Allow me to introduce you to Slowmove. No it’s not another Band Interview Of The Day post, this is a new EP you have to get listening to. Influenced by Pixes, Weezer, Tigers Jaw and more, the members have all been part of various bands over the years but now they wanted to concentrate and contribute on a different genre they all love.
Recorded intermittently over the last year, the band have dropped the EP which is available to listen to right now.
In addition, both music videos they have released were filmed by members of the band David and Kat who make up Dai Tan Films.
Now going into the EP, we’re kicking things off with Behind Closed Doors. Now this track does exactly what it says on the tin where the progression of the track moves past what you think you’ll expect from the band right from the very start where the vocal harmonisation mixes better than your average track to great appeal.
Now taking a slightly different approach for ‘Here And Now’, this is a slightly slower paced than the rest of the EP but is reminiscent of Milk Teeth’s ‘Swear Jar’ in a way, at least that’s the way I hear things. Persistently here though, it’s a very notable earworm that’ll you’ll want to come back to again and again.
With the penultimate track, this is a very different approach to most bands where it is just an instrumental track. Don’t get me wrong, it’s a good change of pace to most tracks where you can truly hear everything that’s going and so that the band can get to grips with a whole lot more without being dragged down and when they do play this live, I’m sure it’ll be a lot of fun for the crowd to watch.
Lastly we have Haven.The title track lives up to the expectation which has been set. While most title tracks currently disappoint, this one doesn’t because of the added layer of the psychedelic rock nature with a sprinkle of the gothic nature to make the track stand out just that much more.
haven – the title track lives up to the expectation that it’s set. while out title track currently disappoint, there’s an added layer of the psychedelic and a little gothic rock nature to it that makes the track just stand out that much more
Overall, what’s been produced here is above the norm for bands on their first release (where the members have learned from their past projects) and there’s a definite impact that it will have, especially with the gigs to be had in the near future but I can’t help but feel the EP is missing just a little substance help elevate the overall feel of the body of work as a whole. On the other hand, this is damn fun to listen to.
Be sure to check out the Music Videos for ‘Here And Now’ and ‘Haven’ below and listen to the EP via Spotify.
Recently harder upstarts One Step Closer announced their debut full length record, ‘This Play You Know’ set to be released on September 24th 2021 from Run Cover Records.
To mark the announcement, the band teamed up with Revolver Magazine to premiere their latest music video for the track which is available to view below.
‘Pringle Street’ is a slice of hardcore you just need in your life from the first listen. Amongst all the noise bands make on the regular, this track is the one that’s grabbed my attention the most in recent months just because of the sheer crunching breakdown to the beautiful progression of the guitar on this one. Fingers crossed they keep up this trajectory when their debut full length drops this September!
Pre-orders for ‘This Play You Know’ are available via the following link.
Everyone’s favourite punk rock agitators, Drug Church, have returned. The band have released Tawny: a new four-song EP due out June 25th from Pure Noise Records that acts as a bridge from their 2018 LP, Cheer, to Drug Church‘s impending fourth full-length. Cheer was acclaimed by both fans and critics alike (including praise from the likes of Stereogum, Noisey, Revolver, BrooklynVegan, and more), and with Tawny the band push their blend of hardcore aggression and massive, ’90s-indebted hooks even further.
The tittle track ‘Tawny’ showcased guitars and pummeling drums with an anthemic climax that hints at the band’s ever-expanding songwriting toolbox. Never one to flinch at the darker corners of the human condition, vocalist Patrick Kindlon’s lyrics remain as vitriolic as ever. “People are so happy to not be in the guillotine, they’ll cheer at anyone else’s execution,” he says. “I’ve about had it with that.”
Tawny is comprised of Drug Church‘s crushing 2020 single “Bliss Out,” a cover of Arcwelder’s “Remember To Forget,” and two brand new songs, “Tawny” and “Head-Off,” which feature some of the band’s most dynamic songwriting to date. The tracks build on the most melodic moments of Cheer without losing any of the bite and energy that has made Drug Church so appealing to fans of heavy and catchy music alike. “Head-Off” opens the EP and immediately makes it clear that the band aren’t content to rest on their laurels. The song begins with a driving beat from drummer Chris Villeneuve while guitarists Nick Cogan and Cory Galusha weave unexpectedly shimmering guitar lines overtop of Pat Wynne’s propulsive bass; even Kindlon’s customary roar has taken a turn, with layered vocals and the singer’s cadences at their most instantly hooky. All of these melodic moments only serve to make Drug Church‘s sound even more combustable, and “Head-Off” and “Tawny” both erupt into immensely satisfying blasts of powerhouse guitars and Kindlon’s sardonic bark.
