REVIEW: Lights - Little Machines

**original post on my wordpress here**

After months of teasing, Lights has finally released her third full length. It's been three years since Siberia and a lot has happened to Lights, so this album is a whole leap forward.

It opens with three tracks already released online: the slower 'Portal', 'Running With the Boys' and 'Up We Go'. 'Running With the Boys' seems like the flip side of the coin 'Pretend' started in The Listening. It's much more upbeat than the 2009 release, and the lyrics take a more positive angle. 

As the album progresses, it's clear that it's lost the almost dub-step edge of Siberia, but by no means the electro pop Lights is known for. 'Muscle Memory' strongly echoes Lights's sound from The Listening with an almost haunting edge. In fact, Little Machines is musically much more like The Listening, but it remains clear that she has come a long way since then - the lyrics have taken on a new edge, accentuating the positive in songs such as 'Meteorites', blasting the chorus 'we are gonna see greater heights/ They'll put our names up in neon lights'. 

After marriage and the birth of her first child, Rocket, it's no wonder Lights is positive in Little Machines - she has a lot to be positive about. Closing track 'Don't Go Home Without Me' (for those without the deluxe version) seems like a perfect way to end the album. It's tempo is slower than previous songs, bringing the album full circle from 'Portal', and talks about the future. Dispelling loneliness even in her later years, this track peaks at the bridge really showing the diversity of Lights's voice as she flows seamlessly from belting into a gentle falsetto on the line 'and we'll go out in style'. This draws the album to a close beautifully.

Every track of Little Machines fits in with the overall sound of the album, like its predecessors, and although it sounds like The Listening it has the maturity of Siberia and then some. Lights's sound has evolved through each album, and the current product is a strong sound that still leaves room for her to spread her musical wings. Every track on the album is different, and every one fantastic. Whatever Lights does next, it'll be hard pushed to top Little Machines, but as we know a lot could happen in the next three years.

Catch Lights in the UK next January.  

Review: The Cape Race - Home, Truths

**original blog on my wordpress here**

I first heard of The Cape Race three years ago after happening across out their twitter and, shortly after, buying their self-released EP Now, Voyager. Recently, they released their first full length with label Ten Letters and it certainly doesn’t disappoint.

The Manchester quintet have done a lot towards this album in the last three years. The album, Home, Truths opens with ‘Digging For Gold’, a slower track that builds up as it progresses and definitely one of my favourite tracks on the album. The instruments in the verses seem restrained, really letting loose for the chorus in a way that compliments David Moloney’s strong vocals.

Aside from being an all-round great band, it’s Moloney’s voice that really sets The Cape Race apart from similar bands and puts the album on another level. Thankfully keeping his Manchester accent, no track ever runs the risk of instruments drowning out vocals, but Moloney also demonstrates his beautiful falsetto in the chorus of ‘The 77′. Each track gels together, from more familiar tracks to arguably more experimental ones, without jarring or stopping the album’s general flow; ‘Vines’ seems to me like it was written to be a live track, just waiting for an eager crowd to sing it back.

The Cape Race have by no means left Now, Voyager behind in their debut full-length, however, merely built on it. In fact, the album has four of the six tracks from the band’s EP, and personally I’m thrilled. ‘The Reprieve’ was my absolute favourite track – it’s the right amount of catchy without becoming annoying, and the guitars are just as fantastic as the clever lyrics – so to see it made the album was perfect. This way, anyone who buys the album that might not have also bought the EP get the pleasure of it anyway.

The album closes the same way as the EP, with ‘Now, Voyager’. This certainly doesn’t mean The Cape Race haven’t come far, though. Although more lyrically mellow than other tracks, the closing track takes away none of the albums bite. After a calmer bridge that signs off the build up from ‘Digging For Gold’ perfectly, the latter half of the track is more raw and energetic, and seals Now, Voyager and Home, Truths together. To say that this is a solid album would be an understatement; The Cape Race have come above and beyond since their first EP without distancing themselves from it, producing a consistent sound that they can call their own.

