1. READY TO LET GO – Cage the Elephant (2)
2. SUPERPOSITION – Young the Giant (1)
3. POWER OVER ME – Dermot Kennedy (3)
4. TRAMPOLINE – SHAED (9)
5. S.O.S. (Sawed Off Shotgun) – The Glorious Sons (6)
6. SIGUE CON EL AMOR – John Defeo (7)
7. VOLCANO – Feather Weight (8)
8. CHANGE – The Revivalists (5)
9. ASSUME FORM – James Blake (13)
10. HOME – morgxn featuring WALK THE MOON (12)
11. DELTA BLUES – Jetstream (4) 18th week on chart
12. MOVEMENT – Hozier (14)
13. LONGSHOT – Catfish and the Bottlemen (15)
14. DISAPPEAR – Western Jaguar (16)
15. EXITS – Foals (17)
16. CHLORINE – twenty one pilots (18)
17. HARMONY HALL – Vampire Weekend (20)
18. NORTHERN LIGHTS – Death Cab for Cutie (11)
19. SECRET THAT LIES BEHIND – The Gear (21)
20. FEAR THE FUTURE – IAMWARFACE (22)
21. DARK PLACES – The Frontier (23)
22. LOVE IT IF WE MADE IT – The 1975 (10)
23. SUNFLOWER – Post Malone & Swae Lee (19)
24. TIME – Morosity (27)
25. BURY A FRIEND – Billie Eilish (28)
26. ESCAPE – Ships Have Sailed (29)
27. LOVE CRAZY – Karolina Rose (30)
28. SALVATION – The Strumbellas (25)
29. IN THE WATER – The Underground Vault (24) 21st week on chart
30. LO/HI – The Black Keys (N)
I’m starting a new blog feature “EML’s Favorite Songs”, in which I post an old classic that’s an all-time favorite of mine. A few weeks ago, I wrote about “Nature Boy” by Nat “King” Cole, and today my pick is the brilliant “Just Like Heaven” by The Cure. The song is from their 7th studio album Kiss Me, Kiss Me, Kiss Me, and along with “Lovesong” is my favorite among their scores of great songs. It was released in October 1987, and was the band’s first song to break the top 40 in the U.S. though, shockingly, only peaked at #40 on the Billboard Hot 100! Over time, the song has come to be recognized as one of The Cure’s finest, and Pitchfork ranked it as the 12th best song of the 1980s. It certainly ranks among my favorites of the 1980s.
Band frontman Robert Smith was inspired to write “Just Like Heaven” after a trip to the seashore with his girlfriend and future wife Mary Poole, who he met in high school and to whom he’s been married for over 30 years. The song immediately grabs hold with Boris Williams’ fantastic opening drumroll, then Smith’s jangly descending guitar line enters, chiming its way through waves of glittery synths, tinkling piano keys and crashing cymbals, sweeping us headlong into a gorgeous and dreamy soundscape. Simon Gallup’s pulsating bass line and Williams’ powerful thumping drumbeat provide a solid rhythmic vibe, propelling the song into the sonic stratosphere. It’s a masterpiece!
Smith’s distinctive vocals, which occasionally sound off-kilter on some of their songs, are perfection here as he sings of the dizzying love and lust two people feel for each other:
‘Show me, show me, show me how you do that trick The one that makes me scream’ she said ‘The one that makes me laugh’ she said And threw her arms around my neck ‘Show me how you do it and I promise you I promise that I’ll run away with you I’ll run away with you’
Spinning on that dizzy edge I kissed her face and kissed her head And dreamed of all the different ways I had to make her glow ‘Why are you so far away?’ she said ‘Why won’t you ever know that I’m in love with you? That I’m in love with you?’
You, soft and only You, lost and lonely You, strange as angels Dancing in the deepest oceans Twisting in the water You’re just like a dream…
Daylight licked me into shape I must have been asleep for days And moving lips to breathe her name I opened up my eyes And found myself alone, alone, alone above a raging sea That stole the only girl I loved And drowned her deep inside of me
You, soft and only You, lost and lonely You, just like heaven
The Cure are finally being inducted into the Rock and Roll Hall of Fame today, March 29, 2019.
April Art is an exciting and attractive alternative/modern rock band based in Geissen, Germany who formed in 2014. Comprised of Lisa-Marie Watz on vocals, Chris Bunnell on guitar, Nico Neufeld on bass, and Ben Juelg on drums, the quartet has been making a name for themselves in Central Hessen and beyond with their hard-driving melodic sound and powerful, charismatic live performances.
