The Answer – Sundowners

Sundowners Album Cover Art

The Answer – Sundowners
Golden Robot Records
Release Date: 17/03/23
Running Time:  43:07
Review by Paul Hutchings

It’s been a long time. Seven years on hiatus, and a day that many feared would never happen is looming large. The return of Northern Ireland’s The Answer, with their brand-new album “Sundowners”. If ever there was an example of a band who were always on the verge of greatness, it’s probably The Answer. Formed in 2000, the band were hailed as the best new band by Classic Rock magazine in 2005, not long after the release of their debut album “Rise”. A tour with AC/DC on their “Black Ice” tour in 2008/9 seemed the perfect springboard to launch the band into the stratosphere. Live they were virtually untouchable, and yet despite solid albums in “New Horizon”, 2015’s “Raise A Little Hell” and their most recent release, 2016’s “Solus”, the band hit a metaphorical wall. The hiatus has allowed them to regroup, deal with family joy and sorrow, and return to the studio in April 2022 for the first time since 2015. 

Singer Corman Neeson. “We’ve been through a lot as a band, toured the world, made six great records we’re all proud of, and always done our best to make honest and timeless music that connects with rock and music fans in general. After six albums and a lot of road miles we felt we needed to step back from it all and reset. Whilst that wasn’t an easy decision, with retrospect it’s possibly the best decision we’ve ever made because after seven years away we all came back fired up and the end result is an album we’ve been waiting to make our whole lives…full of good time rock n roll and positive energy created by four brothers who quite frankly just really missed each other. We’re back and we’re ready to bring our best album ever to you!

First impressions are good. The title track is moody, a six-minute statement that The Answer are back. Their traditional, Blues-soaked style very much in evidence. A first spin through the release is reassuring. The Answer are in form, with each of the component parts working collectively. Neeson’s Plant-esque delivery remains pleasingly smoky. His range is as good as ever.  Paul Mahon’s guitar playing brings that old-time swagger whilst the rhythm section of Waters and Heatley is locked tight. Everything sounds tight, yet natural and organic. “Sundowners” isn’t an album that’s been forced. 

But let’s backtrack through the album a little. ‘Sundowners’ isn’t your usual bombastic opener. It begins with an almost Western vibe before Waters’ bass lays down the beat, Mahon shimmers over the top of the building tempo and Neeson comes in with his understated tones. Mahon’s slide work is fantastic, the beat continues, and this sounds every inch a signal of confidence. It takes balls to open with a six-minute track that veers away from their more mainstream sound and The Answer have proved they have big ones. This has a magical echo and vibe. 

‘Blood Brothers’ is more The Answer of old. A big stomping song, Neeson’s allowed to let go and the whole band just jumps along. It’s anthemic, with a delicious hook and switch of pace. The tempo changes direction completely on ‘California Rust’, which benefits from some thick Hammond organ which gives the song great depth. This one is going to be a cracker live, with its Deep Purple feel. 

The Answer have always drawn deep on their gospel tendencies and ‘Want You to Love Me’ sees them back in that glorious style with female backing singers and more lush keyboards. ‘Oh Cherry’ brings in harmonica, a thumping, driving bass line and another earworm. It’s hard to be unimpressed by the Northern Ireland quartet on this form. ‘No Salvation’ drops back to the band’s bluesy roots, with Neeson allowed space to really use that magnificent voice to full potential. It’s a laid back, chilled song that demonstrates the versatile nature of the band. It contrasts with ‘Cold Heart’ that follows, another classically crafted song that grabs you with its energy and vibrancy. 

There’s an excitement here as you listen, for these songs should fit neatly alongside staples in the live show. There’s more to come though, with the groove of ‘All Together’, the triumphant Rock ‘n’ Roll stomp of ‘Livin’ on the Line’, which is sure to tear a hole in those summer festivals, and the Zeppelin/Royal Blood edged ‘Get back on It’ all propelling the band along with style. Of course, it wouldn’t be right to have an album by The Answer which doesn’t contain at least one more gentle song and closing track ‘Always Right’ is just the one. A beautifully crafted semi-acoustic finale, it’s the perfect song to bring the album to a close. 