REVIEW: Coasts - Oceans EP

**Original post on my wordpress here**

   I came across Coasts after they followed me on twitter. Admittedly, I don’t normally check out many bands I get randomly followed by – mostly I don’t have the time – but this time I’m glad a did. A quick google told me the quintet hail from Bristol, and the EP itself was released at the end of May. It opens with ‘Oceans’ which starts deceptively slow, picking up pace until hitting the first chorus. There is certainly an indie vibe throughout the EP, and this track opens it perfectly. Deposited the changes in pace, the track flows without jarring and gives the vocals a chance to shine without distracting from the overall feel of all the instruments coming together.

   ‘Tonight’ has a sort of Two Door Cinema Club feel in the intro. Slightly more mellow than ‘Oceans’, this track is great for just chilling out to. In fact, the whole EP feels like it was written for festivals in the height of summer. The slightly more electronic sound adds another depth to it and gives the band a slight edge over a lot of indie bands with similar sounds. This diversity carries through to ‘Golden City’, another slow starter giving the keys a chance to shine this time as the guitars slightly more of a back seat until around the minute mark. The lyrics match the tempo of the song giving it a wholesome feel blending nicely as the track progresses. It also shows a slightly experimental side of the band with the effects used towards the end, implying that when Coasts release a full length it’ll have a lot to offer.

   The final song (excluding the two remixes) ‘See How’ gives way to softer vocals in the intro. Each track seems to emphasise different parts of the band, and altogether show a complete and rounded view of them. Despite the seemingly mellow lyrics, the track develops instrumentally into something deceptively upbeat. Though the EP works well in its studio form, it is definitely made for live performances. Even the slower tracks have an energy in them that’d be enough to win over any audience. I imagine their live shows would be well worth seeing – Coasts have a tour coming up in September which you can buy tickets for here, and you can get the EP here. It’s well worth the mere £2.99!

New Music: Pvris

**Original post over on my wordpress here.

   Massachusetts three piece are set to make their mark this year in the alternative rock genre. Their debut EP (available here) was released last year containing 5 songs from the band and giving listeners an idea of their sound. The EP opens with 'Demon Limbs', and show the bands solid sound and strong instrumental tones. The guitars show how skilled the band are with their instruments, giving the EP a more mainstream metal vibe that will appeal to a larger audience. Lynn Gunn's vocals are like a mixture between Mindy White (Lydia/States) with all the raw grittiness of Lzzy Hale (Halestorm). The instrumentals perfectly gel with Gunn's vocals, all providing a kick of their own. All five tracks have the same strong tones that give the band a fresh sound, separating them from the female fronted cliché that they must be 'like Paramore' for having a female lead.

   

   The thoroughness of their sound even hits the lyrics, too. The band shows a maturity in all aspects of their music. There's no hints of auto tune or that they've tried to clean around the edges of their sound, which makes them all the more appealing as it gives them a rawness found in few bands nowadays. However, this doesn't sound accidental - it sounds like the band wanted to keep their sound as 'real' as possible, by keeping Gunn's vocals untouched and allowing the band to keep their sound exactly as they intended. The changes in tempo in the guitars flow perfectly and everything seems to fit.

   This year, the band released an acoustic EP (available here) produced by Blake Harnage (of Versa). Featuring the first four tracks off their debut EP, the sound is much more subdued with the same vibes often found on an album from Lydia (especially Illuminate). The band shows more diversity in their sound, keeping the instrumentals strong yet taking on the same gentler tone as Gunn's vocals. However, this certainly doesn't diminish what they built in their previous EP, but instead adds to what they can achieve together across their genre.

   Gunn was featured in the most recent Glamour Kills line alongside Jess Bowen (drummer, The Summer Set) and Jenna McDougall (vocals, Tonight Alive). The band will also be playing Warped Tour in America this year alongside the likes of Neck Deep and The Summer Set, so they're certainly going the right away about getting their name out there. Their two EPs give a promising taster of their sound, so I'd certainly keep an eye out for their eventual release of a full length - if their music so far is anything to go on, it's going to sound pretty darn good. 

