DENSE – EP Review: “Abjection”

DENSE is a remarkably talented young psychedelic garage rock band from Leeds, England I’ve been following pretty much since their beginnings nearly four years ago. As their name suggests, they combine thick, fuzz-coated grooves with intricate, often explosive riffs and complex melodies to create music that’s exhilarating and intense. To best describe their distinctive sound, I’ve come up with the phrase ‘industrial surf-metal psychedelic garage rock’.  Making this incredible and innovative music are Charlie Fossick (Guitar/Vocals), Dylan Metcalf (Bass) and Sam Heffer (Drums), three intelligent guys who take their music seriously, yet are still fully in touch with their playful side.

A favorite of this blog, I’ve featured DENSE numerous times over the past three and a half years, most recently last December when I reviewed their dark and gritty single “Fever Dream” (you can read some of my previous reviews by clicking on the links under ‘Related’ at the end of this post). Now the guys return with their debut EP Abjection, featuring four combustible little sticks of dynamite packed into 14 explosive minutes. The guys have gained a reputation for their electrifying live performances, and in the creation of the EP, they wanted to capture that energy and translate it into their songs. Abjection was written and recorded by DENSE, produced and mixed by Adam Bairstow, and mastered by James Grover.

It’s been gratifying to follow these guys on their musical journey, and as they’ve matured, so too has their sound, songwriting and performance, with each release sounding better and better. Abjection is their best work yet, with the band further experimenting with progressive rock elements. In a recent interview with British webzine DRAB, the band explained “The instrumentals are incidentally written to sort of be ‘progressive’ with changing moods and vibes through each song to almost tell their own story. To pair with this, Charlie usually writes taking influence from writers such as H.P. Lovecraft (i.e. cramming a horror story into a single song), and this led to us landing on the main theme of the EP being a small collection of songs that are all essentially short stories about different forms of suffering, hence the title of the EP. Looking back on that, it makes us come across a lot more bleak and depressing than we like to think we are as people!

Opening track “Calcium” really showcases how well the three guys play as a tight unit, their respective instruments in perfect sync as they deliver a thunderous wall of psychedelic sound. Starting with Dylan’s deep, pulse-pounding bass line that serves as the song’s rapidly beating heart, Charlie layers scorching reverb-soaked riffs that rip through the airwaves while Sam aggressively smashes his drum kit. I can’t make out all the lyrics Charlie’s singing, but he screams with a ferocity that’s downright chilling. A little more than halfway through the song, we hear what sounds like jets flying as Sam starts shattering his drums with crushing beats that echo off the walls. At 2:45, Charlie lets loose with a savage volley of raging distortion, while Dylan’s relentless throbbing bass can be both heard and felt. It’s an exhilarating ride from start to finish.

As it’s title suggests, “Dread” is a dark and ominous track, with a heavy start-stop beat driven by a menacing bass line. Two thirds into the song, Charlie blows us away with an explosion of screaming distortion while Sam smashes his drums to bits. Charlie wails the lyrics that speak of depression and hopelessness: “Dark shadows surround me. So patient. So worthless. So nothing.” In that DRAB interview, he commented on his vocals: “I think as far as my vocal tone on the EP goes, I was trying to be more confident in my voice and not hide too much behind walls of reverb and delay which is a lot more comfortable for me. I never think of myself as a ‘singer’ or anyone of any significant talent vocal/lyric-wise so I wasn’t very comfortable in having my words sound clear and at the forefront. This time around I’ve decided to be a bit more vulnerable with what I wrote and how I’m performing it.”

Electric Chair” has a rousing punk rock vibe, with gnarly reverb-soaked guitars that border on surf at times. As always, Dylan and Sam blast out a hard-driving rhythm with their intricate heavy bass line and pummeling drum beats.

