James Leese

Safest Spaces – Safest Spaces – REVIEW

Safest Spaces are an up and coming duo from Milton Keynes who dropped their Second EP of the year on the 4th of November, this new EP under the same name promises to be a great insight for what is to come from the two in the future. Now without furtherado let’s break down this self-titled EP from Safest Spaces

Opening up the EP is Clarity, a song which featured as a demo on their first EP of 2017 Staying In // Freezing To Death which the duo dropped in the beginning half of this year. As an EP opener, this track brings the EP in well, with the powerful and well crafted vocal delivery that Dru Lintott and Jake Taylor produce. Alongside this the instrumentation that the duo present on this track is beautiful and well crafted. Showing not only some musical dynamics but also just what they are capable of. The lyricism on this track is vivid, allowing for a great picture to be painted whilst also allowing for some exploration in the different range of vocal types Dru is able to provide. Overall this first track is a great opener that sets the groundwork for what will be a powerful and great three track EP.

The middle cut on this self-titled release is Thumbs. Again it is clear in this track just how well the duo construct their tracks and especially their lyrical content. However, it is clear through this track what the EP, as a whole, is missing and that is some form of drum to provide it with an extra something. Although this doesn’t detract from the quality of the musical construction and the powerful vocals that lay on this track and throughout, it feels like that extra element will elevate it to a new height.

Closing off this EP is The Death of Crater Face which is possibly the strongest song on this short release from Safest Spaces. The track encompasses all the abilities that the duo bring to the table. With this fast paced guitar work whilst also managing to maintain the crisp vocal delivery that is on the majority of this EP. As the track powers through the mix of clean and shouted vocals is well crafted and provides balanced mix to the song. As this song continues it is clear through the vocal delivery that the words spoken throughout are meant with sincerity, with the track acting as some form of send off to Dru’s solo venture Craterface and almost using this EP as a whole to connote some progression personally and musically. As this track reaches its close the simple stripped back moments truly drive home the song, allowing for a heartfelt and well rounded end to the short EP.

Overall this EP is a beautiful whistlestop tour of what Safest Spaces will provide in the future. The construction from start to finish is second to none and show the abilities that this duo have in creating what are some hauntingly beautiful songs that please both instrumentally and vocally. This being their second venture this year it is great sign that these two show no signs of slowing down just yet. The only true downside of this EP is the length. It feels to end as quickly as it starts. However, each of these tracks are highly replayable, with each listening allowing for another small detail to be recognised. So due to that, even if the length of this EP is short, the songs allow for some lyrics to be learnt for live shows. If there is an EP to listen to the end of this year, then this is definitely the one. [8.5/10]

Lifetight – Self-Tightled – REVIEW

Being birthed from the ashes of what was Lock and Key, Lifetight are set to make a name for themselves with their new EP Self-Tightled an EP which was released on November 3rd is set to produce some “posi” vibes as the band draw from their experiences with mental health and the military to create some positivity. This EP is set to be a great release so without further ado let’s breakdown this EP

Opening up this 4-track self-titled EP is Energy. The track overall is a powerful and great opener for the band, showcasing their ability in creating a well-composed track which easily shows their Hardcore and Punk influences. Alongside this the track lives up to its name providing a mass amount of energy from start to finish on this first cut, from the tight instrumentation to well presented vocal performance the track cracks open this EP well for what else will follow.

Misguided is the second track on the whistlestop tour of what is Lifetight‘s self-titled EP, this track is far heavier in its instrumentation than the track which sat before it. The more aggressive and up-tempo instrumentation powers this track along at a far brisker pace, which allows for more experimentation in terms of the vocal delivery that comes along with this track. This cut is possibly the strongest on this short release in all aspects. Following directly from this is Big Boy House a great cut off of this record that was close to being the strongest on the EP. With a somewhat more Punk orientated makeup, the track does seem to lack something that was present on Misguided which made it as strong as it is.

Closing off this EP from Lifetight is Dreams a track which appears to be the perfect blend of the two genres the band are influenced by the mix of Hardcore and Punk allow for a great overall sound that make this track such a powerful closer for the band, however this track also brings along the main downside of this EP and that is it’s length, the track like the others on this EP, seems to fly by and leaves you wanting more from the band. However, despite this the band yet again showcase their musical prowess on this track from the strong instrumentation and great vocal power that exists in this track.

