct feeling that to progress they are going to have to stretch their sound a little further. That this release clocks in at less than 45 minutes suggests that either they have much more to come, or their material takes an inordinate amount of time to emerge.

Either way – this is an “enjoyable” experience in the sense that its’ very bleakness is a cathartic listen; confirming what we know about the world, and with the hope that this form of art can really inspire action in some future time. A good album, if not a great one, it is nevertheless intriguing.


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