The final track “Cleanse/Repair” is a reworking of their song “Irreversible Knot” that they’d previously recorded a few years ago. After changing a few lyrics and elements that make it a sharper and more polished-sounding track, they felt it needed a new name. The song begins with Dylan’s deeply-strummed bass, then we’re hit by a thunderous barrage of fuzzy distorted guitars and wildly crashing cymbals. Charlie’s echoed vocals go from sultry drones to savage wails, while he shreds his guitar nearly to bits. Halfway through the track, things calm down so that we hear only Dylan’s bass, then with a scream from Charlie, a cacophony of reverb-soaked distortion comes crashing back like a rogue wave. A second lull occurs three quarters of the way through, with a final return of tumultuous discordant musical mayhem closing out this monumental track.

All three members of DENSE are supremely talented guys who continue to blow me away with their incredible musicianship. Charlie’s guitar work is exceptional, and I think Dylan is one of the finest bassists around today. And Sam’s a literal beast on the drums. Abjection is a fantastic little EP that makes quite an impact in its 14 minute run time, and if you like music that’s complex, thrilling and dark, you will enjoy it as much as I do.

Connect with DENSE:  Facebook / Twitter / Instagram
Stream their music on  Spotify / Soundcloud / Apple Music
Purchase on iTunes / Bandcamp / Google Play

THE SLYTONES – Album Review: “IT IS CALLED”

The Slytones It_Is_Called_FRONT

From the moment we first hear the sounds of someone sniffing a bottle, dropping ice cubes and pouring liquor into a glass, then taking a swig at the beginning of the opening track on the new album It Is Called by British band The Slytones, we just know we’re in for a good time. And quite frankly, can’t we all use a few more good times right now?!

Influenced by their love of The Doors, Mr. Bungle, Queens Of The Stone Age and Jimi Hendrix, as well as a colorful mix of Motown, psychedelia, gospel, blues, jazz and Afrobeat, the Brighton-based sextet make wildly entertaining music that’s bawdy, irreverent and funny as hell. Their hilarious, tongue-in-cheek lyrics tackle the minefield of love and relationships, and how they have a way of often exploding in our faces. As they so eloquently state in their bio, their sound “encompasses everything from schizophrenic fairground avant-pop and queasy skanking swamp-ska to crunching left-brain hard rock and mad scientist anti-funk.” To top things off, they dress in natty attire with their faces covered in black and white greasepaint, looking like six dapper mimes in their animated and theatrical performances.

Formed as a trio back in 2006, The Slytones eventually expanded to six members: Ashley Edwards (lead vocals/guitar), Bradley Wescott (guitar), Chip Phillips (keyboards, backing vocals), Chris Warren (bass) (though Carl Brothwood played bass on many of the album tracks), Freddie Hills (drums), and Robin O’Keeffe (percussion/backing vocals). They released their debut EP The Psychedelic Sound Of in 2011, then began recording new songs in 2013 for what was to be their first full-length album.

According to band drummer Hills (whose music I’ve previously reviewed both as a solo artist and as a session musician with fellow Brighton artists Ellie Ford and Liemba), The Slytones “spent three years slaving over it meticulously with a lot of love and attention to detail until it was finished around 2016. Despite all of this work, we got a bit fed up of playing the music industry game (and each other) and went on an indefinite hiatus. Now that we all have time on our hands, we decided to finally release it.” I’m glad they did, because it’s the most fun I’ve had listening to a record since last year’s Love at First Sniff by Australian band Thunder Fox.

The Slytones2

It Is Called was recorded at Ford Lane Studios in West Sussex, under the guidance of Rob Quickenden (Royal Blood, Tigercub, Demob Happy, Fickle Friends), who produced, mixed and mastered the album. Seven years in the making, the album was at last released on May 1st, and features 12 stellar tracks.

Kicking things off is “She Said She Came From the Sea“, which The Slytones first released back in 2015 as a double single with “Time Won’t Wait For Strangers”.  Opening with the aforementioned sound effects of liquor being poured and consumed, it’s the perfect drinking song about what appears to be a vexing mermaid who’s intruding on the singer’s free-wheeling ways. Lead singer Ashley Edwards has a raspy, sardonic and emotive vocal style that’s well-suited for their songs. We fully believe him when he sings “The truth is a stone. My heart is a rock. The women that surround me only long for my cock.” The accompanying video showing the guys performing the song on a pier and in the sea is delightful.