Overall Lifetight have presented here a great EP which showcases not only their musical ability but also the “posi” vibes that they said it would. From the powerful vocals that speak so clearly to the positive messages that the band wished to portray to the great instrumentation that allowed this EP to, unfortunately, blast through its runtime a little too quickly. This EP as a whole is a great listen that showcases something for nearly all hardcore fans. [6.5/10]

Wu Tang Clan – Wu Tang: The Saga Continues – REVIEW

From the day Wu-Tang: The Saga Continues was announced many made jokes about its existence being in retaliation to Martin Shkreli obtaining the only copy of Once Upon A Time In Shaolin. This new album from Wu-Tang Clan is as RZA states a ‘masterpiece’ with it featuring many members of the group alongside features from other artists. The production on this record has been tackled by longtime Wu-Tang associate Mathematics, but without furtherado let’s breakdown Wu-Tang: The Saga Continues. 

Opening up this record is is a short skit which features RZAWu-Tang: The Saga Continues Intro is a simple opening which features this short clip from what appears to be a classic Kung Fu movie, before this fade in which allows RZA to just introduce the album alongside a note to the fact that it’s the ’21st Century and we still gotta duck the fucking coppers’.

Moving swiftly on from this track is Lesson Learn’d which features Wu-Tang’s Inspectah Deck and Method Man’s longtime collaborator Redman. This track is the first look at what is to come on the rest of this record and as an opening track Lesson Learn’d powers through with this driving beat which mixes in well with both Inspectah Deck and Redman’s delivery. Mathematics’ production on this track is second to none with the mix on the beat being well crafted, allowing the key parts of the instrumentation to come to the front when it is needed but maintaining this blasting beat which sets the tracks pace. As this track closes out Mathematics get his own callout which talks about his history with the group.

Following on from this is Fast and Furious. The second track on this record is again a great cut which shows Raekwon alongside Hue Hef in a strong cut which is both fast and furious, the beat which allows this track to travel is accompanied by this simple set of single note piano strikes which add to the overall feeling of the track as the instrumentation that exists within the beat give it this oldschool Wu vibe. Following on from this track is one of the many skits that runs throughout the record. Famous Fighters, Berto and The Fiend, Family and Saga split up the album as they talk about the importance of the black family and the man’s role within them. However, with them not really connecting to the main tracks they do feel out of place.

The next two full tracks If Time Is Money and Frozen continue on this strength in terms of lyrical and vocal delivery. Method Man makes his first two album appearances in these tracks and comes in strong with verses. However, the latter of the two tracks here is, unfortunately, the weakest cut off of this record, although the track is still strong in terms of lyrical content the overall makeup of the track feels lack luster in comparison to anything else that is on this album.

Pearl Harbor is the first taste this record gives us of Ghostface Killah and is one of the strongest cuts that is on this album. The production from Mathematics alongside the dark story that the track proceeds to tell makes it possibly one of the most memorable tracks on this album. However, even with the stacked line up the track there are certain performances on this track that stand out. Pearl Harbor’s insturmentation is something special, the simple and driving beat is mixed in well with the horns and other instruments that sit in the songs makeup. Overall this track brings along not only some of the best performances on this new album so far but also shows how well they construct their lyrics.

People Say was the albums lead single and it was clear to see why as the track truly shows just how strong the entirety of Wu-Tang are together and with Masta Killah even dropping by for a verse this song is yet another clear strength that this album has. This song is possibly the closest this record comes to displaying classic Wu-Tang in it’s full glory the overall sound that is produced on this track is almost flawless and really showcases the ability that this group has and had.

The following three tracks leave little to say bar the acknowledgment that there is some strength in the vocal delivery and lyrical content that exists on the tracks. However, Why Why Why does bring in a far more serious topic with the ideas of police brutality that has become an epidemic in the US. G’d Up adds in these few brief moments of autotune which feel really out of place in a Wu-Tang record and really doesn’t add anything to the track.