Check Out: Echosmith

   With an average age of just 17, it may come as a surprise that Echosmith are signed to massive label Warner. But don't be perturbed by their age - the quartet have a lot more to offer than just their youth.

   California based siblings Sydney, Jamie, Noah and Graham Sierota first appeared online under the name 'Ready Set Go' in 2010 with a cover of Taylor Swift's 'Mine' on youtube (listen here). The band bring a new meaning to taking work home, as they seem to eat sleep breathe music, 24/7. Following their video of 'Mine' the band uploaded numerous other cover videos, showcasing their extensive talents, including tracks originally by Mumford and Sons and Coldplay (incidentally, one of their main influences). Two years and many covers later, the band were signed to Warner Bros. Records.

   After being signed, the band released debut single 'Tonight We're Making History' under new name Echosmith. The song had an electronic, pop vibe that wouldn't have sounded out of place amongst many other young artists currently in the charts. The band then went on to record an album, releasing singles 'Come Together' and 'Cool Kids'. The two songs showed a more refined sound for Echosmith, more indie yet still harnessing the same energy as their previous single. Sydney's vocals suit this style perfectly, reminiscent of vocalists in Of Monsters and Men, London Grammar and Chvrches. Her voice shines in every song, demonstrating both her strong chest voice and a beautiful falsetto in tracks such as 'Bright' and 'March Into the Sun', and Jamie and Noah (guitar and bass, respectively) harmonise perfectly with her. 

   The bands debut album Talking Dreams was released late 2013, showing a mature sound for the band that's consistent from song to song. One track, 'Surround You', was featured on the soundtrack for 2014 film Endless Love starring Alex Pettyfer. The band are clearly going places, having already toured with the likes of Owl City and Neon Trees and appeared on MTVs 2014 Artists to Watch. Talking Dreams is a strong debut album, with catchy tracks and it gives Echosmith their sound. For such a young band (Graham, drums, is just 15), they seem to have a firm grasp on their music and what they want to sound like, so it'll be all onwards and upwards for the band from here. I would highly recommend investing in the album and checking out their youtube for covers and acoustic performances. They seem like the kind of band that is only going to carry on growing and getting even better. 

REVIEW: Bitten by Kelley Armstrong

   Elena Michaels lives in Toronto with her partner, Philip, and just happens to be the only female werewolf in existence.

   The book thrusts us into a combination of realism and the fantastical from the very first chapter as we see Elena transform into a wolf in an alleyway. Like a wolf, she yearns to run with her pack, and so we are introduced to a collision of worlds: the life Elena has made for herself, and the life she has run from.

   Throughout the novel, written from Elena's perspective, we gain insight into the Werewolf hierarchy/Elena's adoptive family that is the Pack. Armstrong has created a society within society itself, making new rules for werewolves - if you're not a member of the Pack, you're considered a 'Mutt' and doomed to live like a vagrant, never allowed to settle or encroach on Pack territory. In a way, their society runs much like a real Pack of wolves; any threats to them are eliminated, but unlike real wolves only one pack is allowed. It is also revealed how werewolves are created, through being bitten or being the son of a werewolf, and how it has come to be that Elena is the only female.

   Elena's character is highly enticing. She has had a troubled upbringing, but unlike some characters in other novels, she doesn't use that as a reason not to make the most of her lot in life. She is certainly a strong female protagonist, and fiercely loyal. Throughout the novel it is clear she is evolving as a person, she has her flaws, and ultimately her journey guides her to her true place in life which involves her more-than-slightly complicated relationship with ex-fiance, Clay. He's another fantastic character - it is clear he is more wolf than human (having been bitten as a child), something Armstrong handles brilliantly, but deeply in love with Elena. Famed for his brutality when enforcing Pack law on Mutts, unlike most 'heroes', he is not considered to be misunderstood or wanting to change and be a better person; he knows who he is and is staying that way, which is what makes him such an interesting character.
   
   The plot remains consistent throughout. Elena seems to be prized in a potential Mutt uprising, and Armstrong certainly isn't afraid to kill off characters. This isn't a novel where all of the 'good guys' miraculously remain unharmed and some death scenes are certainly graphic. And of course, not all the 'bad guys' get killed, Armstrong shows a higher form of Werewolf society in the Pack's ability to negotiate.