“Sundowners” is not only a fabulous piece of work, but also a sign of hope. My heart dipped when the band went on hiatus, and it skipped a beat when I heard the band were back in the studio. It hasn’t disappointed and the forthcoming tour with Oli Brown in support will only cement the experience. It’s a huge welcome back. 

‘Livin’ On The Line’ Official Video

01. Sundowners
02. Blood Brothers
03. California Rust
04. Want You to Love Me
05. Cherry
06. No Salvation
07. Cold Heart
08. All Together
09. Livin’ on the Line
10. Get Back on It
11. Always Right 

Cormack Neeson – Vocals
Paul Mahon – Guitars
Mickey Waters – Bass
James Heatley – Drums


Disclaimer: This review is solely the property of Paul Hutchings and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Jizzy Pearl’s Love/Hate – Hell, CA

Jizzy Pearl’s Love/Hate – Hell, CA
Golden Robot Records

Release Date: 11/03/22
Running Time: 41:00
Review by Richard Iggo

Love/Hate were the Silver Surfer to Nirvana’s Galactus; heralds of the end of 80’s glam and sleaze. Not that it was their decision or intent to be so – I think – but that’s just the way things worked out. At least in my head.

This band showed up and the next thing I knew, everyone was wearing their grandad’s cardigan, smelling like teen spirit. I was suspicious of this group of LA stoners. They looked like a beaten-up INXS dressed in the contents of the lost and found bag from a heavy metal jumble sale. They had funny album art, played bagpipes, and danced like five year old kids high on birthday cake. Everything about them was odd in comparison to the LA bands they were lumped in with at the time. 

Upon its release, I thought 1990’s “Black Out in the Red Room” was ‘OK’. The title track and ‘Why Do You Think They Call It Dope?’ were rock club dancefloor hits, but this band just didn’t hook me. Why? Not sure, but I suspect it had something to do with the way they looked, which of course shouldn’t matter, but it did. In hindsight, it’s a very good debut. It offered far better musicianship than the majority of the tired clones being pushed out in pursuit of the next hit from the Sunset Strip. 

If you haven’t listened to “Black Out in the Red Room” for some time (or ever), it’s well worth a spin. I was surprised how much I liked it after a long absence from my ears. It falls apart lyrically here and there with some questionable choices, notably those of ‘Rock Queen’. To this day, I don’t know if that song was satire or not.

I didn’t listen to the follow up album “Wasted in America” (1992) and after that, I lost track of the band as the rock music world went through a paradigm shift. On the strength of “Hell, CA,” though, it might be worth my time to peruse the Love/Hate back catalogue, or at least check out Jizzy’s work elsewhere.

In addition to Love/Hate, Jizzy has provided vocals for bands including Ratt and LA Guns, and still does for Quiet Riot, and there’s a reason for that. He’s good. As are his Love/Hate bandmates. There’s some excellent musicianship here – it’s tight, and oozes assured confidence. 

Opener ‘One Hot Minute’ sets the scene by making you want to drive at irresponsible speeds at the wheel of a custom hotrod, before relentlessly pressing into the groove of ‘Acid Babe’. The deceptive opening acoustic guitar of ‘Gonna Take You Higher’ tricks you into thinking you can relax and then ‘Soul Mama’ delivers something that could have easily been written by The Cult. It’s not hard to imagine Ian Astbury singing this song somewhere in time between “Electric” and “Sonic Temple”. 

‘Hard to say Goodbye’ is held together by a looping riff that’s at odds with the subject of the lyrics, where Jizzy seems to mourn the loss of a friend. It’s probably one of the weaker tracks on the record for me, but is still eminently listenable. 

It’s worth taking a moment here to focus on the album’s guitar work. It is absolutely…appropriate. Stick that thrilling quote on your album cover! 

Describing guitar on a rock music record as ‘appropriate’ might not seem like a positive, but it’s actually something that’s really important to the quality of this album. It’s a consummate exercise in self-restraint with no unnecessary fretwork, just stomping, crunching, wailing goodness, exactly as it should be, precisely when needed.  