The EP closes with Drug Church‘s taut rendition of the Arcwelder song “Remember To Forget,” which again highlights the band’s growing melodicism while also nodding to their willingness to carry the torch for stubbornly outsider guitar music. “You don’t need to be the world’s best band to write a perfect song,” Kindlon says. “Arcwelder are guys who like playing guitar music. They had some small success at it. Still, this song has been in my head for a long time. And that’s a type of success that doesn’t get measured. We’re all gonna be erased when the sun expands. Chasing fame makes you dumber than you are.” Tawny is just the beginning of the surprises Drug Church have up their sleeve, and luckily, with LP4 coming soon, listeners won’t have to wait long to hear more.
Starting off with the track ‘Head-off’, it’s a brilliant start where the melody is brought right into the mix, albeit something a little tame, especially considering what you hear on the next track in the title track ‘TAWNY’, which is just amped up by 1000x to give you something raw from the deepest part of Drug Church’s souls.
Bliss out does anything but, it’s more of an interlude but heavy and heartfelt with a lovely rhythm to go right alongside this stunning EP.
This closing cover track from the outset is something massively different to start with. It’s more soulful than anything to which then rips into this stunning melody as if an angel appears to you, fitting as some of the lyrics which touch on this deal with belief.. There’s no denying it, the cover is stunning.
Overall, my thoughts are if that this is what Drug Church are capable of producing with an EP, then I have complete faith that their next record will be a smash, an all out assault is what it will be.
Orders for ‘Tawny’ can be made via the following link.
Starting the record off with’ Overture’, there’s some very delightfully creepy overtones on what sounds like a cello with fantastic added instrumentals to make you feel as if you’re transported back to a period film but on a much more grand scale of which can’t be diminished at all.
This is then taken to the extreme right from the beginning of ‘Who Are You’ with the pulsating hooks from the guitar that leads into the haunting vocals on display. There’s a mix of influence where I can hear possibly a little Babymetal if I’m being honest (but unlikely). it just leads to an epic finale you want to continue which does as you move into ‘If Only You Knew’. From the very start, it’s as if you’re taken into a live show which delivers so much more than a live setting could.
Getting into the meat of the record, the haunting nature of the songwriting excels with the added the piano and every instrument Belle Morte have in their arsenal to deliver a powerhouse of a symphony. This record just gets more magnificent with every track that your ears devour.
I’m in the middle with this in my thoughts for the record. On one hand tracks such as ‘Beauty And The Beast’ fit perfectly if it was the instrumentals for a film and a live setting. There’s a fusion of both here to give such energetic tracks you need to listen to.
Another descriptor is genre bending for this record because the way it sets up tracks in the production is intoxicating. On one hand, you think it’s going more into a dance track but that is all a complete red herring for ‘My Little Demon’ where it takes a left turn and adds that extra ingredient which is missing from most modern records. .
Fans of more instrumental rock will cheer and devour this massive anthem record down to it’s bare roots of what make the record so grand. Fans of Belle More will be happy with this output and even people who aren’t fans, or weren’t fans before, will resonate with this release.
Back in 2018 the Brighton-based three piece were on the crest of a wave. As well as regular plays on daytime Radio 1 and a Rockest Record from the Radio 1 Rock Show, years of near non-stop touring had seen them sell out The Scala and play a triumphant hometown show at The Concorde 2. On their last EP, Evolve Or Die, they’d pushed the live-wired sound of their 2016 debut, Abstract Figures In The Dark, massively broadening their sonic palette and delivering Tigercub’s pile-driving guitar gut-punch within an intense digital static.