They released their first singles “You Remind Me (Of the Things I Hate)” and “Comeback” in 2015, and followed in 2018 with the anthemic “We Got the Wheels”. In October 2018, they released “Not Fair”, the first single from their forthcoming debut album Rise & Fall, due for release in late April. The album was recorded at the Horus Sound Studio in Hanover and in the legendary Principal Studios, under the guidance of producers Fabio Trentini (Donots, Guano Apes) and Frank Bornemann (Scorpions). In late December, April Art dropped their second single “You Want it All“, and like “Not Fair”, it’s a monster of a tune, and a good indication that Rise & Fall is going to kick ass!
The band play their respective instruments at full throttle, immediately slamming us against the wall as they engulf us in a torrent of thunderous sound. Chris delivers intricate, jaw-dropping riffs of blistering guitar while Nico lays down a solid bedrock of pulsating bass. Ben beats his drum kit with the ferocity of a rampaging beast, skillfully holding back when necessary for greatest effect. And then there’s Lisa’s vocals – wow, this woman can sing! One moment she draws us in with her seductive croons, then hits us with a battering ram of raw, impassioned screams the next. Like all their songs, April Art keeps us fully enraptured by their exhilarating sound from start to finish. It’s a brilliant song guaranteed to raise goosebumps on any lover of rock.
The biting lyrics speak of someone who surrenders their principles and demeans themselves for material gain and power, not realizing that they’re enslaved by that which they seek:
Ain’t no kids no more Nobody protects this open door Living a lie right now But the truth you can’t allow
You made it Now you must lie in it
You want it all But you just fall Why can’t you see That you’re not free, so You want it all But you just fall you have agreed, yes you’ve agreed to crawl
Was it an obligation? Or was it another temptation? You think you’ve chosen the right way But this is not a game we play
The fantastic video, which was filmed and edited by Ben Juelg of Loud & Proud Studios, really showcases the band’s charisma and powerful impact.
Catch April Art at one of these upcoming shows:
MAY 4 Rise & Fall Album Release Show – Geissen, Germany
MAY 25 Weil’s Rockt – Weilmünster, Germany
JUNE 15 Rock the Wolves – Wolfhalden, Switzerland
JULY 6 Erlensee Rockt Open Air Festival – Erlensee, Germany
AUGUST 2 Big Day Out Festival – Anröchte, Germany
AUGUST 10 Music Forge Festival – Gambach, Germany
SEPT 27 Papalala Festival – Treis, Germany
I’m not quite sure what’s behind the current flood of creative energy, but it seems that nearly everyone is putting out new music in 2019. At least that’s the case for a large percentage of the artists and bands I’ve featured on this blog over the past three and a half years. Another one of them is A Blue Flame, the music project of British singer/songwriter Richard Stone, who’s just released a new three-track single “Blueprints for Time Machines“, the first of four releases that will comprise his upcoming album due out this summer.
A Blue Flame’s songs tell compelling stories about life, love, faith, loss and heartbreak through poetic, heartfelt lyrics and sublime melodies. The passage of time and the challenge of keeping the faith – both in God and yourself – are recurring themes in his songs. Musically, his songs feature an eclectic range of styles from doo-wop and old-school pop to easy listening ballads, folk and rock, delivered with his smooth, pleasing vocal style. I first featured him on this blog in October 2016, when I reviewed his beautiful album What We’ve Become is All That Now Remains. In January 2018, I reviewed his equally stellar follow-up album When Your Whole World Turns to Dust, which dropped in September 2017. (You can read those reviews by clicking on the “Related” links at the bottom of this page.)
Stone writes all his songs and plays guitar on all the tracks. He arranges them with assistance from Adam Ellis, who co-produces and also plays guitar. Other session musicians add their skills to the mix as needed, including Damon Claridge on drums, Andy Robertson on bass and keyboards, and Tony Robinson on keyboards and horns. About these new singles, Stone explains: “Blueprints has the interesting concept that if you went back in time to improve what you’d done, you’d make the past better than the present you have already created through mistakes made in the past!”
The exhilarating first track “Blueprints for Time Machines” is short, lasting barely over two minutes, but makes quite an impact with a thunderous mix of roiling riffs and hammering percussion, punctuated by staccato bursts of stabbing guitars and punchy drumbeats. Stone’s passionate vocals are commanding as he loudly proclaims “Blueprints for time machines. I need designs and plans and schemes. So I can make yesterday better than I made today.”
