Steve and Remfry head back to 2003, to a time when Southern Indie rock quartet Kings of Leon weren’t a boring band … or maybe they were? Thanks to Michael Perry, who suggested we cover the band’s debut album (although kindly, he gave us the choice between this and the band’s 2004 follow-up Aha Shake Heartbreak).
17 years on, does the album live up to the ***** reviews and proclamation in The Village Voice that Youth and Young Manhood was “2003’s finest rock debut?
It’s a rather different show on Riot Act this week. Steve and Remfry spend the majority of the show paying tribute to a musical hero in the aftermath of the news of Mark Lanegan’s passing at the age of 57. From Screaming Trees to Queens of the Stone Age to his solo material and guest appearances on releases from the likes of Cult of Luna, Manic Street Preachers and The Armed, Lanegan has been one of our most covered artists on this show and we have seldom been anything other than awestruck by his magnificent voice, poignant lyrics and vast range and brave decision making as an artist. So it felt right that we dedicate the majority of the show to talk about our feelings on losing him.
There is more sad news as we also pay tribute to Jamal Edwards, who also passed away at the age of 31 this week, and talk about his incredible work in helping the early careers of everyone from Dave and Stormzy to Ed Sheeran and Rita Ora. We also discuss the latest releases by Bambara and Blood Incantation, ask why Tool are charging nearly £600 for a vinyl and examine the damage done to the O2 Arena in London after Storm Eunice ripped parts of its roof off.
Hey everyone, it’s been a while, but we’re back with another Riot Act Reviews, and, good lord, do we have a good one. Steve and Remfry are looking at Angel In Realtime. by Gang of Youths, the third studio album by the Australian alternative rock band and the follow up to their 2017 album Go Farther In Lightness.
Although they’re pretty successful here in the UK, Gang of Youths are much more of a sizable band in their native Australia and the US. The release of Angel In Realtime. looks like it will change that dramatically though, as this is one of the most poignant, personal, inspiring and ambitious albums of 2022. The narrative around the album focuses on the death and legacy of frontman David Le’aupepe’s father, his relationship with a person he describes as “the most important man in my life” and his reaction to the stunning revelations that came to light in the aftermath of his passing. This is all explored musically with a vast sonic palette that recalls everyone from Arcade Fire to Pulp to The National to Talk Talk to The Verve to Springsteen to Radiohead and beyond. It all sounds very ambitious, but has Le’aupepe done his muse justice with this record? Spoiler; unquestionably he has.
Welcome to another episode of Riot Act, where Steve and Remfry have had a slightly quieter week than the uncharacteristically busy start to the year that 2022 has thus far brought.
Still, there’s been plenty going on, with one of the most talked about Super Bowl halftime shows ever from Dr Dre and Co., Ed Sheeran and Cradle of Filth discussing their odd but inevitable collaboration, a surprise pair of Nine Inch Nails shows being announced in the UK and Remfry going out to Dapper Laughs’ (yes really) old stomping ground of the Clapham Grand to see Frank Turner. Turner’s latest album, which could well be number one in the UK album charts this weekend, and the new record from And So I Watch You From Afar are also discussed. Plus we look at a pair of deluxe re-releases from a pair of classic records that actually prove to be far more than just a cynical cash in, courtesy of Jimmy Eat World’s Bleed American and Therapy?’s Infernal Love.
Your favourite dose of alternative music chat is back, it’s Riot Act, that’s us, we’re here, we’re back… hi. It’s been a busy week away from Riot Act towers for Steve and Remfry this week, which has meant we haven’t been able to give you individual reviews on the massive albums that are released this week, so (old school!) we’re doing it here! We look at new releases from Cult of Luna, Zeal and Ardor, Eddie Vedder and Wovenhand. Plus there’s chat about the recent Knocked Loose and Terror show in London and a comprehensive review of this weeks BRIT Awards (because we know you love that!), which was… not as bad as it could have been actually.