   All in all, it's a fantastically well-written book with strong characters and plot-line. There are good moments, tense moments, and moments that will make you blush wherever you are.

REVIEW: The Pretty Reckless - Going To Hell

   Back with a bite: The Pretty Reckless drop their second full length, and what an album it is. New label, new tracks and music you can really sink your teeth into.

   Its been a while since Light Me Up, but The Pretty Reckless certainly have not been sitting around procrastinating for four years. The album with 'Follow Me Down', and sets the tone for the whole album. Momsen's vocals have retained their rawness which makes them so appealing - this sure isn't an autotuned, pop rock album. The main riff is certainly descended from the metal genre, complimented nicely by Momsen's voice, and this same vibe is continued into the album's title track. Accompanied by a ballsy bassline and lyrics that only belong in a metal song, this album will certainly have anyone hooked within the first two songs.

   Continuing the darker theme, in 'Heaven Knows' the band have included a children's choir. Yes, it does make you question what their teachers thought when they returned to school singing 'oh Lord, heaven knows we belong way down below', but that's an entirely different matter. The song is extremely catchy, and is definitely a good live song. To be honest, the entire album would be fantastic to see live. This sort of theme continues throughout, as the lyrics and music reach new places that show how the band are moving forwards and defining themselves within the rock/metal genre.

   Less instrument-heavy songs, such as 'Burn', show a different side to the band and really give Momsen's vocals chance to shine. Not only is her singing unique, but it's clear that it also excels within the context of 'normal' vocals. She clearly has a much wider range than previous TPR songs have let on, and it's a real treat to see the full extent of her talent throughout the album.

   Bottom line? If you want interesting, decent music with a real kick, and tempo changes in songs that for any other band would seem jarring but The Pretty Reckless work with ease, you should definitely invest in this album. The band have progressed majorly since Light Me Up and it really shows, and is certainly enough to keep any fan on their toes wanting more.

Bitten: Book vs. Series

In January, new TV series Bitten was introduced based on Kelley Armstrong's Women of the Otherworld series (more specifically, her first book of the same title).  Having read the first two books in the series (review of Bitten coming soon), then discovering the TV adaptation, I decided to give it a go - after all, nothing says procrastination like catching up on an entire series in a matter of days, right? Having read a minor synopsis of the TV version, I gathered that the first series at least was only based on the first book in Armstrong's series, so I'll be briefly comparing the series to the novel.

Plot

The first episode opens very much like the book; we are introduced to Elena - played by Laura Vandervoot - undergoing a change in Toronto. So far, so good. In fact, the series maintains a closeness to the plot of the novel, but this can also be bad because it's not exactly the same. First of all (plot spoiler here for anyone who hasn't read the novel) Logan is very much alive and features in a lot of the episodes. Rather than being a voice on the phone, he is firmly in Toronto and in Elena's life. Instead of killing him off, Antonio is killed off later in the series, and the Mutt situation gets way more out of hand than the events in the novel.

Casting

As far as casting goes, it was never going to be exactly how I imagined it - after all, everyone imagines the characters differently. In my opinion, all the characters are fairly accurate to their descriptions in the book, with a few very minor exceptions (like Clay's hair not being as blonde as it should. Like I say, we are talking very minor). Their choice of Greg Bryk as Jeremy Danvers is, in my opinion, perfect. All the actors are clearly talented and take on the roles brilliantly - you get a clear sense of the emotion intended in the script. Which brings me to my next part...

Characters

As a standalone series, Bitten is really great. But in comparison to the book? So e of the characters seem a little off. My main qualm is their portrayal of Clay. Don't get me wrong, Greyston Holt plays the part brilliantly, but the Clay scripted in the series lacks some of the key traits as the Clay in the novel. Rather than being the almost primal being he is in the novel, failing to engage with human emotions simply because he doesn't want to, he is portrayed in the series as a lost romantic hero who wants to change to win back Elena. This is fine, if you've not read the book. If you have, not so good. There are a few other minor details as well - Jeremy doesn't seem nearly as level-headed as he does in the novel, and Elena only seems to get ballsy around the fifth episode - again, works well as a standalone series just not if you've read the book. Nick, however, is a perfect match on his book character, however I'm worried he may change now that they have killed Antonio.