The Slytones are terrific musicians, adept at writing complex, ever-changing melodies and delivering them with an eclectic mix of instruments, sounds and stylistic elements that make for a fun and exciting listen. “Empire” is a great example of this, with a melody that alternates back and forth between a bouncy Latin-funk dance beat and a bluesy, guitar-driven groove that seems to channel the Doors’ “Roadhouse Blues”. In fact, Edwards sounds alarmingly like Jim Morrison when he wails the lyrics “Break down the walls, your empire falls!” The instrumentals are fantastic, especially the bluesy guitars and exuberant horns.

Another favorite of mine is “Sleeping Beauty Blues“, an appropriately bluesy track with everything from glittery synths, funky bass and blues guitars to honky tonk style piano, organ, jazzy drums and even a bit of cowbell for good measure. Then there’s Edwards cheekily crooning the lyrics about his girl not being all that she appears: “I got the sleeping beauty blues. / She sleeps like a beauty, but she snores like a fool.” There’s more musical mayhem to be heard on the rousing “Come Gigolo“, a wonderful tune with a feel similar to “Master of the House” from Les Misérables (at least to my ears). It also has some of the best lyrics: “I’m feeding all the lions to the dogs. As the idiots sleep, we massage their wives. Come gigolo my body ’cause my time is for sale. / Your mother should have slapped you before you were born.” The rousing vocal harmonies in the chorus are marvelous.

The Doors’ influence continues to be felt on many tracks. “Time Don’t Wait For Strangers” is another song with a complex, evolving melody. Opening with a peppy Latin beat, the song transitions after a minute into a languid and beautiful melody, with watery guitars and shimmery keyboards that remind me a bit of “Riders on the Storm”. At around 3:15, the song transitions once again, this time to a more psychedelic vibe with organ and heavier, distorted guitars. “Green Jacket” is a hard-hitting psychedelic and bluesy rocker, with some great fiddle, accompanied by Phillips’ lively keyboards and organ, and O’Keeffe’s gnarly percussive instruments. “The Seed They’d Sewn” has a bluesy vibe similar to “Love Me Two Times”, with lyrics that seem to describe a woman who’s turned out to be the Bad Seed: “She once was an angel, with skin so divine. Now the lizards congregate.. / The seed they’d sewn should not have grown / The sound they found, they should have drowned.”

Silver Harpoons” is a jazzy, bluesy and psychedelic fantasia. Edwards’ raw vocals are almost feral as he screams “Silver harpoons in the water. Night made to slaughter. Who are you?!” Later in the track, amid eerie synths and distorted riffs, his malevolence is palpable as he snarls: “Where is my goldmine? This corporate clothesline. I’m in a circus full of thieves. You’d kill a whale to feed your tart. I’ll fuck your wife to break your heart.” The infectious honky tonk piano makes a return appearance on the spirited “Shake the Cage“. Edwards and Wescott’s intense, bluesy guitars, Brothwood’s driving bass and Phillips’ piano are fantastic, and Hills does a fine job pounding out the lively rhythm.

Don’t Leave Me Alone” has a wonderful tango melody, punctuated with flourishes of bluesy, roadhouse-style grooves. On the amusing but dark “King of the Castle“, the band reference nursery rhymes to describe what appears to be a power-mad father. Edwards sounds rather diabolical as he croons “I’m king of the castle / Do you want to grow big and strong like your daddy? / Not by the hair on my chinny chin chin. Well I’ll huff and I’ll puff and I’ll blow your house in.” The song starts off with a jaunty fun-house vibe, complete with ghoulish clown laughter. Edwards repeatedly sings “Come sing, come sing as we’re dancing“, then in the last minute of the track, the music turns darker and downright menacing, with distorted guitars, crashing cymbals and a wailing organ riff.