Hello you! You’re about to listen to Riot Act, your favourite weekly music podcast. Steve and Remfry are here once again, and this week they are celebrating those one album wonder bands by picking a pair of long lost but exceptional records that represent the only full lengths released by their creators. Both Sona Fariq and Man Will Surrender might have only given us one album (THANKS WARNER!) but as you’ll hear, what great albums they were. We also namecheck some similar artists that you suggested to us on our social media as well. Because we’re nice!
We also look at the latest releases from Nordic Giants, Maverick Sabre and El Moono, chat about the recent live shows we witnessed from Turnstile and Zetra, say farewell to The Mighty Mighty Bosstones and speak some more about the car crash that is Spotify right now.
We’re back with another Riot Act Reviews, the show where Steve and Remfry give their expert opinion on one of the more notable releases in the music world. Today we’re speaking about one of the most unique and singular artists that Britain has ever produced; Rolo Tomassi and their 6th studio album Where Myth Becomes Memory.
As the follow up to 2018’s critically adored Time Will Die and Love Will Bury It album, there is a hell of a lot of expectation on WMBM, but if you’ve been following us since the beginning, then you’ll not be shocked to hear that we think they’ve skillfully sidestepped any accusations of delivering a disappointment. This is very much a continuation of the previous album, but with an extra lacing of hopefulness and positivity, bringing an end to an exceptional trilogy of records for the band. So, as ever, you can be guaranteed some sublimely brutal riffs, some euphorically soaring and shimmering clean passages and all manner of rhythmically inspiring and bewildering grooves, plus a few new tricks pulled from the Rolo Tomassi bag. We conclude with Remfry talking to James and Chris from the band about how the record came together.
Welcome to another episode of Riot Act Reviews, where Steve and Remfry review a new and exciting release from the world of alternative music…
Today we’re talking about Ants From Up Here, the second album from UK experimental post-rock newbies Black Country, New Road. It’s only been a year since the band released their highly acclaimed debut album For The First Time, but we have a brand new set of songs already, with the band promising to give listeners a more palatable album than their first, with the intention being ‘to write songs that were three and a half minutes’. A quick look at the track lengths on this album will tell you that they’ve definitely failed when it comes to that latter point, but Ants From Up Here is full of contradictions, with the addition of lots of new musical ideas and forms hint that this isn’t going to be For The First Time mark II. Question is; is it any good? Have a listen to find out.
Hello you! Well if it isn’t another Riot Act Review podcast, where we, that’s Steve and Remfry FYI, look at another big album release. Today we’re considering the relative merits of Korn’s 14th studio album Requiem. It’s the follow up to the nu-metal legends surprisingly brilliant The Nothing in 2019.
It’s a pretty high bar for Korn to match here on Requiem, and so, fair play to them, it would appear that they don’t even try to do that. Instead opting for a “If it ain’t broke…” mentality and going back to the sound and style that has served them so well over the past couple of decades. Does this make Requiem the best or most essential Korn album ever? Definitely not. But, obvious as it may sound, Korn are actually very, very good at sounding like Korn, and when they get it right they’re a pleasure to be around. How often do they get it right here? Well, if you listen then you’ll find out won’t you now!
It’s another episode of Riot Act Reviews, where Steve and Remfry talk about one of the more noteworthy new records being released right about now.
On this episode, we’re looking at Erebos, the third full-length album by underground death metal darlings Venom Prison. It’s been a pretty spectacular rise for Welsh / Russian death metal crew over the last few years, with each of their previous records seeing them steadily climb the ladder of British metal to a position where Erebos now feels like a genuinely big release in the scene. The third album is always a testing ground for the longevity of a band like Venom Prison however … how much longer can you continue to blast and batter your way around before your audience feels like they’ve heard all your tricks? It’s a problem Erebos skillfully side steps, with none of the band’s previous extreme intensity being sacrificed, Venom Prison have released the most daring, expansive and experimental album of their career thus far, with nods to electronic music, ambient passages, power metal and symphonic bombast all peeping up from the precipice at some point during the records run time. Question is; is it actually any good?