‘When You Gonna Come Home’ struts a heavy Black Crowes blues riff leading into ‘Last Chance’, before you’re hit smack in the face by ‘Bruised and Battered’. This song is a cocky, swaggering, lip-curling blast of nostalgia that’s also fresh as fuck. It’s a slithering sleaze fest, dripping attitude and is just begging for a dirty black & white promo video featuring broken neon, shattered glass, and lipstick on a mirror. 

‘Wanna Be Somebody’ has Jizzy channeling James Brown, as he demands that we’re taken to the bridge, in a mashup of Zeppelin influenced riffery and drums. Finally, the closing track ‘Lonely Days Are Gone’, sounds like it should run over the end credits of an HBO crime thriller. It has something about it that reminds me of Alabama 3’s ‘Woke Up this Morning’ from The Sopranos, although the songs are nothing alike – it’s just a vibe. 

This album has really surprised me and is one that I can unreservedly recommend. For a band I thought were the heralds of the doom for a musical genre, they turned out to be keeping it very much alive.   

‘Bruised and Battered’ Official Audio:

01. One Hot Minute
02. Acid Babe
03. Gonna Take You Higher
04. Soul Mama
05. Hard to Say Goodbye
06. When You Gonna Come Home
07. Last Chance
08. Bruised and Battered
09. Wanna Be Somebody
10. Lonely Days are Gone


Jizzy Pearl – Vocals

[[Not 100% certain about the following. Hard to get accurate info here…]]
Stevie Pearce – Guitars
Christian Kimmett – Bass
Charles Evans – Drums


Disclaimer: This review is solely the property of Richard Iggo and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Stonetrip – Stonetrip EP

Stonetrip EP Cover Art

Stonetrip – Stonetrip EP
Golden Robot Records
Release Date: 10/12/21
Running Time: 20:15
Review by Simon Black

This is one of the freshest and heart-warming bits of good old fashioned Hard Rock that I’ve heard in a while. Hailing from Melbourne, Australia, Stonetrip have not really been seen out of their native territory yet. The music is solid Hard Rock, of the category that I firmly categorise as ‘driving music’, which means crank it up, wind down the windows, sing along at top volume and try not to swallow too much rain (hey, I live in South Wales)…

Influence wise you can take your pick. The USA classic style is clearly a big factor here, but frankly this is good solid anthemic Rock of the type that never goes out of fashion and can always find a market anywhere in the world, and it’s got a freshness and energy that many older hands should take note of, because these chaps are likely to be encroaching on their rear view mirrors quite soon. None of the five tracks on here lets the band down, and even the slightly obvious ballad ‘My Angel’ works really well, because the band has one of the most soulful and charismatic singers in Mark Ritchie that I’ve heard in a while (think of the swagger of Jack Russell from Great White with the gutsy edge of Spike from The Quireboys and you can’t go too far wrong). What takes you by surprise is that these guys are all quite young, sounding way more mature and grizzled than the years would imply.

The guys are clearly ramping up for bigger things with this five track EP, as they’ve a couple of singles under their belt and hopefully a full length album to follow. I really hope it’s soon…

‘Runaway’ Official Video

01. Sideways
02. Runaway
03. Nightmare
04. My Angel
05. Wild Hearted Son

Mark Ritchie – Vocals
Mick Malusa – Guitars
Con Batz – Drums
Sebastian Barahona – Bass
Bruce Mountjoy – Guitars


Stonetrip Promo Pic

Disclaimer: This review is solely the property of Simon Black and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Ghosts Of Sunset – No Saints In The City

No Saints In The City Album Cover Art

Ghosts Of Sunset – No Saints In The City
Golden Robot Records
Release Date: 14/09/2021
Running Time: 41:40
Review by Beth Jones

There’s something so comforting about familiarity, isn’t there? Familiar tastes and smells. A go-to song when you need a sonic hug. Your own bed when you arrive home after a trip. It’s a warm fuzzy feeling; nostalgia that puts you in your happy place and takes you back to good days and good times. Ghosts Of Sunset, our subject here today, basically epitomize that nostalgic familiarness, and wrap it up in a cosy bow for the listener. I had the pleasure of reviewing their EP “Headed West” earlier this year, and having the chance to trip down nostalgia lane again by reviewing “No Saints In The City”, their latest release, was something that I couldn’t let pass me by.

