London based band Lullaby are currently streaming their brand new track, A Lie, ahead of their upcoming show at Camden Assembly where they will support Hunter & The Bear. Although Lullaby haven’t been going long the band have already found their niche in their fast based brand of melodic rock. Vocalist and Guitarist Lewis Knaggs spoke about the track saying ‘The riff of this track was born from playing a completely out of tune guitar, which is why it’s so angular, random and frantic sounding….’. Check out Lullaby’s new track A Lie below.
The Amazons released a new single Little Something on the 21st of November and after featuring as Annie Mac’s ‘Hottest Track In The World’ on the same day as it’s release. Front man Matt Thomson spoke of the track saying ‘ ‘Little Something’ represents the darkest and heaviest place we’ve pushed our music to ‘. Check out The Amazons new track below
Alongside this new track and fresh off their tour supporting Jimmy Eat World, The Amazons have announced a string of shows through out the month of December. Check them out below.
1st – St. Albans, The Horn
8th – Bath, Moles
9th – Bedford, Bedford Esquires
10th – London, Nambucca (This Feeling club night)
15th – Newcastle, Think Tank Underground
16th – Sunderland, Independent
17th – Manchester, When In Manchester Festival
Coming in to what was quite a filled room, Apologies, I Have None unfortunately started off a little rocky. Opening on The 26 the band seemed a little caught off guard by the crowd that lay before them but soon enough started to find their rhythm. Moving through their set at a brisk pace the band found themselves getting more comfortable not only with the crowd but also the stage, as they took advantage of the space in the way they held themselves whilst up there. After flying through tracks such as Sat In Vicky Park, Love and Medication and Wraith Apologies, I Have None truly showed why they have nothing to apologize for, when they dropped Everybody Wants To Talk About Mental Health, which was the main highlight of their set. Not only due to their instrumentation but also the vocal performance. Rounding off their set, which felt very Alt. Rock with this strange blend of Gnarwolves and The Front Bottoms, the band played A Pharmacy in Paris. Overall Apologies, I Have None played in a way which will have gained them many new fans as they sang about different issues with a sound that is very original, not only in terms of their instrumentation but also Josh McKenzie’s flawless vocals, and after quickly finding their feet they are a band who are worth watching time and again. [7.5/10]
After the gap, and with a simple ‘alright’ the band that was to follow needed no other introduction as they quickly dove into Boneyard, ripe with angst and passion; the room quickly lit up as Gnarwolves plowed through Smoking Kills after a brief hello. One thing was clear as Gnarwolves started their set, they wanted to be heard and they wanted to make an impact, which they did. After Everything You Think You Know, the band, and audience alike, took a breather as the band spoke about them being ‘quiet’ since March, but as always Gnarwolves showed no sign of a quiet ‘summer holiday’ as their energy spoke volumes.
The band then moved on to a trio of older tracks, starting with History Is Bunk, the crowd quickly started to respond similarly to how they have been time and again for this trio. With everyone yelling back every word and a few large pits breaking out, everything was slowed for a few moments during the start of Community, Stability, Identity, before everything was picked up again through the tight instrumentation and powerful vocals of both Thom Weeks and Charlie Piper during Coffee. After these few older tracks the band then took some time to show off two new tracks The Come Down Song and Paint Me A Martyr, both of which showed how much Gnarwolves have not only grown as a band but also how they are still pumping out tracks that pack a massive punch.
The Waiting Line, We Want The Whip! and Bottle to Bottle followed but seemingly flew by in the same break neck pace many who have seen the band before know all to well, before the band landed upon what was the highlight of their set, their two closing tracks. Tongue Surfer and Limerence saw not only many crowd surfers but also the pure skill of a band like Gnarwolves and what makes them the band they are today. Overall Gnarwolves blew the entire crowd away with their Skater Punk sound and created quite a tall feet for The Front Bottoms. [9/10]
After a strange set up was revealed to the crowd it was finally time for The Front Bottoms to take to the stage, and as they walked on it was as if no one was expecting them to be there. They quickly jumped in to Skeleton which allowed everyone in the building to know what we were getting, a show to remember. After flying through Tattoed Tears Brian Sella then addressed the crowd as a whole introducing the band before dropping in to Help. Through the instrumentation alone it was clear the The Front Bottoms were on top form and after that recent tour with Brand New it almost felt like there was something new about the band, almost as if a switch had been hit and there was no turning it off.