The final full-length tracks on this record are Hood Go Bang! and My Only One. The former of the two see Method Man and Redman join forces for the track which is far too short and despite a catchy set of words for the ‘chorus’ and an extremely strong verse from Method Man, the track really lacks more content which would transform the track and make it strgoner as a whole. The latter of these tracks a great cut which is another highlight that exists on this album,  with the slight more pop-centric makeup, which lets the song down to an extent because of the chorus, the track feels different to most of the songs on this album. However, the verses and instrumentation on this song are still strong and allow Ghostface Killah and RZA to showcase their ability once again whilst also allowing Cappadonna to come in with energetic verse whilst having this classic Wu-Tang drum beat exist underneath the track.

Rounding off this album is Message and The Saga Continues Outro. The former of which talks about the notion of being a black man and being a mentor to younger people, this track is one of the most verbose skits on the record and although packing a poignant message feels a little out of place, almost jammed in to the record when another track of the same length could have been put in its places. The second track here is another small moment for RZA to take center stage as he closes off the record with this short half verse which almost appears as an offcut from the album which from the words would be an interesting full track. However, these two tracks combined do bring this record to a concise close even if it feels a little lack luster in comparison to My Only One which sits just before these two cuts.

Overall this album is a great listen, track to track there is something for every Wu-Tang fan, the delivery of the original members and to the same extent, the features that come from those who are close to the group are in top form. However, it is noticeable throughout this album that it feels far more like a collection of solo-Wu cuts which have been slammed together and wrapped up as a new Wu-Tang album. Despite the many strong verses that run throughout this record from Ghostface Killah, RZA etc. the group seem to still be following their iconic sound which they have cultivated for years, however now it feels to be getting a little stale. Yet, Wu-Tang: The Saga Continues still is an album worth checking, out as the production of Mathematics is second to none and truly adds to the overall punch that this album packs, this co-insided with the great performances still makes this an essential listen for any Wu-Tang fan or rap fan alike before the year is out. [7/10]

Four Year Strong – Some Of You Will Like This // Some Of You Won’t – REVIEW

Hailing from New England the Punk Rockers Four Year Strong are set to release their new record on the 8th of September. The record which is titled Some Of You Will Like This // Some Of You Won’t is set to be a great release with the band playing some of their old songs in new compositions or unplugged and also dropping a few new cuts at the same time. But without further ado let’s break down this new Four Year Strong release.

It Must Really Suck To Be Four Year Strong Right Now kick starts this new record. It is a song everyone knows and is possibly FYS’ most recognizable song, but on this record and with its reimagination the song finds a new lease of life with a very beautiful and haunting musical composition that adds a new dimension to the track. Alongside this, the re-work just shows what is in-store for the rest of this record, from the beautiful vocal performances to the well-orchestrated instrumentation it is clear that FYS on this record, are setting out to please with this unplugged rarities album. All together this opening track is a beautiful redesign which opens up the album in a clear and strong way.

following on from this album opener is a duo of tracks which is fronted by Heroes Get Remembered, Legends Never Die. The simple acoustic rendition of this song allows for the vocal performances to come to the foreground and display the ability that Alan Day and Dan O’Connor have. Although the instrumentation is far simpler than the songs original makeup there doesn’t seem to be any loss of quality in between the two very different versions of this song, with each word being just as powerful as they once had been and the new instrumentation allowing for some further internal meaning.

The second half of this duo is Go Down In History; A song which shows FYS taking a different approach to this notion of re-imagining a track, as in this the band find themselves adding in these brief moments of electronic instrumentation. Alongside this, the band switch out from the acoustic to add in this fuller and well toned electric which exists for the most part of the track. Again, as with the first two tracks and any other cuts off of this record the vocal performances are the main thing to keep an eye out for on this song, as with Four Year Strong taking a far more relaxed approach to the vocals they are able to showcase some beautifully crafted vocal melodies whilst also being able to fall back into the rougher vocal performances that they are known for

Following on from this duo is the a trio of tracks which starts with We All Float Down Here. A track which exists as far more than just a simple reimagining of the track that first came on their S/T (Self-Titled) from 2015, as the rendition of the track on this record feels like it is almost a step up from the bands original composition, especially when the band take a step away from the breakdown to focus more on to a country influenced solo.

