Australia’s With Confidence have announced more dates for their return to the UK in May. Since finshing their February/March European tour on Saturday, the band have announced that they will be playing dates around the UK when they return in May for Slam Dunk Festival.
Joining them will be US band Set It Off, who have also been confirmed for the Bank Holiday trio of day festivals.
See the dates below:
With Confidence UK Tour dates:
23-May-17 Bristol Marble Factory (w/ Set It Off) – TICKETS
24-May-17 Manchester Sound Control (w/ Set IT Off) – TICKETS
25-May-17 Glasgow G2 (w/ Set It Off) – TICKETS
27-May-17 Slam Dunk Midlands – TICKETS
28-May-17 Slam Dunk North – TICKETS
29-May-17 Slam Dunk South – SOLD OUT
31-May-17 London O2 Academy Islington (w/ Set It Off) – TICKETS
Northlane have released a new single, titled Citizen. The track follows January’s single Intuition and comes after being teased using a Facebook chatbot calling itself “Citizen”. The bot released photos and some of the concept of the song before the track itself came to light last night.
Guitarist Josh Smith said: “Citizen is a song that was written about the first world police state and our willingness to live under the watch of those in power, for their means, while those who blow the lid on it suffer. Writing this one was quite a mission – it took a lot of work but we are proud of it and beyond excited to share it with you all.”
Northlane will also be on tour in Europe as of June:
Friday 9th June – Download Festival, UK
Sunday 11th June – Download Festival, France
Monday 12th June – La Chabada, France
Friday 16th June – Graspop, Belgium
Sunday 18th June – Hellfest, France
Monday 19th June – Pont Rouge, Switzerland
Tuesday 20th June – Colos Saal, Germany
Wednesday 21st June – Tower, Germany
Friday 23rd June – Jera On Air, Netherlands
Saturday 24th June – With Full Force, Germany
Sunday 25th June – Randal Club, Slovakia
Monday 26th June – Zaklete Rewiry, Poland
Tuesday 27th June – U Bazyla, Poland
Thursday 29th June – Garage, Germany
Friday 30th June – Kellerklub, Germany
Saturday 1st July – Vainstream Rockfest, Germany
Sunday 2nd July – Dissonance Festival, Italy
Monday 3rd July – Conrad Sohm, Austria
Tuesday 4th July – Airport Germany
Wednesday 5th July – Rock For People, Czech Republic
Friday 7th July – Resurrection, Spain
Opening track Gunn opens with some promise with a chunky riff and solid vocals over the top, but the vocals start to be the characteristic letdown when the song gets going. The voice seems to be too clean for the bluesy hard rock vibes underpinning it. The song is growing more and more repetitive then BOOM! Out of nowhere, a Hammett-esque solo just starts raging with copious amounts of wah use and it steps the otherwise fairly average hard rock up a level. The title track is slightly different however, which seems to hold some hardcore influences as the verse switches between two chords with heavily played drums and bass. This suits Something Mechanical better but again, the vocals seem incredibly out of sorts with the rest of the band.
Third track Needful Things is the highlight of the EP without a doubt though. The song shows restraint on the part of all of the members of the band with the lower tempo and building styling turning from a quiet piece to a colossal, pulsating beast that leaves the headphones of the listener suddenly. Next comes In Shadows,
Final track Pretty Misery is a good yet incredibly generic hard rock song. Opening with piano and vocals before the rest of the band kick in is a nice touch that brings some ambition to the EP and backing vocals are used throughout to soften the dominance of the lead vocal which is another good decision. The instruments are all well-played, and the recurring guitar riff suits the song well despite the guitar tone being poor.
Overall, Less Than Human is a supremely average EP. The The vocals across the board leave something to be desired and seem quite half-hearted at times, not to mention fairly poorly mixed. The lyrics are stereotypical and seem to be an attempt at a new Three Days Grace album, which sadly hasn’t worked out. Something Mechanical show good promise still on this EP, but they need to find their own identity and focus more on songwriting before they progress any further.
Can’t Swim have returned following their debut EP last year to release their first full-length Fail You Again. The album is the first release to feature new drummer Andrea Morgan taking Danny Rico’s place as he shifts to guitar. It takes a stylistic stance between indie, emo, pop punk and grunge with tendencies of all four throughout. With some tracks holding pace and power and others slow and steady, the album demonstrates just how good Can’t Swim really are.
Fail You Again opens with an aggressive, fast-paced piece called What’s Your Big Idea. The song is one of the heaviest on the album as it pulsates through the verses and breaks into massive choruses asking “what you running from?”. The outro is one of the hardest-hitting pieces on the album, verging on hardcore levels of sludginess. A good start to the album.