A Blue Flame keeps the energy flowing with “You Blink and it’s Gone”, an exuberant song with a wonderfully complex melody incorporating elements of rock’n’roll, Latin and pop music. The intricate layered guitars are fantastic, and I love the lively trumpet work and backing vocal harmonies. The lyrics speak to a relationship that’s lost the initial spark that drew them together in the beginning, and now looking back with sad resignation: “I wish that I’d known then what I know now. I would have held you high above the crowd. /Feels like forever, then you blink and it’s gone. You need to let go, but you’re still holding on. And you can’t even tell if you’ve lost or you’ve won. You blink and it’s gone.”
Things turn melancholy with the languid “Pull for the Shore”, a track that almost sounds like two songs melded together. It starts off slowly, with acoustic guitars and gentle snare drum, then a smooth organ riff enters as Stone sings in a rather sad tone: “You’re lost again. You feel like you’re running on the spot again. Reached inside and given all you’ve got again. You think you may be headed for the drop again. You’re down my friend.” Eventually, the pace of the music quickens and music builds as he urges self-preservation: “Hey ho, don’t take anymore. Pull for the Shore.” Two-thirds of the way through, the tempo abruptly transitions to a faster rock vibe, with heavier guitars, organ and drums. Stone repeats the affirming line “Hey ho, don’t take anymore”, ending the song on a positive note.
A Blue Flame continues to deliver music that’s meaningful, interesting and always a joy to hear. All three tracks are marvelous, and a great start to what will surely be another superb album.
As I’ve noted in other recent posts, I’ve been revisiting quite a lot of artists and bands this year that I’ve previously reviewed on this blog, as many of them are releasing new music in 2019. The very first full album I ever reviewed, way back in March 2016, was the superb Gone With the Trends by St. Louis, Missouri-based hip hop-fusion band iLLPHONiCS. Hard to believe it’s been three years! (You can read that review here.) They followed up a year later with Purple Piano Society, named one of St. Louis’ best albums of 2017 by The Riverfront Times, and released a digital 45 double single “X-Rated” in May 2018, which I premiered on this blog. They now return with a new double single “dv8, pt. 1“, which represents somewhat of a new direction in sound for the collective.
iLLPHONiCS formed in 2006, and to this day all five founding members are still with the band, a rarity among acts with that long a track record. During that time, they’ve built quite a large and loyal following throughout the St. Louis region, if not the entire Midwest. Their infectious and eclectic sound incorporates elements of hip hop, rap, R&B, soul, pop, jazz and funk, which they deliver through high-energy, charismatic performances. The band members include lead singer/emcee Larry “Fallout” Morris, Keith Moore (keyboards, backing vocals), Kevin Koehler (lead guitar, backing vocals), Simon Chervitz (bass) and Chaz Brew (drums, backing vocals).
For their latest project, which they’ve dubbed “dv8” (for deviate), they’ve teamed up with famed producer Tony Visconti (who over the past 50 years has produced scores of albums for numerous artists, including many for David Bowie and T. Rex). The first phase of this project, entitled “dv8, pt. 1” includes two tracks – “Work” and “Make Your Move“. About the project, the band states “You have a choice. Do what’s already been done or dv8. Take the road less traveled with us.” Their new songs retain their soulful grooves and funky hip hop beats, but employ more pronounced synths, lending a more expansive vibe.
The first of the two tracks “Work” is darker and edgier than many of their previous tracks. Opening with spooky synths that set an ominous mood, a hard-driving trap beat soon kicks in, and this song is off and running. The variety and richness of the synth sounds, combined with the awesome beat, deep bass and sharp percussion, make for a dramatic and exciting listen. Morris’s rapid-fire melodic flow is flawless as he raps the verses, practically spitting out the pessimistic lyrics that speak to the struggle and drudgery of trying to earn a decent living: “Yeah, I’m on that clock. I put in that work. I’ll sleep when I’m dead, when I’m covered in dirt. Tryin’ to get to a meal.”