Another quick rally of tracks followed with West Virginia, which came with those nice rain effects from the video, Lipstick Covered Magnet and Flashlight. It was clear that the band were presenting themselves to be possibly one of the best live acts many of the crowd have seen all year, through their energy and tight musicianship; it was evident that the band were giving it there all and didn’t want to slow things down quite yet and this certainly wasn’t the case. After smashing through The Plan (Fuck Jobs), and it’s juxtaposing addition, Motorcycle and Au Revoir (Adios) the band let everything settle for a few moments.
This brought out one of the many highlights of the evening as the band then started The Beers, a crowd favorite. With the entire room singing along, Brian and Tom were able to step away from their mics as the venue was filled with the lyrics that everybody knows. Continuing on, the band moved swiftly though 2YL, Backflip, Swimming Pool and Joanie, all the while keeping the crowd engaged through what was shaping out to be a flawless set.
Brian then stepped back to the mic and spoke about positivity and how ‘though sometimes it is hard, we have to stay positive’ which was a soft and mellow sentiment that was felt by all. Ending their set was four more crowd pleasers which came in the form of Peach, Jim Bogart, Ginger and Twin Sized Mattress, all of which landed perfectly with everyone who was stood yelling back words, moving to every single beat of these four tracks.
Bassist Tom Warren was the first to come back to stage for the bands encore as he delivered a soft reading from a book, which although caught everyone off guard, was a welcomed addition to the bands explosive and memorable show. Coming back in to fruition with Twelve Feet Deep the night was coming to a perfect close and was only to be topped off by the bands most memorable track, both during the night but also off their self-titled Maps.
After having to follow the energetic and powerful set of Gnarwolves, The Front Bottoms were left with a tough act to follow but with a set of highs and lows which never seemed to miss a beat, it was clear how amazing this set from band was. Brian did what he usually does with his interesting, yet flawless, vocal presentation by making every song feel personal to the night, with lulls in singing to almost spoken word to improvised notes. Overall this was possibly the best The Front Bottoms show to date, and it is hard to think that they may produce a set that lands any less successfully as this from now on. [10/10]
Owen, Mike Kinsella of American Football, today has released a new music video for a track of his last release The King Of Whys, which is Owen’s 9th Studio Album. Settled Down shows Kinsella moving in to normal everyday life with it’s split screen, something only seen every once in a while now with music videos. Kinsella said about the video in a post ‘Instead of hanging out with my kids at home and drinking beers, I went to Minneapolis and hung out with other people’s kids and drank beers and made a music video’. Check out the video for Settled Down below.
GOLDBLOOMS are a London based band who are prolific in NoisePop. On the 18th of this month the band released a music video for their track Hostile Takeover which comes fresh off their new EP under the same name. If you like sci-fi space battles and lizards this is the band for you. Check out GOLDBLOOMS video below.
Scandroid, is the 80’s synth pop side project of electronic artist Celldweller or Klayton. During the past few days Scandroid released a video for their cover of Tears For Fears‘ Shout. Klayton spoke out about the cover saying ‘I was moved the instant I heard Tears For Fears’ ‘Shout’ on U.S. radio in 1985. I’ve always had the intention and desire to cover the song since then…’ Check out the cover and its video below.
After announcing their new album After The Party, which is set for release in February, only a few weeks ago, The Menzingers are back with yet another announcement but this time it is to talk of a tour. The band who were selling out venues in the UK earlier this year are giving us a chance to get down and sing back the songs that are full of grit and melody. The Menzingers also announced that they would be joined by The Flatliners on this upcoming tour. Check out the poster below.
You can buy tickets today HERE.
Ineffable is the sophomore album by French Alt. Rock band Merge. Having recently come of tour with Don Broco the Persians have not only proven themselves through live shows but also through their debut album Elysion. Their debut showed the promise the band had for the future, and through their recent cover of Twenty One Pilots’ track Heathens, which also features on the album, the band continued to show the promise this upcoming album has. Without further a do let’s jump in to this sophomore album.