The guys pull out all the stops on the final track “Pull Your Finger Out“, a complex and meandering 7:52-minute long extravaganza with more melodic change-ups than I believe I’ve ever heard in one song. It starts off with a slow, organ-driven melody punctuated by a bluesy guitar riff, then shifts to a bouncy melody with honky tonk piano, then to a bluesy, guitar-driven vibe, featuring flute and quirky percussive instruments. Various instruments come and go as the tempo continues to change, with even a flourish of gypsy guitar at the halfway point, and later on, a harpsichord. The lyrics are ambiguous to me – and I’m probably way off base – but they seem to describe a vampire’s love life: “We dance in the wretched moonlight. Sing me a wicked lullaby. Like wild men, we scream at the moon. Conscious in mind, but body aloof. Pull your finger out. / I sleep in the day when the moon is away. Wild horses couldn’t drag me away.” Whatever their meaning, it’s a great track.

I love this album and I love this band! It Is Called is 54 minutes of non-stop aural mayhem, and a blast to listen to from start to finish.  The Slytones are all amazing musicians, and I hope the release of this album will give them an impetus to reunite and make more music that brings a smile to our faces.

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New Song of the Week – DENSE: “Fever Dream”

DENSE - FEVER DREAM (ARTWORK)

DENSE is a remarkably talented psychedelic garage rock band from Leeds, England, who combine thick, fuzz-soaked grooves with explosive riffs and intricate melodies to create music that’s incredibly intense and badass. As their name would imply, their sound has an impressive maturity, complexity and density, which I like to describe as ‘industrial surf-metal psychedelic rock’.  The trio consists of Charlie Fossick (Guitar/Vocals), Dylan Metcalf (Bass) and Sam Heffer (Drums).

A favorite of this blog, I’ve previously featured DENSE numerous times over the past two and a half years, most recently this past March when I reviewed their mind-blowing single “Displaced Face”  Now they’re back with another new single “Fever Dream“, which I’ve chosen as my New Song of the Week. The single drops today, December 6th, via Leeds label Come Play With Me. DENSE were selected for this release by a panel of judges which included BBC Radio 1’s Phil Taggart, Adele Slater (agent to Liam Gallagher and Dream Wife), and Paul Riddlesworth from Dipped In Gold Recordings and Too Pure Singles Club.

About the track, Sam explains “’Fever Dream’ is based on a dream our singer Charlie had when he was really ill a couple years ago. In it, a withered man was left to die by a burning window before being dug up and forced to relive the tormenting experience all over again. The artwork relates to the introduction and later repetition of the agonising circumstance which the protagonist is in, left immobile in a chair being burnt by the scorching sun and unable to break the cycle of his suffering. The rocking chair left in the unused wasteland represents the isolation of this suffering against nature’s elements, visually encapsulating the track’s overall atmosphere.

The song immediately bursts forth with an intense barrage of gnarly guitars, throbbing bass and bombastic percussion. Charlie uses his guitar like a battering ram, pummeling the airwaves with relentless riffs of gritty, reverb-drenched distortion. At times, his guitar sounds like a buzz saw, while other times it mimics a machine gun. Dylan lays down a jaw-dropping bass line so heavy and deep I feel it in my core, while Sam smashes his drum kit like a man possessed. It all serves to create a massive, nightmarish wall of sound for Charlie’s demonic wails and screams. Wow, what a phenomenal track, and once again, DENSE blows our minds and ears with their brilliant musicianship.

“Fever Dream” is also being released on 7” vinyl, and is backed on the other side by fellow label mates Sea Leg’s single ‘Favourite Doll’. Limited signed copies of the vinyl can be ordered from http://cpwm.awesomedistro.com/.

DENSE will be launching “Fever Dream” at the following show tonight, 6 December, at Hyde Park Book Club.

