Albums 2016

Musicology: Our Team’s Top Albums of 2016

It’s come to that time of year again when we’re thinking about our top dogs of 2016, so here are the Musicology team’s top albums of the year (yes, there are quite a few repeats which show how good some of them are!).

Joshua Palmer – Writer

1) RenouncedTheories Of Despair
2) ExpireWith Regret
3) CaseyLove Is Not Enough
4) Angel Du$tRock The Fuck On Forever
5) Like PacificDistant Like You Asked
6) Silent PlanetEverything Was Sound
7) Cruel HandYour World Won’t Listen
8) Church TongueHeart Failure
9) DeparturesDeath Touches Us, From The Moment We Begin To Live
10) Hotel BooksRun Wild, Stay Alive


Sam Preece – Writer

1) Waterparks – Double Dare
2) Simple PlanTaking One For The Team 
3) Sia – This Is Acting
4) Good Charlotte – Youth Authority
5) A Day To Remember – Bad Vibrations
6) Cane Hill – Smile


Tom Martin – Writer/Editor

1) Boston Manor – Be Nothing.
2) Architects – All Our Gods Have Abandoned Us
3) Trophy EyesChemical Miracle
4) ColumbusSpring Forever
5) Trash BoatNothing I Write You Can Change What You’ve Been Through
6) BasementPromise Everything
7) Knocked LooseLaugh Tracks
8) letlive.If I’m The Devil…
9) Luke RainsfordI’m Nothing Like My Dad Turned Out To Be
10) Touche AmoreStage Four


Fiona Stephens – Writer

1) Blackberry SmokeLike An Arrow
2) The Pretty RecklessWho You Selling For
3) Green DayRevolution Radio
4) Lucid FlyBuilding Castles In The Air
5) Circle Of DustMachines Of Our Disgrace


Nathan Heffernan – Photographer

1) Knocked LooseLaugh Tracks
2) Luke RainsfordI’m Nothing Like My Dad Turned Out To Be
3) NOFXFirst Ditch Effort
4) Trash BoatNothing I Write You Can Change What You’ve Been Through
5) Boston ManorBe Nothing.
6) CaseyLove Is Not Enough
7) BasementPromise Everything
8) blink-182California
9) Tiny Moving PartsCelebrate
10) GiantsBreak The Cycle


James Leese – Writer

1) TotorroCome To Mexico
2) The 1975I like it when you sleep for you are so beautiful yet so unaware of it
3) The HotelierGoodness
4) Tiny Moving PartsCelebrate
5) Childish GambinoAwaken My Love
6) Slaughter Beach, DogWelcome
7) Modern BaseballHoly Ghost
8) BadBadNotGood IV
9) Old GraySlow Burn
10) Luke RainsfordI’m Nothing Like My Dad Turned Out To Be


Jade Falconer – Photographer/Site Supervisor

1) Bring Me The HorizonLive At Royal Albert Hall
2) Hands Like HousesDissonants
3) Asking Alexandria – The Black
4) Panic! At The Disco – Death of a Bachelor
5) The Amity Affliction – This Could Be Heartbreak
6) Issues – Headspace


Luke Davies – Web Developer

1) Issues – Headspace
2) Memphis May Fire – This Light I Hold


Bradley Cassidy – Writer

1) Gojira – Magma
2) The Dillinger Escape PlanDissociation
3) BrujeriaPocho Azitan
4) Nails – You Will Never Be One Of Us
5) KoRn – The Serenity Of Suffering
6) Metallica Hardwired … To Self Destruct
7) Abbath Abbath
8) Ihsahn Arktia
9) Rob ZombieThe Electric Warlock Acid Witch Satanic Orgy Celebration Dispenser
10)  KvelertakNatterfed