The guys change things up dramatically with “Make Your Move”, a languorous and sexy tune with an old-school R&B vibe, but delivered with a fresh, updated approach. Guest vocalist Lena Charlie, who’s previously collaborated with iLLPHONiCS on several of their songs, provides her silky vocals on this track, harmonizing beautifully with Morris’s smooth rap vocals as they sing about making plans to get together for some serious love action: “Girl it’s your move. Tell me what you gon’ do. / Hey boy it’s your move. Tell me what you gon’ do.” I love the slow beat and sultry synths, and the funky bass and tasty electric guitar are so fine, as are the guys’ backing harmonies.
I’m loving these two songs, and can’t wait to hear more from their forthcoming album. Have a listen:
1. SUPERPOSITION – Young the Giant (1)
2. READY TO LET GO – Cage the Elephant (3)
3. POWER OVER ME – Dermot Kennedy (7)
4. DELTA BLUES – Jetstream (2)
5. CHANGE – The Revivalists (6)
6. S.O.S. (Sawed Off Shotgun) – The Glorious Sons (8)
7. SIGUE CON EL AMOR – John Defeo (9)
8. VOLCANO – Feather Weight (10)
9. TRAMPOLINE – SHAED (11)
10. LOVE IT IF WE MADE IT – The 1975 (4)
11. NORTHERN LIGHTS – Death Cab for Cutie (5)
12. HOME – morgxn featuring WALK THE MOON (13)
13. ASSUME FORM – James Blake (15)
14. MOVEMENT – Hozier (16)
15. LONGSHOT – Catfish and the Bottlemen (17)
16. DISAPPEAR – Western Jaguar (18)
17. EXITS – Foals (19)
18. CHLORINE – twenty one pilots (20)
19. SUNFLOWER – Post Malone & Swae Lee (12)
20. HARMONY HALL – Vampire Weekend (24)
21. SECRET THAT LIES BEHIND – The Gear (23)
22. FEAR THE FUTURE – IAMWARFACE (25)
23. DARK PLACES – The Frontier (26)
24. IN THE WATER – The Underground Vault (14) 20th week on chart
25. SALVATION – The Strumbellas (22)
26. WANDER – Vox Eagle with Pierre Fontaine (21) 20th week on chart
27. TIME – Morosity (30)
28. BURY A FRIEND – Billie Eilish (N)
29. ESCAPE – Ships Have Sailed (N)
30. LOVE CRAZY – Karolina Rose (N)
RiverSystem is the artistic name for the music project of singer/songwriter Richard Willis, who hails from the beautiful South Wales valley of Cynon. He’s been writing and playing songs in the Folk-Americana style for around 15 years. His songs address themes of loves lost and found, coping with depression, or anything else he feel like writing about. Richard explains that the name RiverSystem came about 10 years ago when he was having a jam session with some college friends he’d formed a band with, and after struggling to find a name for themselves, they finally settled on RiverSystem. The band has long since gone their separate ways, but he decided to keep the name.
RiverSystem has been working on a song of great importance to him and his wife called “Hello Stranger“, which he’s officially releasing as a single today, along with a video he created for the song. He explains that the song “was a labour of love that was co-written with my wife. It is about how depression or mental health issues can just creep up on you and potentially damage your perception of life.” He and his wife hope to raise mental health awareness through the song.
The song has a slow, mournful melody that sets a somber mood, perfectly befitting the subject matter. Starting off with an electric guitar riff and gentle percussion, the music gradually builds with added layers of guitar and melancholy synths. Though the song is sad, it has a haunting beauty thanks to RiverSystem’s fine guitar work. His earnest vocals are heartfelt as he addresses the ‘stranger’ of depression that’s returned to haunt him, bringing sadness and desolation, yet he refuses to allow it to conquer him.
Hello Stranger Haven’t seen you awhile So long in fact I didn’t recognise you
Anxiety and depression Is what you bring I’m in this melancholy state I can’t take this any more
Oh stranger On my shoulder Don’t stay there too long Oh stranger I can’t take this anymore
Hello stranger If I knew you were coming I would’ve closed all my doors And held fast against the oncoming storm
Oh stranger On my shoulder Don’t stay there too long Oh stranger I can’t take this anymore
Now you’ve left me in pieces With a trail of destruction in your wake Now I feel dark and lonely Drag myself out of what you’ve thrown me in
Oh stranger On my shoulder Don’t stay there too long Oh stranger I can’t take this anymore
Maybe next time you swing around You could avoid me I’ve had enough of you for now
The deeply moving video shows him playing the song in the lovely countryside interspersed with scenes of him being shadowed by the stranger, overcome with sadness and despair.