In case you didn’t read my EP review (tut tut. Don’t worry, there’s a link at the bottom of this review so you can rectify that) here’s a bit of history. Ghosts Of Sunset are an American 80’s Rock/Hair Metal project featuring singer-songwriter John Merchant, and drummer Todd Long. These two gents have been kicking it in the music business for a long time and were joined on the EP by some classic names. “No Saints In The City” has come about after the roaring success of that EP. And I’m very glad it has. While this isn’t as conceptual as the EP, each song tells a melancholic story of times gone by, but in a happy and upbeat way, that is 100% classic hard rock and hair metal, but that also draws inspiration from 70’s punk and rock ‘n’ roll.

This is an album that not only brings back the sound of the 80’s completely, but demonstrates some fine writing skills, both lyrically and musically. It’s got high octane numbers, and classic ballads. It’s got face melting guitar solos, catchy riffs and hooks, great vocal harmonies, punchy rhythms and gravelly, rocky lead vocals, that tell of long nights fuelled by rock ‘n’ roll! It is impossible not to tap your feet and nod your head along to the sounds, nothing is fussy or overcomplex, and nothing outstays its welcome.

One of my favourite tracks on the album is title track, ‘No Saints In The City’, which was actually the first single released from the album. It’s an up-tempo ballad about the quest for the protagonist to “make it” on the streets of New York City. It’s masterfully put together, and tells a great story, in such a familiar way that you will be singing along by the second line of the chorus. (The elephant in the room with this song, however, is the fade out at the end [*sighs and facepalms*]. Please don’t fade…please, please, please! It irritates the living hell out of me!)

This really is a great album that makes you smile. There’s one weird song opening that I can’t get my head around though – on, ‘Bastards Of The Bowery’. It sounds like an early 2000’s Nokia 3310 ringtone. And since connecting that thought with the opening of this track, I can’t unhear it!

But, if you’re looking for a nostalgia trip done brilliantly well, this album needs to be in your playlist.

‘No Saints In The City’ (Official Video)

01. Tonight
02. No Saints In The City
03. Look Me Up (If You Come Down)
04. If You’re Not Coming Back
05. Queen Of Used To Be
06. Love Ain’t Enough
07. Bastards Of The Bowery
08. Puzzled Heart
09. Tonight You’re OK
10. Us Against Them
11. Something To Believe



Ghosts Of Sunset Promo Pic

Disclaimer: This review is solely the property of Beth Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Ghosts Of Sunset – Headed West EP

Headed West EP Cover Art

Ghosts Of Sunset – Headed West EP
Golden Robot Records
Release Date: 05/02/2021
Running Time: 25:05
Review by Beth Jones

The 80’s was an interesting decade in a lot of ways. Fashion, the beginning of the tech boom, and some really crazy stuff going on around the world. I was only born 10 days before the 80’s started, so I don’t remember much of it happening at the time, but, thanks to historical archives, the dots can be joined up. One thing I do remember is 80s hair! And the eponymous sound of 80’s Rock and Hair Metal.

Personally, I think some of the best rock and power ballads ever written came out of that era. And, it would seem that American 80’s Rock / Hair metal inspired project, Ghost Of Sunset, agree! The brainchild of singer-songwriter John Merchant, and singer, songwriter, and multi-instrumentalist Todd Long, their mission with this debut concept EP, “Headed West,” is to illustrate the story of the rise and fall of a fictional mid-western US rock band, getting lost in the changing music scene of 80’s L.A. They’ve enlisted a host of big names to help them bring this to life, as well, with musicians from the likes of L.A. Guns, RATT, Enuff Znuff, KIX, and Lita Ford, all involved with its creation.

I have to say, it’s a heck of a big story to fit into one 6 track EP! So, have they managed it? Well, let’s find out!

