Me And That Man are a project of Behemoth‘s Adam ‘Nergal’ Darski and Brit/Polish musician John Porter, who are set to release their debut album Songs of Love And Death on 24th March via Cooking Vinyl. From the record comes a new song titled Ain’t Much Loving.
The album, whose artwork was executed by BBC Radio 1’s Daniel P Carter, is available for preorder here.
The project will also play their first UK show at London’s Jazz Cafe on Sunday 26th March. Tickets are on sale now here.
Opening track Into The Heart opens with a big sound of sliding bass and hard drumbeat combined with high lead lines, which continue through the verse into the chorus. The dual-vocal of octaves work well, and the added delay between them fill a fair amount of the space in the sound. Second track Saccharine begins with a drumbeat that keeps regular time and provides a good introduction to the song following. The rest of the intro is dominated by a high and often vibrato lead that establishes the key and feel of the song. The chorus here isn’t as big as elsewhere in the release but Ten Tombs manage to keep the funky beat going throughout which perhaps suits them better than the all-guns-blazing sense of the other tracks.
The opening of third track Death in Cali is smooth with a bare guitar intro leading into an overdriven second part and a bass-dominated verse. This comes before a very You Me At Six-esque chorus breaks out, which has the classic harmonised vocals at the end of the prechorus leading into the big sound in the body and dropping back out to the verse afterwards. The main inspiring moment of the 4 tracks is in this though, with a delay-riddled lead over the heaviest part of the EP. The song fades out into fourth track Hole In The Water which starts on a very Moose Blood-esque intro piece. This then ends for a fuzzy bass and vocal verse which progresses into a chorus with lots of “ooo” backing vocals that blend in well for a rounded vocal sound.
Overall, an improvement for Ten Tombs from their last EP but there is still a lot to work on. One issue is the fact all of the songs sound very similar which, while not a bad thing, is likely to see them grow more slowly than having some different flavours scattered throughout. A solid effort though.
2far2jump consists of vocalist Alistair Hynes, guitarist Rupert Barker, drummer Aaron Mann and currently session bassist Matt Munday. They have an exciting stage show, a debut EP due out in May and are excited for their plans for 2017. Having already gained notable attention with only three and soon to be four singles out prior to their EP release, there’s a lot to look forward to for the Surrey pop punkers and their fans.
How and when did 2far2jump form?
Our guitarist, Rupert, had the plan to put the band together way back in 2013. Then in early 2015, whilst playing with friend and drummer, Aaron they advertised for a singer and in April 2015 Alistair joined. Since then we’ve been setting and achieving goal after goal. At the moment they’re pretty small goals but it still feels rewarding to even get where we are now.
Tell us anything interesting about your hometown.
It’s ridiculously upper class for a pop punk band although there is a really big alternative scene. You’d walk down the road and instead of beer bottles on the pavement like you’d get in Leeds there’s Champgne bottles! But there are loads of alternative kids into good music and good vibes and that’s probably why our Guildford show has been biggest to date.
When and how did the band really start gelling and solidifying?
Around about the time that Alistair joined in April 2015. We also became friends outside of the band and things started to click.
Who are your musical influences?
(Alistair) We love bands like Neck Deep, Green Day, Blink-182, All Time Low, Against The Current, As It Is, You Me At Six, Moose Blood, The 1975, Trophy Eyes, Real Friends, With Confidence and The Hunna. I am influenced by a lot of ‘90s Emo bands as well as Pop and artists like Drake, One Direction and the Vamps. Rupert loves guitar bands from a variety of genres. Aaron likes Linkin Park. And we all love music that is emotive, melodic, and means something when you listen to it.
What’s been your wildest moment as a band?
(Alistair) I was writing a song in a text draft that was in reply to some person I probably wasn’t going to reply to anyway, I wasn’t thinking and sent it by default when I finished. I’m surprised I didn’t get a restraining order.