It seemed like a good place to put things on pause for a bit and in the downtime the band’s lead songwriter and frontman Jamie Hall started tinkering with his own brand of gonzoid psych-pop under the name Nancy. Intended only as a DIY experiment, the project massively took off. Nancy was Hype Machine’s most blogged artist, Hall bagged two record deals and played a string of dates around the world. Not bad for something he’d done in his bedroom chiefly to keep his songwriting chops up. Enough to keep you busy you’d think, but Hall was itching to get back to the day job, determined to use all he’d learned from the solo project to further Tigercub on their return. And what a return it is.
Jamie, who stands 7 foot tall and is the band’s sole songwriter, claims the creative fire for “As Blue As Indigo” was sparked by colour theory and the notion that what each human eye sees as colour could be totally subjective. That idea led him to explore his own personal issues through a similar prism, exploring topics including anxiety, depression, toxic masculinity, the death of his grandmother and the recent suicide of a close friend; and in turn began spinning the lyrical thread that ties the entire record together.
“As Blue As Indigo” is as colourful a journey as the vivid title suggests, its ten tracks span the progressive to the immediate, the gentle to the monolithic, and most of all fulfill the significant potential the band have always promised. “As Blue As Indigo” is an album that looks set to cement their place at the top table of British rock acts in 2021.
So shall we dive into the record?
A very soft opening almost as if it was a lullaby for adults, it’s quite a underwhelming first minute or so on this title track but from there things just drop and everything turns up to the more grand spectacle the band we were hoping for from the opening.
Shifting genre in the second track, ‘Sleepwalker’, this just moves into a slow grunge approach so immediately the record feels a little structurally off but if there’s one saving grace so far, it’s how perfectly the bass moulds in with the drums to carry some emotion through the first few minutes.
Now, I’m still on the fence with with this record because there’s a bit more groove in this track which is acceptable but, there’s a larger step taken in risks where it’s hard to tell if anything is paying off but for the moment I do want to say yes, possibly?
Shifting more further into the record and getting back into the groove and it being coherent with it’s strucutre, ‘Built To Fall’ just instantly feels very out place by the time it’s at the tracks final third as it starts to move back to the heavier grunge aspect which made the record appealing in the first place. This continues to be a trend for most of the record in ‘Shame’ which right at the very end in what I’m assuming is some feedback occurs, it makes it a little less professional.
‘As Long As You’re Next To Me’ is probably the best since the second or third track but still feels out of touch when talking about the record as a whole. I’m just unsure of what to make of because it’s in a. perpetual state of changing rhythm and genre. Closing with ‘In The Autumn Of My Years’, this is the record’s saving grace because it ends on a somewhat decent effort by the band but is lost in the sea of identity.
In conclusion, ‘As Blue As Indigo’ feels as if it was two records being produced and recorded at the same time where there’s a some merit to the heavier aspects of the release but there’s no real identity to what’s been made.
Wales’ rising pop sensation MACY has announced her brand new upbeat pop banger Rainbow Eyes which is out NOW on all major streaming/download platforms.
Arriving just in time for Summer, Rainbow Eyes is laced with MACY’s signature sugar-sweet vocals sprinkled over a funky, majestic and upbeat production. The fun and energetic track, is the perfect soundtrack to your Summer BBQ or Hot Tub party as the sun goes down and the music turns up. Lyrically she raises her game yet again, to create playful and suggestive verses with lines such as “You’re like a bad addiction with good intentions” and a super-catchy chorus. The rising pop starlet remains tight lipped about the origins of the song, “I’ve been asked a lot if this was written with Pride Month in mind, or about the huge number of rainbows we’ve seen during lockdown. I don’t want to spoil someone’s perception of the song and I love that people have interpreted the lyrics in their own way.”
Grammy Award nominated producer LVR (John Legend) takes the reigns once again on the production and co-writes the track. “This song was an incredible amount of fun to create! I think you’ll be able to hear that in the track. I’ve worked with LVR for a long time and we’ve been collaborating over Zoom this past year. He’s absolutely amazing to work with, I can’t praise him enough”
The video was shot by Samuel Edwards in Abertillery Local Community Hall over 3 days. “The inspiration was to bring some 80/90’s vibes back, like you’d see on old Nickelodeon shows and make it a fun, fast moving and colourful video. It was an absolute joy to make, especially as we had tonnes of balloons, cocktails and lollipops. It’s so vibrant and me and my band really enjoyed the shoot.”