‘Headed West’, the opening, and title track, is an upbeat little number, perfect for a journey down a dusty highway, with the air of excitement and glorious wonderment buzzing along with you. It’s classic Rock ‘n’ Roll. And this theme continues through track 2, ‘Another Rock ‘n’ Roll Show’. This would be the perfect soundtrack to an upbeat advertisement for the ideals of 80’s young America. There’d be fast pans across crowded clubs, full of enough hairspray and back-combing to power the international space station for a good year. Everyone would be dancing, and smiling, and having a great time. Then you’d get the closeup cutaways of pretty girls laughing and pulling funny faces, and handsome guys, lighting up another Marlboro, and swigging from a cool Budweiser, while a killer rock band were giving a huge performance, in the background, on a stage the size of a postage stamp.

Then ‘3 Miles In-Between’ sweeps in. This takes things down a bit, and here we start to see the cracks forming, the yearning and longing for home, and the exhaustion of the punishing touring, and always having to put on your best face, that kept 80’s bands afloat. This is essentially one of those great ballads that I was talking about earlier, and it has a proper guitar solo towards the end of the track, completely in keeping with the soaring solos of the day!

This slowed down theme is continued in track 4, ‘Never Goodbye’. But here, we’re introduced to a new edge within the lyrics – bitterness and disillusionment – ‘You’ll tell them the truth, it’s all just a lie, just say goodnight, never goodbye’ being a perfect example of this. The plastic perfection of this era simply didn’t allow for open negativity.

Track 5, ‘It’s Not Over’, and the final track, ‘Try It For Love’, run through becoming resolute to their fate, with an almost ‘dead behind the eyes’ acceptance, and then finding peace in the realisation that it’s not all just about perceived success, but that, in fact, real success comes from within. It’s in the joy, and love, that just making music brings. Well, that’s how I see it, anyway.

Musically, this epic tale, neatly packaged into 25 minutes, is very pleasing. The songs are all expertly written, with nothing overstated, and skilfully executed by all the players (but then you’d expect this really, with the amount of talent and experience Ghosts Of Sunset has called upon). But for me the thing that makes this a great EP is it does exactly what it says on the tin. It’s everything that says great 80’s Rock / Hair Metal. There’s nothing new here, and there’s no flashy, all singing, all dancing, ‘shiny, shiny’. But there doesn’t need to be. If you’re looking for a new sound, this will not be for you (unless of course you’ve been living in a cave and have never heard any music before, ever!). But, if you, like me, are a sucker for some nostalgia, then this EP will make you smile, a lot!

01. Headed West
02. Another Rock ‘n’ Roll Show
03. 3 Miles In-Between
04. Never Goodbye
05. It’s Not Over
06. Try It For Love

Todd Long – Songwriting, Guitar, Bass, Drums and Backing Vocals
John Merchant – Songwriting, Vocals
+ many guests!


Ghosts Of Sunset Promo Pic

Disclaimer: This review is solely the property of Beth Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Jefferson Starship – Mother Of The Sun EP

Mother Of The Sun EP Cover

Jefferson Starship – Mother Of The Sun EP
Golden Robot Records
Release Date: 21/8/2020
Running Time: 32:07
Review by Mark Pritchard

On what is a freezing day in a fresh new year (it is the UK, so technically a normal day!), after what was a hell of a 2020, I find myself sitting at my desk while trying to stay warm (which isn’t really happening)! But, even though the outside of me is feeling the cold, the inside of my body’s warming up nicely, listening to “Mother Of The Sun”, the most recent EP by legendary Rock and Roll band “Jefferson Starship”. I actually received this EP a few months back, but with everything I had going on, as well as COVID-19, I have only recently been able to get my head straight enough to write again. And listening to “Mother Of The Sun” has actually been really helpful to listen to, as it has nice soothing/relaxing songs that have picked me up little by little.

Jefferson Starship are an American Rock band, that were initially formed in the 1960’s as ‘Jefferson Airplane’. Under this name, they produced hits including both ‘White Rabbit’ and ‘Somebody To Love’. In the 1970’s they became ‘Jefferson Starship’ and released 11 studio albums. But then it was all change again, and when I first encountered them, they were under the name ‘Starship’. I was born in 1988, and as I grew up, I enjoyed listening to their songs ‘Sara’, ‘Nothing’s Gonna Stop Us Now’ and ‘We Built This City’ (a personal favourite of mine). They stayed under this name until 1992, when they changed to ‘Starship feat. Mickey Thomas’. But now they’ve returned to ‘Jefferson Starship’ and released their first EP “Mother Of The Sun” 18 years after their last studio album was released.