The second part of this trio is Nice To Know which is not only the first full band song but is also the first new track on the record. The track moves along at a very steady pace with well-orchestrated instrumentation and well-toned guitars which are almost the center piece of the track. At the same time, the band start to mix in some electronic drums and instrumentation. This track is a great addition to the record as the overall composition of the song flows well with the album and what has come before it, but also shows the bands ability to create a cohesive track in and amongst some of their best cuts. The final part of this cut is Who Cares? which is a great unplugged rendition of a song of their 2015 s/t record whose tempo is slightly slower than thre original but also allows for more clarity vocally than what many may be used to from the full band version that sat upon the bands last album.

Let Me Down is another new track that is situated upon Some Of You May Like This…. Musically this track is interesting as it yet again explores more dynamics that the band has shown that they are able to do before. Specifically in this, however, FYS are almost exploring some Alt-Rock ideas whilst sticking to their iconic sound vocally. Overall this song is possibly the best of the new songs that exist on this record as even though the instrumentation feels simple at times none of it is wasted. Everything has a specific purpose.

Following on from the second original track is Stuck In The Middle and so happens to be one of the closest fully unplugged songs that exists on the record. However, even then the change to acoustic forces the band to alter things up, still showing some form of country exploration, which although at first feels odd completely compliments the track and showcases the bands musical ability as the song powers through to the end. Accompanying this is Abandon Ship, which is not only a stripped back version of the title of the song, but also of the song itself. Boiling it down to this very simple and beautifully constructed acoustic track which in a way almost takes on a ballad feeling. Having said that this is unfortunately the weakest track on the record. Even though this by no means is a bad track, as the band explore even more of these country ideas with this waning guitar that occassionaly features in the track as FYS’ vocalists croon on top.

Your Ego Is Writing Checks Your Body Can’t Cash is a song which has existed since the bands EP titled Demo 2006 and despite some slightly higher production the track hasn’t changed all that much. Having said that the instrumentation on this song is beautifully orchestrated which again allows for these chilling vocal melodies to take a hold of the song.  This Summer Session is a similar track which finds its beginnings in the early part of FYS’ discography.

For Our Father’s rounds off what is a spectacular journey through Four Year Strong reimagining tracks and displaying new songs such as this one. For Our Father’s is a powerful and beautifully crafted closer to this record. This song is a haunting cut which sends chills down the spine from the vocal performances which stick in the mind long after this record finishes.

Overall, Some Of You Will Like This // Some Of You Won’t from Four Year Strong has little to no flaws, with them looking back at some of their best songs and them producing three new cuts which are second to none. Four Year Strong do not once drop the ball on this record displaying their ability to create songs out of their normal area of expertise but doing so with finesse. This record is definetly one to check out if you still are or have ever been a fan of the band as there is little to not be loved, from the beautiful vocal performances to the tight and well written instrumentation this album is a joy. [8.5/10]

INTERVIEW – Witterquick

Following on from our review of Witterquick’s New EP Fire and Ice  we got chance to ask the bands bassist Ollie Chanter some questions about this release among other things, here is what he had to say about what we asked him.

What was the overall process for writing this release?
There wasn’t a formal start for most of them, they all came about in different ways. ‘I Need a Friend Tonight’ was written about 6 months before our first EP came out… ‘Shattered Suns’ was a demo that was floating around for a year or so which we never quite got right. One time in rehearsals the “Make me feel alive…” chorus part came out of nowhere and glues it all together. …Hiding Place’ came from our experiences leading up to the first release in 2016, it was a song we needed to get out, mostly to carry out that cathartic energy so we could move on as a new band…

When it does come to writing new songs how do you start?
Most songs start with Will, he’ll have recorded a phone memo of a melody or chorus line, then he’ll demo that up for safe keeping, and often forgotten until much later. He and I will go through ideas and develop demos into full songs if they aren’t already…

What are your personal favourite songs off of Fire and Ice?
Everyone has a different favourite, and that extends to our first EP too. ‘Friend’ has a special place for everyone though, particularly live, it’s probably my personal favourite of anything we’ve done, it’s such an intense song. ‘Shattered Suns’ is one that we’re particularly excited for people to hear too.