Final Thoughts

As a series by itself, Bitten is absolutely fine for anyone who likes supernatural dramas. If you've read the novels and don't like the idea of them being changed, don't watch the series. That's not to say anyone who has read the novels shouldn't watch the series, but it's important to keep an open mind and see them a separate from each other. Otherwise, if you're as pedantic as me, it'll drive you crazy. Perhaps I'm too picky, but these are my thoughts. And I will probably continue to watch the series.

REVIEW: Panic! at the Disco - Too Weird to Live, Too Rare to Die!

  Following their 2011 release, Vices and Virtues, Panic! return with a Vegas inspired record - and a new member.

   After releasing Vices and Virtues as a two-piece, Panic! have released a brand new album citing touring member, Dallon Weekes (previously front-man of The Brobecks), as a now official member. The change in the band is evident from the first track, recently released single 'Miss Jackson'; the bands new music seems to echo that of the first album but more mature as they've gained experience.

   To say that no two tracks sound the same would be a colossal understatement, yet the whole album follows the same musical tone created by Panic!. Songs like 'Girl that You Love' and 'Far Too Young to Die' entice the listener with a more electronic sound - a running theme as the band incorporate what could be referred to as 'alternative' music with an almost theatrical take on electropop.

   As Brendon Urie (vocals) has stated in many interviews, the inspiration for the record was Las Vegas - his hometown. This is also clear to anyone who has read the novel Fear and Loathing in Las Vegas (or, indeed, seen the film) whereby the album's title comes from. The varied music style presented in the album does echo the vibrancy of Vegas, with the much slower, closing track 'The End of all Things' showing perhaps a different side to the tourist attraction those who have never lived in Vegas see. 

   The only thing left to hope for now is that Panic! at the Disco's stage shows match the energy the music in this record emits. The lyrics, never to disappoint, give us a personal insight into Urie's thoughts, almost. A top 10 album waiting to happen at the very least.

REVIEW: Paramore, LG Arena Birmingham, 23/09/2013

   Three years on and the Tennessee Trio return to Birmingham on their sixteen date European tour.

  The last time Paramore graced the LG Arena's stage was November 2010 as a five piece. Tonight, you wouldn't even realise they'd been away. Opening with the energetic 'Grow Up', the band have the entire audience moving before the first chorus; the choice of intro song seems very apt as it's clear to everyone how far the band have come since Brand New Eyes. 

   Front woman Hayley Williams soon takes to the front of the stage and begins a chant which the audience gladly repeat back, soon to turn into the familiar 'whoa' in 'That's What You Get'. Although the touring members remain planted towards the back of the stage, Jeremy Davis (bass) and Taylor York (lead guitar) waste no time in making use of the space, bouncing from end to end. It's clear the whole band is enjoying themselves, a feeling taken in by the crowd as they jump up and down to the beat.

   Despite the constant movement, there's never a wrong note sung; Williams hits every high perfectly. There's also no lack of audience participation - the whole band are thoroughly engaging, and every time the yellow mic is turned in the crowd's direction the reaction is deafening. Halfway through the set, a keyboard is placed center stage as the band break into 'When It Rains' (probably a welcome sit down for Williams, who looks just as sweaty as those in the center of the pit). All three look equally overwhelmed to hear 'Last Hope' being sung back to them, the meaning of which Williams made in a speech before starting the song. 

   As they move through their 21 song set, Davis and York seem to only gain in energy, putting their all into the performance. Following 'Ain't It Fun', Davis goes into a solo, showing his competence as a bassist that may have previously been overlooked. Later during 'Pressure' - an old favourite and the only song on the set from first album All We Know is Falling - all eyes are on Davis and York as they set up for the very well-known 'pressure flip' among fans which they pull off effortlessly, much to the delight of the crowd. 

