Davey Richmond – Lead Vocals / Bass Chris Gomerson – Guitar / Backing Vocals Mike Kingswood – Lead Guitar / Backing Vocals Ben Thomson – Drums / Backing Vocals Drawing from a deep well of hard-driving music with rebellious disregard for the restrictive “rules” of nitpicking subgenres, Glamour Of The Kill raise the flags high for the partying vibe of ‘80s hair metal and the soaring energy of today’s more aggressive vanguard of sound. A four piece band where everyone’s attention to musicianship is paramount yet never puts the goodtime atmosphere at risk, Glamour Of The Kill expertly consume and utilize the gallop of Maiden, the party rock of the Sunset Strip, and the twin guitars of Thin Lizzy to create a sound uniquely and steadfastly of their very own. A mixture of energized pop and crunchy metal, Glamour of the Kill’s priorities boil down to two things: big riffs and even bigger choruses. Tastemakers from the world media have sung the band’s praises, and with good reason. When frontman Davey Richmond revealed to Kerrang! that various tracks from the likes of Avenged Sevenfold, Slipknot, Killswitch Engage, Pantera and Iron Maiden changed his life, it offered something of a roadmap for the combustible music Glamour of the Kill has made their stock and trade. The band’s last full-length, Savages, is a breath of fresh air in a cookie cutter scene that often takes itself too seriously. Early EP tracks like “A Hope in Hell” and debut album tracks like “Feeling Alive” showed strong promise, but upon a more in depth listen into the bands repertoire, Glamour of the Kill deliver the goods on all counts. Buzzed about performances at major European festivals like Download and Sonisphere and tours with bands like Papa Roach and Escape The Fate across the world have continued to build the Glamour of the Kill army. The band’s live show combines the theatrics of Aerosmith with the hard partying vibe of Guns N’ Roses or Mötley Crüe back in the day. The band stalks the stage with what one review called “the cocky confidence that gave Axl Rose his edge.” The lifestyle is certainly there, too. YouTube videos abound of the guys having a laugh, partying, and having a drink (or ten). Early songs such as “If Only She Knew” is a song for all of the guys who’ve found themselves trying to hide text messages from the missus. Along with songs such as “A Freak Like Me” stylistically bringing a seemingly modern infusion to good old-fashioned heavy rock. “Second Chance” is brimming with ‘80s nostalgia, a rousing anthem that guys in the band hear fans still singing even as they exit the venue. “We like to write our songs thinking about how they will translate live,” Davey explains. “We like to get the sing-a-long elements in there for the crowds to chant along with and the parts for them to clap with.” He continues, “It has been said that we’re not bringing anything new to modern music. I don’t disagree. The irony is that this is what makes us unique. I hear too many bands trying to mix hard house with death metal or whatever is hot this week. A good song doesn’t have a use-by date. A good song doesn’t expire, or grow old. It is timeless and will live on far beyond its fashion-targeted alternatives.” Having departed from all the industry team that surrounded them, to offer a middle finger to conformity, and be no longer bound by the shackles of a pre-established musical direction. The new offering from Yorkshire’s finest, After Hours, is a much grittier, scrotum-grabbing approach, than the clean-cut product of the band’s yesteryear. Full frontal tracks such as “Out Of Control”, featuring Papa Roach front man Jacoby Shaddix, is an in-your-face, no-holds-barred display of aggression. Standing alongside pulse racing tracks like “We Are All Cursed” and “Earthquake” featuring Escape The Fate’s Craig Mabbitt, all culminate in clear indication the GOTK are here to stay, and have brought some pals along for the ride. From Richmond’s gravelly yet high-pitched melodious vocal to the Kingswood’s shredding solos, acoustic passages and broadminded instincts, Glamour of the Kill offers many things to many people. There are anthems, ballads, solos galore and of course, those choruses. The band’s aim is to create nothing less than the type of songs that live and breathe within listeners; songs that become a valued component of that person’s life. Glamour of the Kill now have their sights set on the world beyond their native England, with the strength of their homeland legion of fans securely supporting them. British invasions from the Beatles to Oasis to Maiden have come in waves, and GOTK are ready to seize their opportunity.