Eddie Sims – Writer

1) Touche Amore – Stage Four
2) Napoleon – Newborn Mind
3) Trade Wind – You Make Everything Disappear
4) Hatebreed – The Concrete Confessional
5) Broken Teeth – At Peace Amongst Chaos
6) Knocked Loose – Laugh Tracks
7) Heck – Instructions
8) Killswitch Engage – Incarnation
9) Desolated – The End
10) Forty Winters Rotting Empire


James Maddern – Writer

1) With ConfidenceBetter Weather
 2) WaterparksDouble Dare
3) Hands Like HousesDissonants
4) Sum 4113 Voices
5) A Loss For Words – Crises
6) I PrevailLifelines
7) Moose BloodBlush
8) Milk TeethVile Child
9) This Wild Life – Low Tides
10) Luke RainsfordI’m Nothing Like My Dad Turned Out To Be


 Daniel Curzon – Editor

1) Knocked LooseLaugh Tracks
2) Broken TeethAt Peace Amongst Chaos
3) ExpireWith Regret
4) Guilt TripWeight of Abjection
5) Trophy EyesChemical Miracle
6) DesolatedThe End
7) SkeptaKonnichiwa
8) Cold Hard TruthTruthgetta
9) Craig DavidFollowing My Intuition
10) Trash BoatNothing I Write You Can Change What You’ve Been Through

Steven Battelle – Exit Brain Left – Review

The debut album by LostAlone frontman Steven Battelle has been out for a little while now since it’s release on the 2nd of December, and coming off of a band like LostAlone who were praised not only by critics but fans alike there is a lot riding on this to prove that Steven Battelle can make it on his own. But without a moments hesitation let’s break down this debut album Exit Brain Left.

Kicking off this debut is the track Powers Of Denial and is a great opener to this debut and truly strikes and impressive note leaving not only a lasting impression but also setting the bar very high for what is remaining on this album. However focusing solely on this track not only through the very simple instrumental construction but also powerful vocal performance there are many positives to this tune. Throughout the run time of this track one thing does become apparent and that is the fact that the ending vocal part does truly exemplify the range that may continually be used throughout this record, and it is something that instantly impresses about this debut solo venture.

Moving on from this are the songs The Jump and the track named after himself Steven Battelle which allow him to show something that does run throughout this entire record and that is the sense that there isn’t one definitive style. Although sometimes that works, especially when flowing between these two tracks; with the Orchestral undertones of The Jump and far more pop based and electronic influenced Steven Battelle, it isn’t something that always sticks on this album as there are times where this experimentation feels forced. But in terms of these two tracks the fact that this orchestral undertone is here truly brings an extra level to the track and by comparison around the 3:08 mark in his self-titled track the instrumental break not only shows the musical prowess of Battelle but also how well constructed these songs are.

A quick rally of three songs follows and they truly do move by quickly and depending on where you are in these three is either a good thing or a bad thing. As during the first of these three Christmas Cartel, there are many high points from the very blatant change to straight electronica to the subtle holiday themed additions like the sleigh bells during the start of the song. However as the track drags on with it’s very powerful vocal performance the instrumentation becomes somewhat of a mess and it is hard to pick out which part is causing the issue, as individually there are most likely amazing highlights of each part.

Then with Last Night On Earth the heavier instrumentation truly bring s a new dynamic to the album and is something that could have continued on past the tracks very short run time, short being comparative to the other lengths that sit on this album. And then we get The Ocean Chorus, a track which feels like it could slip easily in to a David Bowie album, yet possibly a budget version. As although there are massive highlights to the track not only through the vocal melodies and again simple instrumentation there is also through the lyricism that truly make this track one which should have been replicated more on this debut album.

Police and Thank You then graces the album, which is possibly the strongest track on the album, with an amazing sample of Marv from Home Alone gracing the track there is quite a bit of charm to the track which not only pleases instrumentally with a strong construction which sings grandeur, which although is a consistent idea is perfectly implemented here. Alongside an almost flawless vocal performance there is not much if anything wrong with this track, and truly does show how far Steven Battelle could go on his own due to the fact that his musicianship shows that he knows what he is doing. Alongside this fact, the underlying factor that he is polarizing the usual first solo venture of a man or woman with a guitar Battelle is showing he has the potential to go very far.