   Like all their shows, just before hitting the bridge of crowd-pleaser 'Misery Business', the band go into an extended instrumental whereby Williams picks one thrilled looking audience member to take to the stage and sing the bridge. Though the jealousy of those not picked is evident, the goodwill of the fans wins out and the girl chosen today is greeted by cheers and chants as she and Williams complete the song. 
   
   At the end of the song the band leave the stage, and it's only when chants of 'paramore' are at their height do they return for a three song encore. They close the show with recent chart hit 'Still Into You', which is accompanied by a large flurry of orange confetti raining down on a cheering and very pleased audience.

   It's clear Paramore have come a long way in three years. The absence of the Farro brothers seemed barely noticeable as the remaining members filled whatever hole they left both in the band and for the fans. A thoroughly enjoyable, energetic show which left everyone with a smile on their face.

The Insanity Workout

   Well, after 63 long days, I have finally completed the Insanity workout! Month two, as expected, was much harder than month one - the workouts are longer and more taxing with fewer scheduled breaks. Compared to month two, month one was an absolute breeze!

   As far as the overall programme goes, it is a difficult workout. Personally I would not recommend it if your current exercise regime consists of nothing because the sheer intensity of each workout is a real shock to the system. Shaun T reverses the usual method of exercise; so rather than doing gentle exercise which spikes for a minute, you do hard exercise with a minute break (which entails stopping completely to allow your heart rate to lower).

   Personally, now that I've completed the entire 63 days, I can say that it really has made such a difference. I don't feel nearly as tired as I used to, my legs are much stronger and my flexibility has improved. I was able to complete a 12 mile bike ride two days ago (albeit mostly on level ground) and not feel the usual aches and pains the next day like I would have had I not done been on the insanity programme. Also, as I mentioned in my previous half-review, the programme was good for me because I could complete it at home and can go back to certain exercises now whenever I feel it necessary. 

   Overall, I would recommend this workout, especially if you have the time and motivation to stick at it. Sometimes, for me, it did take a lot of self motivation to keep at it every day but I am incredibly glad I did. Although I didn't use the results and recovery formula or stick to the nutrition guide provided, it still made a difference.


Fit test results: Days 1 and 63
Switch Kicks

• First test: 40
• Final test: 60

Power Jacks

• First test: 34
• Final test: 62

Power Knees

• First test: 60
• Final test: 105

Power Jumps

• First test: 15
• Final test: 45

Globe Jumps

• First test: 6
• Final test: 10

Suicide Jumps

• First test: 10
• Final test: 15

Push-up Jacks

• First test: 6
• Final test: 25

Low Plank Oblique 

• First test: 14
• Final test: 50

Reasons to read the Night Angel Trilogy

   Recently, I was given a large selection of kindle books. After finishing the Mortal Instruments books, I decided to select a new book to read at random. I noticed the Night Angel trilogy by Brent Weeks (an author whom I'd previously not heard of) and soon started it. Now that I've finished three books I thoroughly enjoyed, I feel (mostly) able to compile reasons to read them without exposing the plot. Hopefully.

   Firstly, Weeks has created an entirely new world. As an amateur student writer, I understand how difficult it is to create and write an entirely new world different from the one which people already know. However, Weeks has created a solid new world which incorporates the idea of magic without sounding childish or vague. There are differing 'levels' of magic within the novels, something the inhabitants of his world are all aware of, yet not everyone is magical. Furthermore, the story is set on the continent of Midcyru, which is split into various countries (although the main focus is on Cenaria). Some versions of the novels include a small map, showing the level of thought and consideration that has gone into creating this world. 

   Weeks is clearly an excellent writer, in my opinion. As mentioned before, the novels contain magic that doesn't come across as childish or just another witch/wizard novel. Therefore, adults can also enjoy these novels. Each character develops throughout the trilogy, especially evident in Kylar who is the main focus throughout. Weeks' characters are not by any means unbelievable or overly perfect - most have been brought up in a corrupt society, and the reader can see how such corruption has affected them. In addition, each country within Midcyru has different religions and it also clear how this impacts on characters.