I have been listening to this EP for a few months now as, during that time, life decided to kick my behind, and I’ve only recently been able to get my head down to review it. And, if there’s one thing I can say about “Mother Of The Sun”, it is that it gives off the feel of the band history, and with songs like ‘It’s About Time’ and ‘What Are We Waiting For’ it takes me back to being that little kid again, listening to their familiar sound on the radio! With the experience of David Freiberg who joined during the last year of ‘Jefferson Airplane’, Donny Baldwin who joined when the band was previously named ‘Jefferson Starship’, more recently Cathy Richardson, (who re-joined in 2016 after being with the band from 2008-2015), and Jude Gold in 2012, you have the best of the ‘old rock’, with beautiful instrumentals and guitar solos that remind me of yesteryear, blended with the new. This makes for a record that would fit right in with anyone’s playlist.

After listening to “Mother Of The Sun” as much as I have, I’ve concluded that my standout song from this amazing EP has to be, none other, than ‘What Are We Waiting For’. From the short guitar solo at the start, the really delicate, soft, vocals to the chorus of the song, it stands out so much, and is such a relaxing song to listen to. Whether it be at a time of happiness, or when feeling down, this song just hits the soul.

01. It’s About Time
02. What Are We Waiting For
03. Setting Sun
04. Runaway Again
05. Embryonic Journey
06. Don’t Be Sad Anymore
07. What Are We Waiting For (Extended)

David Freiberg – Vocals & Acoustic Guitar
Donny Baldwin – Drums, Percussion & Backing Vocals
Chris Smith – Keyboards & Bass Guitar
Cathy Richardson – Vocals & Rhythm Guitar
Jude Gold – Lead Guitar


Jefferson Starship

Disclaimer: This review is solely the property of Mark Pritchard and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

King Bull – What Happened Here? EP

King Bull – What Happened Here? EP
Riot Records
Release Date: 30/10/2020
Running Time: 18:11
Review by Martin Bennewith

Sometimes it is nice to sit down and listen to a good bit of rock music – music that has a familiar ring to it and that doesn’t try to be anything out of the ordinary. I kind of get that feeling with King Bull. King Bull are a young Canadian rock band, playing music with a style that is long before their time, and they pull it off well enough. I would describe it as rock with a touch of punk, with a swirling vocal style against dirty guitars and a driving rock beat. ‘What Happened Here?’ is a 5 track EP that demonstrates well what King Bull are about, that is, no nonsense, energetic rock.

The first track ‘Pay Attention’ has a fitting title – it is a short number, with distorted guitar, energetic vocals, and some neat simple fills. It has a positive vibe to it, and is a nice way to start.

The second helping, ‘Secret Sauce’ follows the same formula but is slightly less rough around the edges than the first – and is stretched out with more rhythmic builds and guitar fills. Once again, the vocal work is full of energy, and the stirring vocal style works really well here.

Track three ‘Dontcha Know’ has a different feel to the first two – it is not quite a rock ballad, and the best way to describe it is like a cross between Bowie’s Ziggy Stardust and Guns N’ Roses knocking on heaven’s door – so again it is pure rock with uneasy vocals, sometimes fluttering, sometimes screaming, but always true.

Next comes ‘The Defender’ – and this one is very raw – it is probably the most punk sounding track on the EP, it is just raw dirty guitar energy and screaming vocals. The beat is driving and carries the track forward at a nice pace.

We finish with ‘B-side Baby’ – this track has a more serious storytelling feel to it, it has more defined sections, and holds back in parts to emphasise the vocals. There are some nice guitar feels once again and an epic guitar and scream fuelled finish to wrap things up.

Because of the unpretentious and simple nature of this EP there is not too much to say about it, so this was quite an easy review to do  – it is rock music as it should be, and it really speaks for itself. 8/10.

01. Pay Attention
02. Secret Sauce
03. Dontcha Know
04. The Depender
05. B-Side Baby


Disclaimer: This review is solely the property of Martin Bennewith and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.