Two more tracks move in to the foreground which although are solid and have their individual highlights are nothing special as Nine Miles of Light and Silent Movie Scream simply just sit in the ether with not much about them. However there is something that does truly stick in the mind from both of these tracks and that is the fact that one amazing track could have been made from the two, with the instrumentation from one and the vocal presentation from the other there is so much power that goes in to these two tracks but together they would make a one perfect track, but sadly this ins’t the case.

But then we reach Absent Magic Part II, one of the most beautiful moments on this album. As Battelle sings about the passing of Bowie. Overall this track is one of great instrumentation and possibly the best vocal performance on the album with the introduction of the choir that perfectly compliments the instrumental of the track as Battelle’s voice soars on top and truly creates a moment which could be played time and again by any perspn who is simply listening to this for the first time or someone who is revisiting it for the hundredth time

Coming off the end of a track which is packed with emotion is a tune which really misses the mark in comparison to the rest of what is sitting on this debut as it is weak. Violent Voices truly does bring this album down as although there are points where this track could be amazing it never hits that next level and ends up being a lack luster display on this debut album, even with its individual highlights.

This brings the album then to a close with I’m Still Finding Out What I’m Going To Be, which does bring this debut of highs and lows to a tight and concise ending despite the ending of the track feeling like quite a mess as it doesn’t have an apparent reason for some of the samples that sit on the tracks tail end. However that isn’t to say the track is bad, as with it’s beautiful instrumentation and perfectly constructed vocal melody the track does hit with quite a lot of power and prove the fact that Steven Battelle has a lot to offer in the future as a solo artist.

Overall, this album is interesting, despite it being a solid debut album which will allow Steven Battelle to solidify himself as a good solo artist there is nothing that truly makes this album stand out. Although you has great tracks like Absent Magic Part II and Police and Thank You it almost feels as Batelle is like a budget Bowie and after having an album by the sadly departed great at the start of this year, it seems to pale in comparison. However if Steven Battelle continues to work on the ideas, instrumentation and vocal performances that are present on Exit Brain Left then there is a chance for him to truly make it big on his own.

Young Legionnaire – Zero Worship – Review

Alternative/Indie band Young Legionnaire and its members have been leaving their mark on the British music market for years with some hailing from bands such as Bloc Party and yourcodenameis:milo. After forming in 2010 the band quickly proved themselves to be a force to be reckoned with, especially during their debut album Crisis Works and now 5 years later the band have released their Sophomore record Zero Worship. Now without further ado let’s break down Young Legionnaire‘s new album, Zero Worship.
Kicking off this Sophomore album is the track Year Zero, which is a clever introduction to this album, there is no explosive entrance as there is almost a sense of calm as the band move through a track which not only showcases some tight instrumentation but also some very well constructed vocal melodies. As the track reaches it’s mid point the introduction you almost expect to come from this album moves in to the spotlight with the explosive drums of Dean Pearson and powerful bass and guitars of Gordon Moakes and Paul Mullen. The track quickly moves its way through its full run time, and shows itself to be not only a great starting track but also a promising look at what else this album has in store.
Following this energetic opener are the tracks Heart Attack and Hail, Hail which although different in execution still produce this explosive entrance that Year Zero provided. Through both tracks there is a sense that over the past five years Young Legionnaire have been preparing for this moment; waiting to come back not only sounding tighter than ever through the first three tracks but to prove themselves yet again, and with Paul Mullen’s soaring voice dancing atop the tracks there is never a moment through either of them where they don’t land almost perfectly.