Lyrically and Instrumentally this EP was great. One of my personal favourites was Lie To Me. Which came first for that track?
As with most of our songs the music comes first. The music sets the scene and creates the vibe which we then use when it comes to the lyric process.

Although the EP isn’t out yet, what are your plans for future releases?
 We’ve got a few surprises up our sleeves for the near future, we can’t go into that just yet. We have no intention of pumping the breaks.

When it comes to playing shows which song is the most fun?
One of the tracks from the new record ‘Shattered Suns’ is a real fun one to play, as is ‘Fade Out’ from our first EP. One that never fails to amaze though is ‘Wayward Signs’, it’s become that track that everyone sings along to. Nothing quite beats a room full of people singing back and connecting with you in that way…

What do you like about playing live?
Aside from the fun we have on stage (we’re quite an active live band), it’s the interaction with the fans. Touring, for us, is all about getting to see our fans. Talking to people who truly connect with your music is an incredible feeling, and very humbling, particularly meeting fans that have come as far as Germany, France, Poland, and recently we even had a guy travel from Kazakhstan! Hearing from fans that one of our songs helped them get through a tough time, or literally saved their life, is beyond words. Knowing that we’ve been there to help people, even if not physically, that’s more than we could have ever hoped for…that’s job done as far as we’re concerned.

When can people catch you playing live for the remainder of this year?  
We’ve got a few announcements coming up which will cover 2017, and 2018 is going to be a busy one for us too.

If you could have your dream gig lineup who would be on it?
Dream lineup? Biffy Clyro, MUSE, and Guns and Roses.

If you could’ve written any song in history what song would it be?
 The list is long and varied. Halo by Ryan Tedder / Beyonce, Kickstart my Heart by Motley Crue.
This release is a great listen so be sure to check out our review of the record but also make sure you grab yourself a copy when it releases.

White Noise Radio – Cosmos – REVIEW

Following their debut EP Bristol based White Noise Radio have been making quite a name for themselves. Now with their new EP, Cosmos, which dropped on the 1st of July promises to be a EP full of ‘rollercoaster riffs and huge choruses’. Now without further ado let’s break down White Noise Radio’s Cosmos.

The opening track on this EP is Siren. A track which perfectly encapsulates the powerful instrumentation and well organized vocals that White Noise Radio (WNR) are capable of producing. The well-orchestrated instrumentation found on this track allows the band to display their heavier composition, accompanying this are these understated, soft yet rough vocals which are coupled by harmonies which compliment the main vocal line well. Despite Siren being a really strong EP opener, which not only sets up what may lay on the rest of this EP but also displays the musical ability of WNR, the excessively long run time drags the song down weakening the musical performances that lie on the track.

Following directly on from this is Gone Inside which is possibly the weakest cut off of this EP. Despite the band yet again showcasing their ability to write a cohesive track with well-orchestrated instrumentation. WNR fail to bring anything new to the table and Alt-Rock band has done before, and in some cases better. The overall makeup of this track is strong and during the second half of the song the band seemingly get the ball rolling again, but in comparison to the opener and what comes after this track Gone Inside feels lack luster. The strongest cut on Cosmos follows in the form of Dawning a track which presents this overall softer sound. This change in dynamic is welcomed and the accompanying vocals match the far more delicate instrumentation allowing Dawning elevate to a new height. Alongside this, the subtle additions of electronic instrumentation only add to the songs overall feel and helps the song move along to the end of its run time.

Closing WNR’s EP is Wires. A song which encompasses the band’s ability in both the heavier and softer instrumentation. However, similarly to the EP’s opener the track does eventually drag on which again drops the strength of this track quite dramatically. Despite these moments of beautiful and well-orchestrated instrumentation, the songs length makes these sections feel repetitive which is a shame considering the strengths of these musical moments. During Wires the vocal textures which are explored are the saving grace for the track as they add this depth and emotion to the track.