DENSE show poster

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Stream their music on  Spotify / Soundcloud / Apple Music
Purchase on iTunesBandcampGoogle Play

 

A MILLION RICH DAUGHTERS – Album Review: “Hidden Parents”

A Million Rich Daughters

Today I’m happy to introduce my readers to a terrific band with an equally terrific name: a million rich daughters. Hailing from Chicago, they play an interesting and totally unique style of, in their own words – “garage/industrial/horror inspired alternative post-punk – music that transcends the typical boundaries of the observable universe.” That sounds about right. The band was founded by brothers Brett and Jake Grant, with Brett on vocals, guitars and synths, and Jake on drums. They were later joined by Matt Clepper, Rene Gutierrez and Taylor Ford, and just released their new EP Hidden Parents, which dropped November 15. After recording the album, Gutierrez and Ford left the band, and were replaced by bassist Josh Victor. Brett also has a solo project under the moniker brett.grant.5, and released his own EP disqui.etude this past June (which I reviewed).

The first track “Hitting Backspace” is a reworking of a song that was originally featured on disqui.etude. This time the mesmerizing track has been expanded by more than a minute, and gets a heavier full-band treatment. Starting off with moody, throbbing synths and shadowy bass chords, the music gradually builds into a spine-tingling crescendo of swirling jangly and psychedelic guitars, accompanied by harsh industrial synths and a deep, thumping percussive beat. Brett has a quirky, distinctive singing voice, and here he sings in a kind of plaintive monotone that grows more dramatic as the music intensifies. His vocals perfectly express the desperate feelings of being buried alive by the staggering weight of one’s problems:  “It wasn’t like I anticipated facing all this in the time since yesterday. Sands keep falling. Feels like I’m slipping away, and trapped hitting backspace./ It wasn’t like I could keep up pacing, keep up pacing through the sands of yesterday.”

The next track “Love Me After” is a feast for the ears, and possibly my favorite on the album. It begins with an enticing mix of plucked guitar strings, delicate snare and a delicious little bass riff that really does it for me. Then a thumping drumbeat ensues, punctuated by jarring jolts of what sound to me like intensely amplified guitar chords. As Brett’s vocals enter the proceedings, the music explodes with equal measures of heavier guitars, synths and percussion. Brett passionately laments of a relationship heavily damaged by a long history of hurt and verbal abuse, yet still holding out hope that perhaps it can be salvaged: “Just like you said, I’m as good as dead, yet you call my words slander. One day we’ll break these goddamn mistakes. Maybe you’ll love me after?” The wailing guitar solo after the final chorus is wonderful.

Melancholia” is a bit of a musical tour-de-force, as it takes us on a delightful four minute long sonic journey. The first part of the song features a frantic punk rock tempo, with rapid-fire riffs and pummeling drumbeats, all anchored by a killer bass line. At around 2:30, the song transitions to a languid, synth-driven melody, with crisp percussion and that lovely bass taking center stage. Eventually, the frantic punk vibe returns in the final chorus for a great, head-banging finish. The lyrics seem to be about not allowing yourself to be defeated by depression or the oppressive forces imposed upon us by others, and to instead speak up and fight for one’s rights: “If you feel like you’re captive in a boat with no captain, speak up! Well I can’t just forget it, and I’ll always regret it, come on. Melancholia’s passion is a pit of distraction, come on. Now we’ve lost all our assets and we can’t pay for access, speak up!

Truth Be Told” is another track from disqui.etude that’s given a fuller instrumental treatment here, with spooky synths, muscular thumping drumbeats and intricate layered guitars. The stabbing guitar chords add a dramatic touch to the mix to great effect. I think this remake nicely enhances the impact of the haunting lyrics that speak to feelings of misery and guilt over the death of a loved one. Brett’s heartfelt vocals are really moving as he sings “Truth be told, I never thought that you’d be dead. Truth be told, I just can’t get you out my head. Truth be told, I’ve been obsessing for so long, I’d give anything to write a different song. Truth be told, I should’ve been the one to go. Truth be told, this burden’s getting hard to hold.