Coming off the end of Hail, Hail is a trio of tracks each more different than the last. Starting off with Simone there is a slow almost Alt-Rock feel to the track with the cleverly toned guitar and backing vocals that creates a very ambient atmosphere even when the track starts to pick up towards the end and is truly a piece of music which could be played a hundred times through with each time there being something new to notice. Candidate however flips everything we had in Simone with it’s far heavier makeup, with not just the blistering guitars but also the occasional screams. The track powers to the foreground as Young Legionnaire in parts seem to tackle some quite complex rhythmic sections.
The last of these three tracks is Balaclava and as a whole it truly lives up to the notion that the band do draw from some indie influences as it feels far different to everything that else that has featured on this sophomore album so far. Despite it being a strong track, constructed beautifully and packing a punch, it’s far lighter than what we’ve heard already.
Sawn-Off Shotgun continues this Sophomore album and is unfortunately the weakest track you can find on this release due to the odd effects on the voice and it makes the track almost feel very out of place in Zero Worship as in comparison to everything else we have heard it is very inconsistent. But that isn’t to say the track doesn’t have it’s highlights with the very obscure timing and structure so there are times where the track feel to have its own identity, but sadly it doesn’t really fit with the album thus far.
You and Me counters this however, being the strongest track on Young Legionnaire‘s newest release. As this track starts to play it feels very reminiscent of the earlier Simone whilst also drawing from the more indie styling of Balaclava and truly makes for an exciting listen as the track plays through. Throughout You and Me there is a clear indication at how strong this trio are instrumentally but also vocally as the melodies on this track truly do stick in the mind well after the albums end.
As the album starts to draw to a close we get the complex rhythms of Hospital Corners and Disappear, these two tracks that on occasion even sound a little mathy in composition, truly add to the albums already strong rally of tracks, yet also start to draw the album towards a perfect close. With their musical prowess truly shining through, it is good to see how Young Legionnaire are proving themselves to be a force to be reckoned with.
Closing off this new Young Legionnaire album is There Will Be An Escape Hatch and being a mirror image of what we heard on this albums opener there is a great sense of a perfect circle being drawn, not only through the tracks but through the album as a whole. As with the track’s, even slower, beginning it feels almost picturesque similarly again to Simone, yet with it’s inventive pattern and enjoyable listen it feels as if the band took all the best bits and accumulated it in to this one song which not only ends the album well but also gives a great sense as to what this band will produce in the future.
Overall this album is a very interesting listen and is something any fan of Bloc Party or even yourcodenameis:milo should check out if they haven’t heard the band before. With it’s complex instrumentation and soaring vocals the album never seems to miss a beat however, that doesn’t mean to say the album doesn’t come with issues, as there are times where it feels lack lustre and doesn’t feel as strong as it possibly could have been. Yet Zero Worship is still a great must listen from a year which has been jam packed with great music.

State Champs Drop New Video

Pop-Punk giants State Champs have today dropped a brand new video for their track Losing Myself. The track comes off their release of last year Around The World, and with its fun new video the track still manages to pack a punch of upbeat riffs and powerful sound that State Champs deliver time and again. The video directed by Kyle Trash is somewhat pushed as a promo video for a water park, but without further a do check out the video for State Champs’ Losing Myself below.

Bowling For Soup – Drunk Dynasty

15 years ago, calling a band like Bowling for Soup irrelevant would have been laughed at. Mainly because they were never particularly relevant in the first place, their sophomoric comedy and catchy choruses tailor-made almost exclusively for college kids and stoners worldwide. Those same kids have most likely moved onto full time careers and started families now, but that doesn’t mean that they don’t want to be reminded of the good ‘ol days once in a while. One would assume this is why the band’s new crowd-funded project Drunk Dynasty exceeded its requested monetary amount by 95% and is available to hear in all its goofy glory.