Overal White Noise Radio on this record are showing their musical ability and showcasing their ability in creating a cohesive set of tracks which are loaded with highlights both instrumentally and vocally. However, due to the excessiveness of some of the tracks on this EP the band seem to almost lose steam in places which really harshens the experience of this EP, but this EP is definitely worth checking out if you are an Alt-Rock fan. [5.5/10]

Fangclub – Self-Titled – REVIEW

Following a year in to which Fangclub released two well received EP’s the band are now back this year with their debut full-length record. The Dublin based trio, have continued to make a name for themselves and are here to impress again with this Self-Titled full-length, which released on the 4th of August. Fangclub are yet again promising to provide more of what made their earlier EP’s so great and gave them such critical acclaim. Without further ado let’s break down this Fangclub self-titled debut

Bullett Head opens up this Fangclub album, similarly to how it had done on the band’s debut EP. This track showcases Fangclub’s innate ability to create what is a fun and entertaining track, which is littered with musical highlights. The powerful instrumentation that exists on this track set a great precedent for what else may lay on this album. Alongside this the strength of this song hasn’t dropped since its original arrival on the band’s first EP and continues to show the band in a positive way, opening up this album well and with alot of hope for what else is to come.

Following on from this powerful and strong opening track, a duo of songs take center stage. Starting off with Role Models the band are proving us with more of this heavy instrumentation. Whilst, showcasing the band taking a backseat musically to allow for these well toned and orchestrated vocals to flow over the top of ths track, helping this song push along. The vocal performance throughout Role Models is suberp with subtle harmonies dotted throughout which not only amplify the vocals but also the lyrical meaning of the song. The second half of this duo is Lightining, an upbeat cut off of this record. An infectious track that wouldn’t feel out of place at all if it was sat in a classic teen movie like American PieThis track shows the band popping out an overall fun track which yet again impresses both vocally and instrumentally.

Dreamcatcher, another track from the bad’s first two EP’s follows, This track, similarly to how it had,  the riff heavy instrumentation the band have now displayed through the entirety of their first EP’s. From the tight instrumentation and strong vocals the band continues to show their musical prowess and display their ability in creating cohesive tracks, however having already had one track from their earlier EP’s on this record it would have been nice to see them change it up and not feature another track from their earlier releases all beit a nice addition.

A trio of tracks is what is next in store for this self-titled record. The first of which is Bad Words its a great track which uses the great vocal harmonies to fill out the verses and slightly more minimal chorus. The band yet again on this song show how well they are constructing their songs lyrically. Bad Words is rounded off well with an instantly catchy hook which is only amplified by the catchy riffs that run throughout the track.

The second track in this trio is Best Fake Friends which, unfortunately, is the weakest cut off of this record. Which is a shame, because, despite it being a strong track it feels quite lack luster in comparison to everything else that lays on this album. Instrumentally Best Fake Friends is bland and the vocals don’t match up to the song which comes before it. The final part of this trio Common Ground doesn’t pick up the ball really from the previous track as it again doesn’t impress as much as what has laid before it. However, the track, is still powerful instrumentally and has this air of early Green Day to it whilst mixing in the distinct Fangclub sound, which is a nice addition to the track.

Loner is possibly the strongest city off of this S/T record with this really simple yet effective vocal line which is accompanied by this almost mirroring guitar lick. The track opts for a slower tempo which helps drive the track home. Alongside this, the song similarly to a few others on this album thus far feel almost ripped out of a teen or coming of age movie which with that mental image truly adds depth to this song. Fangclub on this track showcase their ability to work with different music dynamics which shows their potential for the future.

Better To Forget starts to bring this album to a close with its overly strong instrumentation. Alongside this Better To Forget has possibly the strongest vocal performance on the entire record, even though tracks before it have been presenting strong and well orchestrated vocal melodies. However, on this track, in particular, there is almost this anthemic quality to it, like all of the memorable songs from the 2000’s had. Fangclub yet again on this album are impressing on all fronts

Closing off this debut album is Animal Skin a song which yet again swaps out the heavier instrumentation for this softer approach, at least for the beginning of the track. Similarly to both of their EP’s the band are able to go out on a high note with this well-choreographed instrumentation.  Although this song isn’t as impressive as other ending tracks the band has produced, the nice use of different dynamics and clever instrumentation makes this just as strong as a closer as the rest.