   Throughout all three novels, Weeks maintains a strong plot line which progresses and twists occasionally. He also writes the novels from different character's perspectives (in third person narrative) so the reader can see how each character's story progresses at any given time, and how they tie in together. The main characters stories all seem to connect with each other, which gradually becomes more evident throughout; one chapter the reader is with Kylar, the next with Dorian, and in the next their two stories collide.

   Without giving too much away, the novels are fantastic and allow the reader to make connections with each of the characters and become fully immersed in the story. My opinion? They're well worth a read.

Half Review: The Insanity Workout

   Around 5 weeks ago, my sister received a package in the post. Before I know it, she's waving a box with 'insanity' written down the side proclaiming that 'we start monday'. I have now completed week 4 of this workout, and so I'm going to give it a halfway review in case anyone is considering getting it. 

   So, day 1 is a fit test - you complete fit tests every 2 weeks, in order to track progress, and complete a final one on the last day of the program. So far, I've completed 2 fit tests and after just 2 weeks following the program day by day I actually improved. Now, a lot of people asked me why I was bothering with a workout like insanity; I'm fairly small and have no desire to lose weight. However, I believe this workout is good for anyone whether you want to lose weight or just increase fitness levels and tone up. With daily stretching it even increases flexibility (or, it has done for me).

   Obviously, as the warnings express and the name suggests, this particular program is hard. The workouts can get really intense and unless you're motivated to stick at it, I can see that some may find it easier to just give up. My advice? Keep at it. Just 4 weeks on and I feel so much better in myself. Some might argue that it's expensive, but so is the gym, and you can't do that in the comfort of your own home! 

   Now, I'm not saying I can see the whole 40 minutes through without taking an unscheduled break here and there, but insanity is definitely working for me (despite not following the nutrition guide provided or drinking 'recovery' formula). If you want something quick you can do at home, I'd recommend this workout. The important thing is to keep pushing yourself through it - it'll start to get easier after week 1!


My fit test results:
Switch Kicks -- FT1: 40 -- FT2: 45
Power Jacks -- FT1: 34 -- FT2: 44
Power Knees -- FT1: 60 -- FT2: 80
Power Jumps -- FT1: 15 -- FT2: 25
Globe Jumps -- FT1: 6 -- FT2: 8
Suicide Jumps -- FT1: 10 -- FT2: 15
Push-up Jacks -- FT1: 6 -- FT2: 12
Low Plank Oblique -- FT1: 14 -- FT2: 25

The 'new' Paramore

   Since the release of their self-titled album last month, there has been a very mixed reception towards the so-called 'new' Paramore in both sound and lineup. The album itself was different from their last 3; it had a more pop-rock sound than the alternative sound fans had grown accustomed to, intermixed with small ukulele interludes. 

   In all honesty, this change in sound was to be expected. The band has undergone a lot of changes since the departure of the Farro's in 2010 (and I don't just mean Hayley's hair colour), so it was only right that their sound progressed with them. The interludes appear to be the only songs on the album that address their departure, and other than those the rest seem to be what Paramore have moved on to. Paramore is a catchy, well-written album that shows how the band have grown and changed. Let's face it, they're not 17 any more and anyone shocked at the direction they've taken is wrongly so. Mildly surprised, yes, but no-one should have expected another Brand New Eyes. Their music has moved on, and it's up to fans to move with them.

   As for the line-up, it seems they're not taking on any permanent members which is understandable. Instead they keep a number of touring members to fill in the loss of the other two members. Change is good, but it gets to a stage where it can be potentially too much. Having said this, I for one sincerely hope they do eventually keep Justin York (older brother of Paramore guitarist Taylor York, for anyone who hasn't made that connection). I feel this especially when I watch acoustic videos - his and Hayley's voices go perfectly together and neither sound off in comparison to the other. 

   For now though, Paramore is what it is: a band coming back even stronger after the loss of members which could have caused them to split for good. Give their new sound a chance - you might just find that, like many of us, you actually like it.

REVIEW: Walk the Moon, Temple - HMV Institute, 26/02/2013

   Face-paint fuelled show as Ohio indie rockers embark on their headline UK tour and hit up Birmingham.