The Texan dudes in Bowling for Soup have always come across as NOFX‘s less-punk, less politically sharp, but way more fun younger cousins. They have been steadfast in their cartoony, laugh a minute punk-pop since day one and although the days of platinum album sales may be behind them, they have garnered a solid fanbase that still packs out their shows. Drunk Dynasty does nothing to tamper with that dynamic as the dumbass glee comes thick and fast – the Andrew WK stomp of Sh*t To Do and the Weezer vibes of Go To Bed Mad propelling the album along with bounding energy.

To the casual listener, the band’s 11th studio could be interchangeable with any of their others, but for long-time fans Drunk Dynasty will be a welcome addition to the bands catalog – the ‘love everybody’ lyrics of Don’t Be A Dick and the punchy Hey Diane showcasing the band’s well known talent for a singalong anthem.  There are a few mis-steps along the way however with the naggingly repetitive chorus of Stop Doing That and an Ill-advised cover of Gin Blossoms Hey Jealousy not doing the album any favors. Essentially though its business as usual with the spoof-country tale of Drinkin Beer On A Sunday being about as reflective as the record gets.

Make no bones about it, Drunk Dynasty isn’t here to bring about world peace, it’s not even here to bring anything new to the table for the band. What it is here to do though, is put smiles on faces and show that no matter how old you feel, there is always something to laugh about. Rocket science it ain’t. Feelgood rock music with a dose of teen-movie humour it most certainly is.

Drunk Dynasty is out now and is available on all major streaming platforms.

LIVE REVIEW: Into the Ark, Sanctum Soho Hotel 9/11/16

Into the Ark are a smalltime doublet hailing from Blackwood in Wales. Dane Lloyd & Taylor Jones coalesce to form the newest and rawest delicacy in the form of folk, soul and blues intricately and effortlessly mixed together to create a pure and resonant breath of fresh musical air.

The band have recently been picking up speed on a tour through Europe, even earning a well-deserved media pit-stop in the Netherlands. To cap off those shows they featured at the Sanctum Soho Hotel in the glitsy heart of London’s capital.

Into the Ark opened with the song Better Than Never At All. The delicate and harmonious anthem seemed a very strong opener for the pair as it showed us very early on just what to expect throughout the evening, strong guitar playing, genius song-writing and a very strong set of lungs between them.

Secondly, the band unleashed their big new single My Ghost (to which you can find the video below). This proud and brazened foot-stomper surfaces as just about the best mix between Paolo Nutini and Maverick Sabre you’ll ever hear and you should be prepared to hear this on the radio in the big time.

 

The evening progressed with the unveiling of the to-be second single from the duo Brightest Creature (a single that you should be very excited to hear) and the balladic I’ll Be Gone Again, which had a very different twist to the rest of the night, feeling a lot more like a late Oasis-styled track.

Lastly, the band finished off with the utterly show-stopping No Place like Home. No Place like Home represents Into the Ark so vividly you can almost feel the boys’ history and the journey flutter through your ears. Of course, the lyrics were great, the singing was great and the playing was great but Into the Ark simply represent and stand for so much more than that.

This songs and all of it’s predecessors manifested as living, breathing proof that music still exists. The band use no synth, no effects, they don’t even use an electric guitar or a drummer. Into the Ark personify what music was and what music should be by sparing themselves the music tech and sticking to their heart and soul and that radiated off of a performance that held such magnitude to such a small crowd.

In conclusion, Into the Ark are and perform as two lads from a small village in Wales and successfully reproduce such a soul with gripping and catchy acoustic hits.

Be ready to hear a lot more of Into the Ark in the near future.

 

Childish Gambino Releases New Track

Hip-Hop artist Childish Gambino last night dropped a new track for his upcoming album Awaken My Love. The track, Me and Your Mama, that Childish Gambino has released is a slight change of pace from what was present on his last record Because The Internet, however it is a welcome change and is track that shows so much promise for his upcoming release. Check out Me and Your Mama below and pick up his album on the 2nd of December.