Overall, this debut album from Fangclub is a great listen. Being jam packed full of great vocal and instrumental performances there are little to no bad points on this record. Having said that, the band do still have room to grow and this debut album is a great starting point for them to do that. This album is a great listen with many highlights, so if you need an album to check out this summer or before School and Universities open their doors again make it this one. [8.5/10]


Slaughter Beach, Dog Announce New Album

Last year, Jake Ewald from Modern Baseball released a debut album for his new project Slaughter Beach, DogWelcome was a great album which showcased Jake’s song writing style and effortless vocals which weaved together a loose narrative about a group of motley crew characters. This year Slaughter Beach, Dog are back with their new record Birdie, an album which promises to be just as well crafted as their EP’s and this debut record, whilst also showcasing some growth on the part of the Jake Ewald. This album is available for pre-order through Lame-O records site HERE for US orders and from Big Scary Monsters HERE for the UK. Check out Slaughter Beach, Dog’s new single Gold and Green below.

Owen Announced To Support American Football

American Football are set to head out on a string of UK dates soon. Today the band have announced that their very own Mike Kinsella will be performing solo as OwenOwen is the project that Kinsella took on post American Football’s hiatus. However, Owen will not only be performing at these UK dates, as the solo act is set to perform alongside the main band during their Dublin date at the Button Factory. This string of dates is definitely not one to miss out on. For tickets click HERE, and check out a song from Owen’s last album The King of Whys below.

Witterquick – Fire and Ice – REVIEW

After an abundance of critical acclaim following their Top 10 Alt-Rock debut EP Witterquick are ready to make a big splash with their newest EP Fire and Ice, which from the first single proved to be this big and well orchestrated piece that has a lot of promise before its eventual releasae this coming October. Without furter ado let’s breakdown Witterquick’s Fire and Ice.

Opening this EP by Witterquick is Shattered Suns, a track which starts with this simple moment of electronic instrumentation. This simplistic moment continues until the band kick in with this fuller sound, stacked with well-composed instrumentation. As Witterquick move through with Shattered Suns the vocals quickly follow and showcase just how perfectly the vocals accompany the instrumentation that is present throughout the track.  As Shattered Suns progresses the chorus comes in to view which kick starts this almost anthemic musicianship which continues on until the tracks end run time. Shattered Suns is an extremely strong opening track which not only sets a precedent for the remainder of this EP but also showcases the musical prowess and powerful vocal ability that is going to be present on this EP.

Following up on this EP is Lie To Me, another track which impresses both instrumentally and vocally. Witterquick on this second track are showcasing their ability to create a cohesive and well thought out song which not only explores different musical dynamics but also shows the bands capabilities in maintaining a high level of execution from track to track. Lie To Me also shows the band performing a far slower tempo than the track before and it truly adds to the overall composition and anthemic feeling which yet again is existing during this track, which allows for this song to be the strongest cut off of this record.

Moving swiftly on from Lie To Me is Hiding Place. Which again shows the strong orchestration that has been present time and again throughout this record, but also showcases the band implementing, even more, moments of electronic instrumentation which beautifully compliment and amplify the song. During this track, the vocals of Witterquick’s Will truly take center stage and become the main focal point for the remainder of the track. As during this song not only are there these soaring harmonies which layer the background of the song but there is also this great vocal tone and control being displayed throughout the track.

Closing off this EP by Witterquick is I Need A Friend which despite many highlights falls short of being the strongest cut off of this record. Overall the execution on this final track is outstanding and it truly brings the EP to a strong and well-rounded close. This particular cut off of Fire and Ice feels like it almost ripped from a film soundtrack with the big harmonies that texturize the song, as well as the anthemic feel which truly brings this EP to a satisfying end.

Overall this EP from Witterquick is a strong and well-orchestrated release, filled with highlights in both instrumentation and vocals there are many things to fall in love with on this EP. The anthemic feel that exists throughout most of this EP truly place Witterquick well among other alt-rock bands who are producing similar material. Although this EP is short lived it is a great release filled with well orchestrated instrumentation and vocals [8/10]