   Following a rather positive reception from supporting fun. back in October last year, and the overall positive reception towards their self titled album, Walk the Moon showed they're far more than a support band at their sold out show in the Temple putting the quartet firmly on the musical map.

   Using the album's first track, Quesadilla, to open the show, Walk The Moon certainly began on an energetic note moving smoothly into Next in Line. Though mostly younger teens, there was never a still moment in the crowd - even slower number, Iscariot, invoked a synchronised swaying.

   The band also played one of their older songs, Me and All My Friends, which the crowd were only too happy to join in with, screaming 'come on over now' much to the band's joy. Further proving a strong, ever growing fan base was the audience participation with Tightrope - never has that venue seen so many raised jazz hands.

   The band ended on a seemingly unexpected encore, covering Bowie classic 'Let's Dance', a track enjoyed by all ages, including the parents that were accompanying their underaged children. Needless to say, if they didn't arrive as fans, they certainly left as them.

   After what can only be described as a buzzing gig, the only hope left for Walk the Moon is that their fan base continues growing and stays as strong as it already has become. Oh, and that they keep producing fantastic music that you can't help but dance to.



**Quick not - I thought this posted 2 months ago, but it only saved to drafts!!! Sorry for the HUGE delay - I'll double check next time!**

New Music: Paramore

   3 years after the Farro brothers' departure, and Paramore are firmly back on the music scene. 

   Following 'The Singles' in 2011, the band continually dropped hints towards the progress of the new album which was finally announced in December 2012. The fourth album from the band, self titled 'Paramore', is due to land in April this year and will be the first record from Hayley, Taylor and Jeremy as a trio. With much anticipation from all the fans (myself included), the band's first single off the album was released today and certainly did not disappoint.

   Admittedly, I was expecting something completely different from the three of them. After all, the band's dynamic has changed and they've recently hinted at more of a pop sound in an interview. The introduction sounded like just this, so I was a little uncertain of the rest. However, the moment the song kicks into the first verse there's no question this is still Paramore. Yes, the song does sound a little more pop than, say, the days of All We Know Is Falling, but it still has the punk-rock edge Paramore have harnessed over the years. 

   The chorus, without a doubt, is simple yet incredibly catchy, appealing to a wider audience. However, the song as a whole to any avid fan shows how the band have returned from their time off and are certainly here to stay, only building on anticipation to see how the video has turned out, and for the album's release.

   It's still Paramore, just newer with a recognisable bass part. They've grown as a band, and personally I can't wait for all 17 tracks of the album.

REVIEW: B.o.B, Library - HMV Institute, 24/09/2012

   Last night saw American rapper B.o.B perform his final show on his debut UK headliner. Although a surprisingly small venue, the sheer energy of his performance gave the impression he was headlining an arena, not a 600 capacity venue.

   Opening with ‘Bombs Away’, B.o.B takes to the stage as Morgan Freeman’s voice bellows over the crowd, bringing with it excitement as fans finally get the man they came to see. After some seriously heavy use of strobe lighting and smooth mixing from the DJ, the crowd are led into a gnarly ‘Beast Mode’ accompanied by a large video of a tiger behind the man himself.

   B.o.B is soon joined by Playboy Tre, who has featured on songs on both B.o.B’s LP’s, for ‘Bet I’ and is even given the stage to perform one of his own songs. All the while however, fans remain firmly in B.o.B’s control, fist pumping and clapping on his command and proving that the rapper can certainly handle an audience.

   Later in the set a piano is brought centre stage as B.o.B performs one of his very few less energetic numbers, ‘Don’t Let Me Fall’, showcasing his  versatility within music and bringing to light that yes, he can definitely sing.

   The break in tempo doesn’t last long though as we are soon thrust into ‘Play For Keeps’ which is accompanied by a mini lazer show. Finally, just before the encore, the crowd is given ‘Airplanes’ – the UK number one track featuring pint-sized rocker Hayley Williams – resulting in a high-energy finale with ‘So Good’.

   B.o.B closed this tour in style, and we can only hope that he’ll return soon in a venue more worthy.