When I last featured Canadian singer/songwriter Guy Paul Thibault on this blog back in September 2017, he had a few months earlier released his wonderful album It’s About Time, an appropriate title given the span of 17 years since his previous solo album. (You can read my review here.) Now the Cole Harbour, Nova Scotia-based musician returns with a superb follow-up effort The Road Between. Listening to his pleasing style of rock-infused Americana/Alt-Country music, it would be easy to assume he’s from somewhere like Nashville, Tennessee, rather than the maritime provinces of eastern Canada.
Over the past two years, Guy Paul has received numerous accolades, including being named 2018 Artist of the Year on New Vision Radio (New Jersey), one of the Top 40 Indie Artists of 2017 on several Ontario, Canada radio stations, having several of his singles appear on numerous Indie Music charts in Canada, the U.S., UK and Australia, and having It’s About Time named one of the top albums of 2017 by The Halifax Musicphile.
Guy Paul played most of the instruments on The Road Between, although Shawn Cherry played drums, and Ian Lewer played bass on the opening track “Anymore”. Guy Paul sang all lead vocals, and Carolyn Cherry sang most of the backing vocals, except for those on “Talk to Me” and “No One Understands”, which were sung by Lisa Comeau-McDow. Guy Paul’s daughter did all the hand claps and played tambourine.
The album features nine tracks that address love and relationships, and all the attendant joy and heartache they bring. Case in point is album opener “Anymore“, a poignant Alt-Country tune about feelings of betrayal and sadness over a love affair that went south. Against an urgent backdrop of really fine electric and slide guitar work, Guy Paul laments “You don’t know where I sleep at night anymore. You don’t know what it’s like in my life anymore. Why don’t you love me anymore?”
The Country-rock tinged “Dangerous Strangers” speaks to an illicit affair about to go down between two people – one with a faithful wife back home, and another seeking revenge on the man who cheated on her: “For a minute think you saw, what was really on my mind. A touch of evil, it could be a simple little crime. You can only think of him, how he broke your heart. Are you gonna do to him what he did to you.”
One of my favorite tracks is “Talk to Me“, a powerfully moving song about a couple struggling to communicate through the wall that’s built up between them: “Talk to me about anything you want. Just look at me like you sometimes care. Tell me what it is that you want. Show me that you’re somewhere in there.” The dramatic instrumentals, especially the intricate guitar work, are fantastic, creating a palpable tension that’s a perfect accompaniment for Guy Paul and Lisa’s beautiful, impassioned vocals. The piano-driven ballad “Take Me” touches on the passage of time and how lovers can drift in and out of your life: “Funny how time flies. In her world and in mine. Children, death and love crimes. Chances that seemed to rush by. / Only love can save my soul, from years of pain untold. Love me if you can. She said ‘Try to be my man’.”
Another highlight for me in an album filled with them is the haunting “Who Are You“. The track opens with a mournful organ riff and drumbeat, followed by an achingly beautiful twangy guitar riff. Soon, Guy Paul’s resonant vocals enter the scene, backed by Carolyn’s soft croons as the instrumentals build, creating a lush, moody soundscape. The lyrics speak of a couple who’ve become strangers to each other after years of disappointment and hurt: “Cause here is the moonlight. And these are our scars. Though you lie here beside me, I can’t tell who you are.” This track really showcases Guy Paul’s skills for songwriting and crafting gorgeous melodies.
He lightens the mood with the celebratory “Day Drinking“, a fun rock’n’roll tune about just forgetting one’s problems and spending the day with a loved one like you’re on holiday. Things turn serious again with the darkly beautiful “No One Understands“, an ode to someone who’s stood by you through good times and bad: “And no one understands but you. Why I do the things I do. And no one comprehends the secret wars that I have led. No one understands but you.” Once again, Guy Paul is joined by Lisa Comeau-McDow, and their vocal harmonies are sublime. The guitar solo in the bridge is pretty wonderful too.
“Don’t You See Me Cry” is one of the more rock-oriented tracks on the album, with lots of great intricate guitar work, accompanied by some terrific piano keys. Instrumentally, this is one of the standouts on the album, and the distorted guitar riffs are particularly good. The dark lyrics seem to speak of someone who was already feeling bad, and put his hopes on a woman who ended up only hurting him more: “I was such a strong man with no love left in his eyes. Well you changed all that and now I could just die. Don’t you see me cry.” The album closes on a bittersweet note with “Catch My Fall“, a song about a young runaway who he allowed into his heart and life, but was too young and unsettled to stay with him: “Much too young and always on the run. The rhythm in her feet always pulled her towards the sun. She couldn’t stop, just couldn’t settle down.”