(Rupert) My favorite moment was a show we played in Chelmsford a while back. It was one of the first times that the audience got really involved with the music and they wanted more when we finished. Alistair crowd-surfed an inflatable shark… Another really good moment was when we played Guildford recently. The place was packed even though we were on first. It’s nice to be appreciated.
Where did the name “2far2jump” come from?
It sounded like something cool kids say and we’re desperate to be relevant cool kids… Actually, Rupert came up with it. The name represents that feeling you have when you think that your goals are out-of- reach.
Where have you played or toured?
London, Croydon, South Coast, Surrey, Hampshire, Essex, Leicestershire. We’ve played shows with Cavalier, Reckless Intentions, A Few Too Many, True Heights, Varsity and Such Strange Arts.
In your opinion, how is your band different from all the other bands out there?
(Rupert) The thing that makes any band different is often not just one thing but a combination of things that together make it unique. In our case we have quite a bit of variety with the type of songs, all of which have melodic tunes, thought-provoking lyrics usually combined with up-beat rhythms. Also we started writing original songs from the beginning.
(Alistair) We didn’t start out doing covers, we started writing our own stuff. Also we put the first song we wrote on our debut EP – I don’t think many other bands have done or would do that. Whether it’s a wise thing for them to not do that, it probably is. It’s my least favorite song personally but it’s still fun to perform.
If a deaf person were to ask you to describe the sound of your music, how would you describe it?
(Alistair) It’s designed to evoke emotion: our songs talk about realness and real things. Some of our songs are a mix of melancholy and uplifting, some of them are fun and jumpy, at least that’s what I intend to put across and create when I write the lyrics.
(Rupert) In terms of movement, we have both calm and collected as well as hard hitting and energetic.
Do you have a tour on the horizon?
We can’t announce anything at the moment but we’ll be announcing a string of mini tours when the EP’s out and we may be appearing at some festivals this summer.
Opening track Had Enough establishes Lower Than Atlantis‘ dominance over their even-more-polished sound with the giant chorus with riffs absolutely destined to be hitting the walls of arenas across the country. The outro holds building vocals to blast out the end with power. Then comes second single Dumb which again has the arena rock sound. Mike Duce’s vocals are layered thickly throughout and the bass creates a real groove from start to finish for the track.
The first unexpected track on the album is Boomerang, which opens with a giant harmony on top of a synthesiser sound to create a very hooky feel. The pad drum beat through the song lets the pop style continue, while a descending heavily-edited vocal sample is played regularly on a keyboard to fill space in the choruses. This is then directly contrasted by the thumping instrumental riff at the beginning of first single Work For It. The following few minutes are filled with pop hooks in the vocals and punching drums that underpin the fuzzy riffs on the guitars and bass.
The standout track has to be the slow song I Don’t Want To Be Here Anymore which talks about depression to the point of being suicidal. The track contains frontman Mike Duce apologising to his mum for feeling how he feels, with the lines “And if all you need to know is that I’m fine / Maybe I’ll lie to save some time” showing the true nature of how supressed depression so often is. “This feeling won’t leave me” rings out at the start of the chorus and what ensues is absolutely heartbreaking truth that will seem far too relatable for far too many people. The track builds with guitars, bass, drums and a colossal string part to a final chorus that is set to have lighters flaring and tears flowing at tour dates in future.
A notable mention has to go to I Would , with its quickly-moving beat and lyrics to show absolute dedication to someone. The intro riffs playing power chords in 16ths gives good backing to the opening vocal verse, and the solo going into the second verse just oozes style. The chorus saying Duce would “swallow broken glass” and “kill a man” to get close to someone may sound a bit nuts, but in a strange way it sounds extremely endearing within the song.
Overall, some fantastic songs that make the album solid effort despite some filler material. The more polished sound suits the band well, though they seem to be halfway to the desired sound from the immaculate self-titled in 2014 and hopefully they will hit that sound on the next album. Credit where it’s due though – the album looks set to become Lower Than Atlantis‘ first top 10 album in their ten years of existing so congratulations to them!