Hailing from the South Wales Valleys, MACY has always had a love for music. Since the age of 11, MACY quietly honed and developed her Dream Pop/Contemporary R&B music. In 2019/20, MACY was one of 10 artists selected for the PRS Foundation backed artist development scheme: Forté Project, whilst on the project she performed at FOCUS Wales, Sŵn Festival and HUB festival in her breakthrough year. 2020 she received support from the BBC’s Launchpad scheme for artists and gained airplay on BBC Introducing, BBC Radio Wales A-list and Amazing Radio for her releases ‘Cinema’ which was co-written with Violet Skies (Mabel/Tiesto), ‘Smoking Gun’ and ‘Obvious’. ‘Smoking Gun’ was also added to Spotify’s EASY Playlist (379k). She continued 2021 brightly with funding from Help Musicians UK and her 4th single ‘Wait’. In total all four singles have amassed over 320,000 streams on Spotify.
Check out the video for ‘Rainbow Eyes’ below.
Upbeat and easy on the ear, Macy creates not only an aura of energy which really quite infectious but also a track to leave you transcendent and relaxed as if you’re in a persistent state of emotion. One of the the more exciting pop centric tracks that’s been sent my way, the production plays off as your usual run of the mill pop, but is so much better than most out there. Macy is one of the most exciting acts coming out of the country right now.
Since their debut in 2019, Bristol-based Nu-Metal five-piece NO:IR have evolved their sound from their hardcore roots to create a modern fusion from a host of genres. They take deep inspiration – and their name, from Film Noir, often characterised by cynicism, intricate plots and existential philosophy.
Conveying themes of depression, anxiety, ego, addiction, distrust and unity, Are We Really Alive? sees NO:IR examining their own identity; holding up a mirror to the band’s own anxieties and addictions and questioning their honesty and integrity.
“Reality has become distorted as media manipulates people to behave a certain way, compliance is natural and identity is fragile. We have become distracted by the high intensity and anxiety of modern life and our own individualism and honesty has been lost to trends and conformity”, the band state. Prior to the release of the EP comes their next single and accompanying music video Spineless, due for release June 1st. The track explores the anger and frustration around trying to navigate through the intensity of misinformation and difficulty finding your own identity while authority wants to dilute authenticity.
“‘In the face of the ones who don’t give a shit, in a space and a place where we don’t exist, we’re down for the fight we will resist’ shows a distaste of how people like us (alternative personalities, creatives, musicians etc.) are overlooked, and how we are a very strong group of individuals who will resist being mistreated. ‘There’s venom in my veins, a new drug to numb the pain’ is a nod to the culture of musicians taking substances just to ‘numb’ overwhelming feelings or personal accounts of facing addiction”, explains lyricist Evvi.
Opening the EP up with ‘If this is living’, it’s a creepy and alluring stretch of atmosphere in the exact calm before the storm you’d expect before descending into chaos.
Next up with ‘Demons’, the reveal is a catchy, pointing and damnned good blend of genres to bring out the heavier aspects of the band into full force to bring about inspiration and honestly quite awakening. It’s a mix that on paper shouldn’t work particularly well but works in harmony with each other. Plus, the ending of the track maxes up the creep factor to give off a true spine chilling vibe to the maximum.
With Spineless, it’s a little bit of a misnomer in that it’s anything but. What it is however is a ferocious and hard hitting track from start to finish and one you don’t want to stop for anything. Twisting through the time signature, the styling changes up a little in Spineless where it’s anything but. It delivers a ferocious and hard hitting track from start to finish that sets up the tone for future moshpits that won’t stop.
Benefitting from the runtime it currently has, Phantom offers up a little something different. Taking a step down from the previous tracks and opting for a more vocally clear and mellow, it’s a perfect breather for the EP while still keeping in with the bands ethos and builds on what you heard previously in ‘Demons’. It’s exactly what you need to be listening to right now with the tone leading to hardly a moment of reprieve.
The same can be said for ‘I Need U (Like I Need A Hole In My Head’ as the vocal stylings are working in tandem to show how far the band can reach and how moving the track is. This is what I’ve missed about the scene in recent years where it’s only as effective as the people utilising it.