Pre-order the Childish Gambino record here: https://itunes.apple.com/gb/artist/childish-gambino/id466842536

Attila – Chaos Review

If you’re looking for chaos; be it lyrical, instrumental or a down and dirty demeanour you’ve come to the right place.

Attila, just like their titular counterpart, have succeeded to wreak musical havoc on the metal scene since way back in 2008, constantly reshaping and paving their way on the genre with their own specially offensive mark, and are yet to take their stubborn and reckless foot off the pedal.


This band’s most defining and pivotal feature is their renowned and somewhat illustrious marmitesque frontman, Chris ‘Fronzilla’ Fronzak. 
Christopher is quite possibly the polar opposite of the word ‘timid’ and steers as far clear of the shadows as possible. With his tongue-in-cheek yet self-confessed arrogance and offensive lyricism Chris has been fuelling and ammunitioning Attila with the fire-power to either offend, inspire and irritate at every corner they turn.

Whether you love them or hate them, they’re not for the faint of heart and are always to be taken with an ocean’s worth of salt.

The first murmurs of the album came about as Fronz agreed to issue a public apology for being so offensive and inconsiderate in the past, to both his fans and haters. The very next day the opening single of the Chaos – Public Apology arose onto the internet.

A song that opened with the line “I’m sorry… Sorry that you’re a little b*tch”. To be fair, we were told an apology would be made and one was.

This kind of routine slapstick comedy is exactly the type of Fronzak trademark that Attila live and breath off of, proving as a perfect way to showcase and introduce us to the first single of Attila‘s 6th studio album Chaos.

Chaos opens with the explosive Ignite, Bulletproof & Public Apology. All of which firing Attila right back into regulation maverick lyricism, chuggy riffs and a generally brutal aesthetic.

A song to pick out from those however is Bulletproof. Fronz has actually said that this is the softest song on the album (not that you’d see it in the charts or anything) but considering their usual metal route, this takes on a sound way more familiar to early 2000s Nu-Metal, easily likened to that of Limp Bizkit or Linkin Park.

The album then veers right back into the darker, grittier Attila that we know and love/loath in the form Obsession and Rise Up.

Attila have always been unpredictable to say the least and Chaos doesn’t shy away from the usual curveballing that sets them apart from others. The next big marquee track takes the form of Let’s Get Abducted. This songs almost humours at a love song and although that sounds very un-Attila, it’s pulled off in a very Attila fashion as you can see in the pretty hectic and… Well… Strange video below!


Chaos then continues to do as chaos would describe with another erratic change in song style with Queen and King.

Queen is another Fronz-stamped love song, though this time less alien, more “Always getting into trouble, screaming ‘fuck the law’ She in the front row, t*tties out, throwin’ up your bra”. Although very immature it’s only what to expect, while King also seems to surface as love song, this one aimed more at one’s self.

Lastly, All Hail Rock & Roll. To cap off their album in style Chaos throws it back to a good ol’ fashioned sleazy ego-fest. It is to be noted however that the guitar parts and some lyrical content seem heavily inspired by Asking Alexandria’s song of a very similar title, Just a Slave to Rock and Roll.

Overall Chaos speaks very much for itself in the fact that it’s simply turbulent but also simply brilliant. Attila continue to impress with their free-spirited slaloming, going left, right, up or down in terms of all things badass and all things metal.

Like all of their work, if you’re looking for musical artistry and poetical lyricism then Attila and Chaos are not for you.

If however, you’re looking for a fun, sarcastic ensemble of headbangers and moshpitters then buy Chaos for sure and do as Attila plead: don’t take anything too seriously and live everything up to the fullest.

YMAS announce EU Arena Tour

You Me at Six are back with a bang. 

In recent weeks the alt rockers have re-emerged from their musical hiatus after 2014’s Cavalier Youth with a whole new sound and a hefty European tour to boot.