Guy Paul’s songs have a way of boring themselves into your mind and soul, staying with you long after hearing them. I found myself liking this album more with each listen, discovering new sounds in the music, and deeper meanings in the compelling lyrics. I appreciate that he included them on his Bandcamp page, which also made my job of discussing each track easier. If you’re a fan of Americana and Country-rock, you will enjoy The Road Between.
It takes some balls for a band to not only call itself ‘TREMENDOUS‘, but also use all caps in their name. Fortunately, the Birmingham, England-based band deliver the goods with their colorful and exuberant style of Glam Rock that’s heavily influenced by such legendary artists as T.Rex, David Bowie, Journey, Slade, Def Leppard, Mott The Hoople, Cheap Trick, New York Dolls, The Babys, Roxy Music, Heart, and Aerosmith. Comprising TREMENDOUS are Mark Dudzinski (Guitar/Vocals), Ryan Jee (Bass) and David Lee (Drums).
Following up on their glorious 2018 single “Rock’n’Roll Satellite”, the band has released a wonderful, anthemic new single “Open for Closing“, along with an entertaining and provocative video. The track will be officially released via Horrendous Records on April 12th, and will be featured on the band’s forthcoming debut album Relentless. About the song, Mark stated “Its just an age old tale of heartbreak but with a bit of tragedy (in the video). A relationship gone toxic.” He explained that the song lyrics “don’t leave our love (open for closing)” translate to a plea to not leave things in such a way that the relationship is open to ending.
The song is melodically beautiful yet hard-hitting, packing quite a punch in just under three minutes. The layered guitars, driving bass and aggressive percussion are all spectacular from start to finish. I especially love the chugging riffs, accompanied by smashing drumbeats, at the end of each verse, and the wailing guitar in the chorus gives me goosebumps. Mark’s resonant vocals are fantastic, registering in the higher octaves and occasionally venturing into a soaring falsetto that raises the adrenaline. These guys are so good!
The song’s video is beautifully filmed and entertaining, but also pretty dark, and ends on a rather violent note. The guy wants the girl to be his, almost to the point of stalking her, but she very clearly has other ideas. She does everything she can to dissuade him from pursuing her, finally resorting to hitting him on the head and knocking him unconscious, then leaving him tied up and locked in an abandoned building. Ouch!
“Open for Closing” was nominated for “Track Of The Week” on the Classic Rock webzine, and came in third place, which you can see by clicking here.
TREMENDOUS has an upcoming show on April 4 at Dublin Castle in London.
DENSE is an awesomely talented psychedelic garage rock band hailing from Leeds, England, who combine thick, fuzzy grooves with fiery riffs and intricate melodies to create a unique and heavy sound that’s at once retro and futuristic. Despite their youthful, boy-next-door image, their music is incredibly intense and badass, with an impressive maturity, complexity and density – as their name would imply. The best description I can think of for their sound would be ‘industrial surf-metal psychedelic rock’. Making this phenomenal music are Charlie Fossick (Guitar/Vocals), Dylan Metcalf (Bass) and Sam Heffer (Drums).
I’ve previously featured them several times on this blog over the past two years, most recently last May (2018) when I reviewed their explosive single “The Smoke”. (You can check out those reviews by clicking on the “Related” links at the bottom of this page.) Now they return with another mind-blowing new single “Displaced Face“. The song is aptly-named, cause it’s positively face-melting!
The track opens strong, with an ominous, gnarly mix of deep, throbbing bass, distorted psychedelic guitar sounds and spacey background synths lasting approximately 40 seconds. Suddenly, everything erupts into a maelstrom of tortured, reverb-heavy riffs, heavy, thunderous bass and explosive percussion – all seemingly hell-bent on blowing out our eardrums and throwing us against the wall. Charlie screams lyrics I can’t quite make out, but who cares, as the music is fucking on fire! These guys are literal beasts on their respective instruments, and Charlie is a freaking madman when he opens his mouth!
I’ve loved every single one of their songs, and “Displaced Face” is no exception, delivering four minutes of intense, psychedelic ear candy. The marvelously creepy artwork for the single was designed by band friend Elle Penketh.
ECLECTIC MUSIC LOVER 