The final track, ‘Hollow’ which extends to several minutes amasses the best aspects of the entire EP. Starting off more atmospheric and then leading into he throbbing and bone rattling aspect of it’s heavier material, this can be a difficult thing to produce but doing it the way NO:IR have doing is just so freely entertaining which leads to a show stopping finale.
Overall, the EP is greatly produced and the ideas you expereince here within the genre bending are nothing short of excellent and ones we hope to see influence the bands own capabilities in the future.
Los Angeles-based indie-pop act Ginesse has dropped her revealing new single, “Gatorade.” The single is the first new offering from Ginesse since her breakthrough debut EP ‘Somewhere To Die,’ which was released late last year.
For the new single, Ginesse tapped her longtime collaborator, songwriter and producer Matias Moras (CYN, AU/RA, The Aces). On “Gatorade,” Ginesse’s dreamy vocal delivery soars atop a myriad of pulsating electro beats, swooning synths, and experimental vocal stabs. The shimmering indietronica production creates an intriguing backdrop from Ginesse’s vivid lyricism . The title of the song is a tongue-in-cheek play on the astrological phenomenon of mercury in retrograde and ties into Ginesse’s personal interest in astrology and the meaning it can hold. “For some reason, mercury going into retrograde has always put me in a very nostalgic place,” she says. “It’s a love letter to those I shared time with where the doors have remained open without resolution and without a clear understanding of why.”
Ginesse is the musical project of Los Angeles-based actress Cait Fairbanks. In 2018, having already made a splash in the acting realm with her Emmy-nominated role on The Young and the Restless and multiple TV guest spots, Cait unveiled her musical endeavors under the moniker “Ginesse.” With a signature sound that is not wholly mainstream but still irresistibly catchy, her singles quickly picked up support from the likes of PAPER, NYLON and Billboard, setting the stage nicely for the release of her debut EP ‘Somewhere To Die,’ which she unveiled in late 2020.
Perhaps due to her strong thespian roots, Cait admits that she often approaches Ginesse as “a character to play.” (The name itself was inspired by a local street and her preferred choice of liquor). But she does also acknowledge that “Ginesse” is the perfect outlet to boil herself down in. She’s not wearing a wig or spandex but instead presents the most concentrated version of herself by telling genuine stories via metaphors that emote a relatable, uncomfortable situation or feeling. “I want my music to make people feel like the whole world is wrapping around them,” she says. “If I give someone an emotional picture of a specific moment, that is truly special.”
Check out ‘Gatorade’ below.
This single release from the outset as if it’s just a run of the mill standard follow up offering but in actuality is chalk full of beats you can’t help but tap your foot to set on top of the lush lyrical vocal injection from Ginesse. If there’s one artist to win everyone over this year, it’s this one.
After years of teasing, alternative band Never Loved are giving fans what they want.
“‘Autumn’ was actually the first Never Loved song ever written and also one of the first songs I ever wrote that I sang on,” recalls frontman Cameron Knopp. “I recorded it with Squire in 2017 before we had a band name and it was originally supposed to be on our self-titled ep, but we decided to save it for a full length. I wrote it while experiencing all of the emotions of a heartbreak. It’s a song I’m excited for everyone to hear since it’s a different side of Never Loved.”
Never Loved formed when long-term friends, Cameron Knopp (vocals, guitar) and Jay Gayoso (bass), took matters into their own hands and aimed to create music that spoke directly to people. Shane O’Brien(guitar) later joined the duo to officially form the three-piece group. The band released their debut self-titled EP and received a great response to their alternative rock vibe, which hints to the members’ grunge and pop influences. Riding the wave of positive feedback, Never Loved is now preparing to release their debut full-length album, Over It.
This past year has brought many exciting moments for the group – an increasing fanbase, a future tour with Armor For Sleep, and the upcoming release of their new record. While quarantine was not in the plan, it did give Never Loved more time to work on new songs and further hone in on their sound. The group paired with friend and producer, Matt Squire, to flesh out ideas and bring these songs to life.
Working with Squire and taking time off between sessions helped bridge creative gaps that the album longed for. The guys experimented with creating different sequences and interludes, while simultaneously making sure the album flowed. Each song on the record is unique, but they all stay true to the alternative rock sound that fans have come to love.