Opening up the night some three hours ahead of the headliners A Day To Remember‘s stage entrance, Canterbury’s finest Moose Blood took to performing for the Wembley Arena crowd. They are a band that have a talent for looking nervous in even the smallest shows, yet have the same reaction when faced with around six thousand in one of the UK’s largest venues. Playing through a short setlist featuring material from both albums, a large portion of the crowd were singing along, and even those that weren’t were moving to the incredibly catchy tracks they played out. After finishing up with Knuckles, frontman Eddy Brewerton thanked the crowd for what must have been the twentieth time and they left the stage to a satisfied and readied crowd. [8/10]
Next up came returning band Neck Deep, who played the North London arena back in March 2015 in support of All Time Low. The contrast from their set back then to now is dramatic: in 2015 they played a setlist that was a mixture of EP material and new songs from debut album Wishful Thinking with more energy than musical ability on display. With A Day To Remember however, it was a different story. They played through a setlist dominated by second album Life’s Not Out To Get You with great ease with spinning, kicking and jumping coming as freebie extras as always. The highlight had to be the closing track Can’t Kick Up The Roots that brought the crowd into the most action up to that point of the night. [8/10]
New Found Glory are well-known for being the forefathers of pop punk, and their stage-filling banner helped establish that as it read “20 YEARS OF POP PUNK 1997-2017”. They came out and burst straight into All Downhill From Here which proved ironically correct as their tired-seeming antics broke free. The crowd were fairly static and despite a few singalongs it was apparent very few people actually knew the songs; the hybrid of teens and parents that filled a lot of the room did not lend itself to the early 2000s tunes of the band. Nonetheless, they ploughed on and even debuted a new track titled Happy Being Miserable which will be released 17th February. This track saw the most energy of the set from both band and fans, which is a surprise considering My Friends Over You closed the show.
The whole set was clearly an emotional rollercoaster for the veteran band as they entered their twentieth year on this side of the pond, yet they seem to be waning in their power. The real test for them will be their tour at the back end of 2017 as they play two albums in full every night as they drive round the UK, hopefully with a more dedicated audience. [6/10]
After mass singalongs to some of the biggest rock tracks of the last 20 years (Limp Bizkit‘s Break Stuff and Slipknot‘s Duality to name just two), headliners A Day To Remember came out on the giant stage as they burst straight into Mr Highway’s Thinking About The End which holds the infamous “disrespect your surroundings” breakdown. Needless to say, this jump-started the set in a way it meant to continue. Hitting Paranoia and 2nd Sucks in quick succession carried on the pure power that have made this band what they are for so long. It was obvious Jeremy was on form, and that A Day To Remember are happier than ever playing their songs to thousands of people. The life in them looked renewed from the last time they were in the UK, and they didn’t do anything but exploit that fact.
“Crowdsurfer surfing” competition and t-shirt canon caused even more raucus fun to play out in the tail end of the set, and the main body of the set came to an explosive close with All I Want and the gritty favourite Plot To Bomb The Panhandle. The sheer volume of the crowd interaction caused an electric atmosphere, and the chants for them to come back on the stage were non-existent but instead replaced by applause for just how good A Day To Remember are.
At the return, guitarist Kevin Skaff and frontman Jeremy McKinnon came back out onstage for If It Means A Lot To You which had a number of people in tears which were quickly cleared up when All Signs Point To Lauderdale started ringing out. Finishing up with Downfall of Us All, there was just a sense of belonging. Whoever you are, whatever you’re going through outside – an A Day To Remember show is for you. They make this perfectly clear, and it is an experience that nobody could forget.
Photos by Lauren Stead in First Direct Arena, Leeds (28/1/17)
South Coast metalcore outfit Our Hollow, Our Home are streaming their new single Karmadillo ahead of its official release tomorrow (3rd February). The track is taken from their upcoming debut full-length Hartsick, which is set for a 3rd March release. Read our review of the album here.
