As some of my regular readers and Twitter followers know, my recent bout of serious burnout caused me to decide, for the second time in six months, to quit writing music reviews. The fact that I actually do not enjoy writing, combined with a relentless and often overwhelming flood of submissions and requests for reviews from artists and PR firms, have time and again caused me tremendous anxiety and stress. On the other hand, I do enjoy lending support to indie artists and bands who follow me on social media in whatever small ways I can. Obviously, giving them a bit of press is an important part of that support. I’d like to continue doing so, but the challenge is finding a way to accomplish that without burning myself out again.
In order to continue featuring new music, I’ve decided to resurrect my ‘Fresh New Tracks’ series, which has been on a hiatus since I last wrote one in October 2021. For the series, I feature three or four new songs by various artists, with a few paragraphs about each one, rather than a full-blown review. Though they were generally well-received, I got the sense that some artists were not happy sharing the limelight with other artists or bands. But as more than a few musicians have told me, artists and bands should be grateful for any press, especially when I’m giving it to them for free.
Also, many of my reviews tend to be rather wordy and long, and being a slow, meticulous writer, they take me quite a while to get done. This seems to be a counter-productive approach in this day and age, where most people have the attention spans of a gnat. Although most artists and bands love when I write extensive and detailed reviews of their music, I’m guessing that few people actually read those long reviews in their entirety. Therefore, a short, concise description of each song would seem to be more appealing to a lot of readers who are pressed for time. With that in mind, I will make a valiant attempt to write a Fresh New Tracks post each week going forward. Today I’m featuring songs by three outstanding rock bands with great names from the UK, two of whom, Amongst Liars and FloodHounds, I’ve previously written about, as well as one that’s new to me, Mount Famine.
AMONGST LIARS – “Cut It”
Hailing from Brighton & Eastbourne, Amongst Liars play a fiercely aggressive style of melodic hard rock, forged from a powerful trifecta of alternative rock, grunge and punk. Comprised of Ian George (lead vocals, guitar), Leo Burdett (guitar, backing vocals), Ross Towner (bass, backing vocals) and Adam Oarton (drums), they formed in September 2019 from the ashes of two successful previous bands – Saint Apache and Katalina Kicks. Not only are they all highly accomplished and talented musicians, they’re nice guys too. Ian in particular has been very supportive of me and my blog, which of course makes me a loyal fan who’s more than happy to support them as much as I can.
I first learned about them in early 2020, and was immediately blown away by their explosive debut single “Over and Over”. In the two succeeding years, they’ve followed with six more outstanding singles, many of which I’ve reviewed on this blog. Their latest is “Cut It“, a clarion call for people to stand up to abuse in all its forms. While they don’t consider themselves a ‘political’ band, Amongst Liars are not afraid to tackle some of the biggest socio-political issues of the day, including war mongering for financial gain, poverty, greed, fake news, deceitful politicians, election fraud, human rights abuses and climate change, and they’ve been outspoken advocates for social justice on several of their songs. About “Cut It”, the band explains: “These are difficult times behind many closed doors – words and actions can cause a lifetime of damage. Speak up for those being abused and bullied, and be kind – always.“
The song is a ripper, overflowing with the signature searing riffs and pummeling rhythms we’ve come to love and expect from Amongst Liars. Then there’s that droning bass riff by Ross, creating a menacing vibe that chills us to the core. Ian has a beautiful singing voice that turns deadly when he needs to get his point across: “This violence bleeds silence, bleeds silence / Pray, lead us astray! Pray, just cut it!” I love the dark video, which shows the band performing the song surrounded by curtains of sheer fabric, creating powerful feelings of suffocating claustrophobia. “Cut It” will be included on their forthcoming self-titled debut album, due for release July 8th.
FLOODHOUNDS – “Panic Stations”
FloodHounds are a terrific rock band from Sheffield who play a high-energy style of guitar-driven alternative rock, drenched in blues, punk and grunge influences. Formed in 2013, the band consists of Jack Flynn on guitar and vocals, Lauren Greaves on drums, and Anna Melidone, who replaced Joel Hughes on bass in summer of 2021. I’ve been following them for nearly six years, and they’re among the earliest bands I wrote about when my blog was still in its infancy, way back in October 2016 when I reviewed their excellent EP Look What You’ve Started.
In the years since, they’ve released numerous singles and a second EP Always in Sight, in 2019, and have toured extensively throughout the UK, including performances at the Isle of Wight and Liverpool Sound City festivals in 2019, as well as twice in Paris. FloodHounds remained active during the repeated lockdowns, putting out live streams and sessions for platforms such as Jagermeister, God Is In The TV Zine and Wentworth Festival, as well as self-producing a 10-track acoustic album. They also made the final shortlist of Record Store Day’s national video competition, and their innovative video for their single “Take It Too Far” garnered high placement at the London Music Video Festival 2020. Also in 2020, they released a brilliant single “Something Primeval“, a hard-hitting song about tapping into our inner resolve to survive in this world, which I also reviewed.
Now FloodHounds are back with “Panic Stations“, a stomping banger fueled by Jack’s jagged fuzz-soaked riffs, Anna’s grinding bassline and Lauren’s fearsome drumbeats. The biting lyrics call out those who spread lies and misinformation to sow fear and divisiveness, urging them to instead put their energy into trying to bring people together for a common good. “Panic Stations touches on the air of uncertainty we’ve all been labouring under“, explains Jack. “I wanted to write a song that echoed us roaring out of lockdown, and back into real life. The takeaway is that sticking together will serve us better than alienation and blind panic. It’s great fun to play live, it’s heavy but catchy, so people seem to really get on board with it.” In his arresting vocals, Jack emphatically implores “Give me something with meaning. And I will show you something to believe in. But if you just try and deceive me with all the lies that you hear blaring out your TV. It is your mission to heal division, so go and rally all the people who will listen.” It’s a great song.
Jack is also a photographer and graphic artist, and created the artwork for the single.
MOUNT FAMINE – “Distance”
Mount Famine are a rather enigmatic post punk/synth infused indie rock’n’roll project based in Derby. From what I can tell, they formed in 2019, and according to their bio, their sound is inspired by 80s bands such as The Cure, The Psychedelic Furs and Pet Shop Boys (all of whom I personally love too), and 90s bands like Manic Street Preachers, Pulp & Suede, along with “the same desire to tell stories that produce the adrenaline-fueled highs of indie disco dancefloors.” They have no photos of themselves on any of their social media, and I was told by band member Martin Stanier that they’ve steered away from photos, wanting the focus to instead be on their music. They’ve released four outstanding singles thus far, beginning in January 2020 with “Faith”, followed that July with “Pulse”, then “Lost” in February 2021, and now “Distance“, which dropped March 11th.
Martin reached out to me about “Distance” after seeing posts of my recent Top 30 song lists on Instagram, thinking it would be to my liking. Well, he was correct, as it’s right up my alley. With it’s rousing, guitar-driven melody, swirling cinematic synths and exuberant dance groove, all creating a glorious 80s-influenced wall of sound, it’s exactly the kind of sound I love. The band says the song was written and recorded on an old Roland synthesizer and beaten-up drumkit, which gives it that wonderful vintage 80s feel. The lyrics speak to the speed of life, and how it passes by with the blink of an eye, a sentiment they beautifully capture in the frenetic video.