Surrey’s finest have recently come out dropping their new indie-edged single Night People to a mixed (but a majoritively positive) response amongst fans.

the tour begins in Portugal before making its way all the way around Europe and circulating back to London’s Ally Pally – but you can check the full details below!

WED 8 MARCH
Estudio Time Out – Lisbon, Portugal

THU 9 MARCH
Sala But – Madrid, Spain

FRI 10 MARCH
Sala Apolo – Barcelona, Spain

SUN 12 MARCH
Schlachthof – Wiesbaden, Germany

MON 13 MARCH
Backstage Werk – Munich, Germany

WED 15 MARCH
Dynamo – Zürich, Switzerland

THU 16 MARCH
Zona Roveri – Bologna, Italy

FRI 17 MARCH
Vienna Arena (Arena Wien) – Vienna, Austria

SAT 18 MARCH
Lucerna Music Bar – Prague, Czech Republic

MON 20 MARCH
Live Music Hall – Cologne, Germany

TUE 21 MARCH
Columbia Theater – Berlin, Germany

THU 23 MARCH
Fryshuset – Stockholm, Sweden

MON 3 APRIL
O2 Academy Newcastle – Newcastle Upon Tyne, UK

WED 5 APRIL
Plymouth Pavilions – Plymouth, UK

THU 6 APRIL
King George’s Hall – Blackburn, UK

FRI 7 APRIL
The Dome – Doncaster, UK

MON 10 APRIL
O2 Academy Birmingham – Birmingham, UK

TUE 11 APRIL
Solent Hall, BIC – Bournemouth, UK

THU 13 APRIL
Scottish Exhibition & Conference Centre (SECC) – Glasgow, UK

FRI 14 APRIL
Motorpoint Arena Cardiff – Cardiff, UK

SAT 15 APRIL
Alexandra Palace – London, UK

As this is next year, you’re probably eager to get some new You Me at Six in you, so for now; here’s Night People to ready your appetites.

Fullshore – Cherish

With emotional guitar-based music moving up from the underground and back towards the mainstream, the boys in Fullshore have timed the release of latest EP Cherish just right. They describe themselves as ‘alternative pop’, which seem apt considering that although the sound here is rock orientated, it’s those big hooks that take precedent over flashy instrumentation. After sharing the stage with scene heroes Turnover and Nai Harvest and recording debut EP Change earlier this year, the Brummie crew look set to prove their worth on Cherish. So without further a do, lets breakdown the tracks that make up the latest release from Fullshore.

Kendall – The opener calls on chiming, reverberant guitars and longing vocals. It builds from fragile, emotive melodies to a towering climax before winding back down, bringing things full circle. The ‘quiet introduction/build to a crescendo’ template seems to be a common feature within the genre but Fullshore prove that its not about what you do, but how you do it on this classy first track.

Wine – We begin with a driving riff, reminiscent of late 90’s pop punk. The verse combines choppy The 1975-esque guitars and lush vocals, all building to understated but no less memorable chorus. A super catchy guitar part before the final chorus seals the deal and makes Wine an undisputed highlight of the EP.

This Time Around – The band slows things down a little and it proves to be wise choice. Combining an irresistible guitar hook with breezy pop smarts, This Time Around is certainly the sleeper hit of the EP and an eye opener for anyone who is looking for something fresh among the current emo-rock scene.

Wither – The closer rounds things off with infectious riffs and driving beats. Wither comes complete with a stellar chorus that falls somewhere between Magnolia-era Turnover and the emotive cries of Moose Blood. It proves to be the perfect end to Cherish and acts an excellent representation of the band’s overall sound.

With CherishFullshore have succeeded in capturing the energy and lyrical content of their peers and taken a step into forging a musical identity that is all their own. At just over 15 minutes, the EP cleverly represents the different sides of the Fullshore sound but with neat little surprises like This Time Around, it makes you wonder what these Birmingham natives will be capable of come album time. Get excited.

Cherish is out now and is available on Spotify and Bandcamp.