The debut of Over It will kick off an exciting period in Never Loved’s career. These emotional, raw songs will captivate listeners and create a community within their music. According to the guys, “life is going to throw a lot of sh*t at you, but it’s about making the best of it. You’ll get past it, keep trying.” Over It, the debut full-length record from Never Loved, released on 14th May via Equal Vision Records/Rude Records. To order the record check out the following link.
Now let’s get right into the record. Starting things off with ‘Over it’, this track is built as your run of the mill harder pop-rock opener but you can see it now, when gigs are back the audience will sing this back because that’s what it was designed for and the band are being quite smart, it kind of reminds me of Waterparks but a different approach has been taken and the bans outlook is the main difference, and one that will win over more fans with their personality in it all.
The record is just getting started here. ‘On & On It Goes’ is that little bit more anthemic, the classic rise and fall track to get the crowd going and it’s doing a great job of that here. Continuing right into ‘Sorry’ this is a record which is showing that it isn’t letting up lightly from the looks of things, it’s spearheading the comfortable foundation of the record. Plus, that solo close to the end of the track though, I’m just astonished.
Slowing down things for the sixth track in this arsenal in the form of ‘Autumn’, it’s got a little bit of an indie feel to it due to the change of pace here, but damn it if it isn’t infectious as well. This might as well just say future film track on it because I can imagine this either in a coming of age or drama story where it only helps their case for future dominance.
Moving to something heavier on the record, ‘Sunshine’ injects a little influx of techno into the consciousness of the listener which shouldn’t really work but incredibly does so with ease. This record release has just seen the band go crazy and we’re only just at the halfway point for this one so gear up for what could be a staggering second half.
Now we’re keeping on this techno grunge infused path, it’s a sort of mashup they’re doing which in some respects does work but the consistency of the beats doesn’t really stack up overall on this track on the choice which weaves in and out.
After the interlude which if nothing does build up some genuine atmosphere again for the release which the latter lacked a little bit, the bass strikes a chord in a way it hasn’t for the entirety of the record thus far, and makes everything a little more relaxed with ‘Gasoline’ which if anything, sounds a little repetitive of their opener, ‘Over It’.
‘The One For Me’ takes it right back but the sound of the techno which is a little little much for me, where it seems unwanted in the grand scheme of the record as a whole and loses its momentum. Although the tracks moving forward are reminiscent of the early 00’s bands such s We The Kings and All American Rejects play out well here as much as the pacing of the guitar plays out which fairs well against their older counterparts but the energy Never Loved emit is the best part about this back half of the record.
Closing with the off this release, ‘Find Out’ and & ‘Downpour’ are more soulful and pondering than the previous tracks, they feel more contained than the rest of what’s come before it to avoid the comparison so they can be their own unexpected result.
Overall as much as I’ve come to love this record, I have to say it lacks a little consistency within the genre because Never Loved can’t seem to make up their minds as to what genre they want to stick to as they have that influx of techno halfway into the release but bless them, they have made a fun record with their fans in mind as well as making tracks for that live setting which they know will get a response.
Tiger Kid is back with the follow-up to his cover of “Square Hammer” by Ghost with the video for his catchy melodic rock song, “Ever On” out on April 16, 2021. Tiger Kid is the Los Angeles-based solo project and the brainchild of vocalist/instrumentalist Michael Canton.
Tiger Kid says about the “Ever On” video, “I wanted to make a video that showed the inner workings of my brain during the writing and recording of the Tiger Kid EP. We used many reference songs during the mixing stage, and it was there that I saw how many people and bands influenced these particular songs and my writing overall.” He continues, “When we decided to put a video out for “Ever On”, I wanted there to be a play between the solitary nature of this project and the influences that led me here and pop out occasionally once the music starts. We all channel our influences when we perform, whether we know it or not.”
With the rhythmic introduction, ‘Ever On’ is a consuming and electrifying release you want to revisit again and again. With the video a little more set in the icons of more more darker bands than what Tiger Kid it, it’s still a fantastic dark and mysterious start to what the world of the band is ad hopefully we’ll see the mythos deepen down the line.