See the video below:
Our Hollow, Our Home are on tour later in the year too, check out the dates:
Fri 24th March – LONDON – 229 The Venue
Sat 25th March – LEEDS – The Key Club
Sun 26th March – SHEFFIELD – The Mulberry Tavern
Mon 27th March – NEWCASTLE – Jumpin’ Jacks
Tue 28th March – EDINBURGH – La Belle Angele
Wed 29th March – GLASGOW – Ivory Blacks
Thu 30th March – HUDDERSFIELD – The Parish
Fri 31st March – NORTHAMPTON – Roadmenders **updated venue**
Sat 1st April – BRIDGEND – Hobos
Sun 2nd April – PLYMOUTH – Underground
Fri 7th April – SOUTHAMPTON – Joiners
UK rock trio Retro Youth are streaming their new album B.R.A.V.E ahead of its release tomorrow (Friday 3rd).
Retro Youth, who are based in the North West of England, take elements of rock, pop and funk to create a unique blend of sounds for their own individual style. They are recommended for fans of Don Broco, Lower Than Atlantis and The 1975, and have in the past supported Ghost Riders In The Sky (Steph Carter, ex-Gallows), Catfish & The Bottlemen and Press To MECO, as well as members of Oasis and The Stone Roses.
The opener of The Forever Lie may be titled Beneath The Waves but it certainly isn’t drowning. The song opens with a deceptively indie guitar and tom drum part before breaking into the chugging pre-verse riff and the thundering verse. The first vocals to be heard are the crunching screams that take the whole verse before the tuned vocals hit in the chorus. The following breakdown is one of the few about that doesn’t cut to half time yet is still extremely heavy, which suits the track well. Next comes The Sons of Plenty which doesn’t mess about with the indie introductions anymore – straight into the brutality of the verse. Screams and chugging, malevolent guitars bring the real gritty sound to the track, and the strong rhythm pins the solo down to its well-performed sweeping and sustained notes.
The title track begins with the heavy styling outlined in the first two tracks and continues with harmonised leads panned to each side for maximum effect. The raw grit in the tuned vocals here are demonstrative of all the vocal ability, and the screams that back them up are sharp to fit with the technical instrumental. There is no fade out – the rhythm and leads all keep going right out to the end for an abrupt finish. Twice Broken provides a heavy introduction with vocals that remain melodic through the verses and stack up in layers, with the chorus being space-filling as it fills with delayed gang vocals to bring the restraint through. It then all breaks down just before the halfway mark with a quick double-kick beat that gives rise to screams and cymbal crashes.
Surprisingly, the heaviest pieces on The Forever Lies doesn’t hit until fifth track Bones. The opening is just a wall of noise with harsh, raw screams over the top to create a total space fill. The breakdown hits with the biggest ferocity the album holds with natural harmonics ringing out between chugs of the beat-driven rhythm guitars. It then gives way to closer Terracide which is arguably just as heavy as Bones. The opening again follows a similar formula of brutality-melodic chorus-brutality, though solos atop the rhythm riffs bring a lovely depth to the sound that brings through the immaculate guitar tones that make the album.
Overall, The Forever Lie is a solid release that shows All Else Fails are only getting better with more experience. Having produced six very good tracks that would fit into their setlist to play anywhere, the EP will combine with the rest of their catalogue to make for fantastic headline or support slots with whoever else in the hardcore scene.
The first revelation from Bristol’s ArcTanGent Festival has come in the form of two headliners. The long-awaited announcement has disclosed that Explosions In The Sky and Converge will hit UK shores for the only time this year when they play the Bristol field in August.
Fit For An Autopsy have premiered a new music video for their track Heads Will Hang.
Directed by Max Moore whose credits involve work for Code Orange and Of Mice And Men, this is the first music video the band have released from their upcoming album The Great Collapse.
“When I write a song, I’m trying to feel emotionally connected to it. I really don’t like saying things that don’t matter over music that I want to matter,” says Putney, the guitarist, principal songwriter and cofounder of the group. “We’ve always addressed serious topics going back to our first album. We aren’t a politically charged band up on a podium yelling at people – anybody can relate to the aggression, anger, frustration, and sadness often communicated in our music. But we absolutely raise important questions in the lyrics. Those themes are there to discover.”