The Exit kicks off this sophomore album by the French outfit, which feels like it has been taken straight off a film’s soundtrack. Not only is this track an amazing opener but also through the bands tight instrumentation and Max Rodriguez’s soaring vocals, the band yet again show how well they work together. Alongside Rodriguez’s vocals a great highlight of The Exit is the tracks middle section, filled with electronic effects it adds an extra element to the song.
The Password is the first of the two tracks that follow the opener on this album, and with Merge’s simple yet effective musicianship this track yet again packs a punch which lands perfectly. Through the run time of this track there are portions which feel heavier than others, almost reflecting some of the bands they have shared a stage with, but it also adds another dynamic to the track whihc is welcomed. The other of these two tracks is Soaring and with Max Rodriguez’s vocals similar to that opener but also the entirety of the album the track does what it says on the tin. With the sometimes more intricate guitar parts the use of electronic additions tie the track together well.
The title track of the album is easily the strongest track on this release. Ineffable as a track encompasses not only a vast array of instrumental tones but also a great vocal which lays on top of the track with ease. Alongside the vocals and instrumentation the track feels like the catchiest on the release and it is something special indeed, especially when towards the tail end of the track there are these powerful screams, reminiscent of what we heard on That’s The Spirit by Bring Me The Horizon last year.
A powerful set of juxtaposing tracks follow Ineffable. Kicking off with Mirage’s very techno feel, almost like a dance track, there is great sense of the bands ability to jump in to many different styles. The focus on this track falls far more on the electronic side with Mirage with its poppy synths and simple beats the track stands out from the rest. Yet this moment of relaxation is short lived before we are pushed in to Bloodstream which picks the pace up again with it’s pounding drums and urgent vocals it presents a completely different feel to what came before.
The last of these three is Helene which is the weakest track on this album as there is nothing that makes it stand out. There is no highlight of the track which is noticeable as the track not only seems to fly by but also feels to miss the mark when you look at the album as a whole or what has simply come before it. However this is not to say that it is a bad track as the instrumentation on this track by no means is lazy and Rodriguez’s vocals still persist but it just is missing something key.
Twenty One Pilot’s smash hit Heathens comes next and this is a risk. Yet it is a risk that pays off, the slow piano ballad they have produced is a welcome change to the original track. With their own twist on the track it definitely comes as a highlight among the other 10 tracks. This is especially true around the 2:00 mark where the track becomes an entity on its own.
Towards the end of this album we get a final three tracks. Recovery being the first of this of these is a great sign as the track splits itself away from the other singles the band released for this upcoming release but also completely drags us away from the slow ballad that is Heathen’s and drops us in to what is an explosive start to the albums end. Face It Now is yet another moment where the albums feels to lull. Despite Merge taking a somewhat different approach with the track it doesn’t feel to pay off despite the exhilarating end that Face It Now brings which if presented on it’s own would make the track a contender for the strongest track on this release.
Ending this Sophomore album by Merge is In Details III, which almost makes the album go full circle with the feeling, like there had been in The Exit of the track being ripped directly from a movie soundtrack. With the tracks noticeable lack of vocals it is something special to listen to as it lets Merge explore their pure skill of instrumentation in a different way. With it’s almost perfect ending of a simple piano lead the track is worth a hundred spins just to re-listen to the piano let alone what the rest of the track has to offer.
Overall, Merge’s sophomore album is a mix of high and lows and although it isn’t perfect it is an album which will keep you entertained and wanting more from the Parisians long after the album has run it’s course. Ineffable is an amazing building block for the band and if they continue the way they are, Merge will be big very soon.
Edinburgh based Pop-Punk quartet Woes have released their second single, fresh off their upcoming Debut self-titled EP, Winter Sun. Alongside dropping the new track the quartet also released a video for the track. The debut EP is set to be released through Rude Records on the 25th of November and from Winter Sun and lead single Worst Friend, it is set to be a great release. Check out the video for Woes’ Winter Sun below.
Pre-Order Woes Self-Titled Debut EP HERE.