Directly contrasting this is second track We Won’t Sleep, where the album has its first moments of true brilliance. The song opens on a softer, more indie-centred sound that the band execute well. The chorus choir vocal works fantastically, yet Chris LoPorto’s distinctive voice keeps the song sounding like the same band the Can’t Swim the fanbase are used to. The song’s style is different, but they have their own songwriting techniques and personal styles that keep it very recognisable.
The top song is $50,000,000, which has serious grunge flair. The pace is slow allowing a hard, packed out sound to hit that causes this song to be one of the heaviest on the album. The after the quieter bridge there is a pause for Chris to have a quick shout before a giant guitar-led fill comes in, absolutely battering the listener with the rough tones of the instruments.
Closing track All The Moves We Make Are In The Dark sums up the different styles Can’t Swim incorporate on Fail You Again with the alt-rock verses, grunge/emo choruses and a breakdown of a more melodic hardcore sound that they execute immaculately. A fitting end to a fantastic album that’s as diverse as it is classy.
Overall, an album that demonstrates a fantastic development from Can’t Swim‘s first release in last year’s Death Deserves A Name EP. With the whole album falling into the same pioneering area between emo and pop punk as Moose Blood and Boston Manor, Fail You Again is a potentially genre-defining release that sets Can’t Swim apart from the rest. The album will set the band up fully for the US tour with Four Year Strong this month and the April Real Friends UK tour, but most of all the whole album is a lie – they haven’t failed us before and they most certainly don’t fail us now!
South Yorkshire alt-pop outfit Alvarez Kings have given some details of their upcoming debut album.
The collection will be titled Somewhere Between and will be released on 14th April via Sire/Warner Bros.
Guitarist Sean Parkin said “In terms of influences, there’s all kinds of stuff in there. We’re all rock
guys, but we also love dance music. There are orchestral elements and this big synth sound we’re obsessed with. It’s everything that we are.”
Back in November, the band released the track Cold Conscience which has now been placed on the album’s tracklist. Hear that below:
Alvarez Kings also have some live appearances coming up:
3rd March – Sheffield, UK @ Outlines Festival
21st April – Munich, Germany @ Orangehouse
22nd April – Hamburg, Germany @ Molotow
23rd April – Berlin, Germany @ Comet Club
25th April – Koln, Germany @ Artheater
28th April – Wein, Austria @ Chelsea
9/10/11th June – Garryhinch Woods @ Bare In The Woods
22nd July – Sheffield, UK @ Tramlines Festival Devonshire Green Stage
Berlin-based British pop duo RIVRS have released a new track titled Bad Karma.
One half of the pair Charlotte says “Bad Karma is about being able to walk away from someone who has hurt you. I stayed up the entire night feeling so betrayed and so hurt by someone so I decided to write a song about it. Ultimately, it’s about accepting where you stand with that person and not letting them get to you.”
Papa Roach have returned with a brand new song titled HELP. The track is taken from their upcoming as-yet-untitled ninth studio album, which is expected to get a May release.
Help was produced by Nicholas “Ras” Furlong and Colin Brittian, who grew up listening to Papa Roach and inspired the band to revisit some of their early influences. “We really followed our instincts and tried something unproven” explains Furlong. “We ended up morphing the band’s best ‘old school’ traits into a courageous and more adventurous version of Papa Roach in the 21 st Century.”
Colliding By Design opens with Diagram of a Simple Man, a track which brings an indie feel to the album from the off. A 4-note vocal melody rings out in the first verse which demonstrates classic indie style, and the effects on the guitars in the intro play to the genre fully. The guitars almost verge on an early Coldplay-esque feel as they play sliding leads throughout, but the song sets the tone for the rest of the album to follow. The title track comes next, which is an indie pop sound with copious volumes of tambourine which adds to the depth to an extent but the whole track doesn’t build much and it seems to end having gone nowhere extravagant.
The middle of the album seems to pass by tracks with no standouts until Goodbye, the fifth track on Collide By Design. The song holds a more funky drumbeat throughout and while the vocals here are all layered and well-crafted as elsewhere, the guitar solo is what differentiates this track. Its flare and confident style play over the drums and bass, which also happen to be some of the best parts on the album for both. Through the first two verses, the song builds to a chorus that holds some punch which remains to the end.
Fire and Rain is another track which has good promise, but just as the track starts to build to something exciting it breaks back down again. The dynamic between the louder sections and the quieter ones demonstrates the skill of the band as a whole, but the holding back sums up Colliding By Design well – close to something special yet lacking that fundamental “wow factor” to tip it over the edge.
Overall, an album that would provide good background music for documentaries and films yet as calm as it is this leads to a fairly bland piece in total. While there is some variation throughout, the songs sound largely the same and although this can be seen as a positive in some instances, this album lacks the substance needed for quality to be recreated. Not a bad album for a band who had nine years out of the game, but Colliding By Design is most definitely not Acceptance‘s strongest material.