A million rich daughters dial the energy back up with “Possibly a Problem“, delivering furious riffs of jangly guitars and hard-driving rhythms. My take on the song’s meaning is that it’s about how as more aspects of ourselves and our past are revealed in the early stages of a new relationship, we fear the other may lose interest in us, given our shortcomings. In this case, alcoholism appears to be the possible problem: “Lost so many to elixir, don’t you disappear. I just want to make sure, if I’m sick again, be my cure. Possibly a small problem, but I just want to be your man.

The title track “Hidden Parents” has a wonderful electro-psych rock groove, and I love the haunting lead melody. Once again, there’s a lot going on here musically speaking, with numerous tempo and melodic change-ups. At times the song has an 80s new wave vibe, only to later veer headlong into frenetic punk rock beats. Backed by dark, sweeping synths and aggressive rhythms, the intricate, multi-textured guitar work is fantastic. Brett’s distant, echoed vocals convey a vulnerable sense of desperation as he seems to be asking for forgiveness for the wrongs he’s done: “Oh things, have changed, the damage done. Oh look, at what, I have, become. Now I, am lame and most probably not sane. There is, no me, no in-between. There’s still, one thing, I want, to do. And what, I want is to get a little closer to you. Oh it’s always for you.”

I must admit that this was one of the most challenging reviews for me to write in my four years of doing this. Despite having only six tracks, there’s a whole lot to unpack in each song. Not being a musician, and having no music ability nor training of any kind, I sometimes have a difficult time articulating what I’m hearing. Hidden Parents is an experimental work, teeming with unconventional, ever-changing melodies, deep, often abstract lyrics, and loads of innovative, complex instrumentation that give it a compelling and fascinating sound. Indeed, Brett himself told me the album “is fucking weird; there’s a lot going on technique-wise in the music theory, as well as a lot of layers.” That’s for sure, and while it might not be everyone’s cup of tea, I think it’s brilliant.

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Stream their music:  Spotify / Soundcloud / Apple Music
Purchase:  Bandcamp / iTunes / Google Play

MMIV – Single Review: “Room for Requirement”

MMIV 2

MMIV is a fairly new band from Leeds, England, comprised of Max Rawdon (vocals, guitar), Charlie Adshead (bass) and Jasper Exley (drums). They formed in mid 2018 when Charlie noticed some lo-fi tracks that Max had posted on the University of Leeds Band Society online pages, and reached out to him. The two immediately hit it off, and started working together on acoustic demos and performing as a duo at open mics around Leeds. They tried out a few drummers, eventually settling on Jasper, who had previously been in the local band Turn Stones with Charlie, and is also currently keyboardist for funk band Everyday People. For their debut single, they recorded one of Max’s original songs “Room for Requirement“, which was released on October 17.

In an interview with the webzine Lippy, Max said that “Room for Requirement” is “indebted” to his life at the university. Written during his first semester of first year, the song speaks to his period of transition coming from a small rural area to the overwhelming big city. The song celebrates the life of a student, even those times when it can all seem bewildering. You feel torn between missing the comforting familiarity of home, and the excitement of experiencing new things and meeting new people in a completely different environment. It’s against this backdrop that the roller coaster highs and lows of a budding romance can feel so intense.

The song has a pleasing lo-fi quality, with a catchy melody that slowly builds to a jubilant tempo in the chorus. Max lays down some very fine guitar work, letting loose with a terrific solo in the bridge. Charlie’s prominent bass line is particularly good, giving the track a solid depth, which is accentuated by Jasper’s lively drumbeats. Max’s low-key vocals are really nice, and being a sucker for British accents, I like how his shines through on this track. It’s a great debut from MMIV, and I look forward to hearing more from this promising band.

I just hope there’s nothing left required
And I’ve admired you from afar
I might lean my head above the island
And try to find it by a star
Do you feel like a bursting into life
Alright

Cause I don’t need nothing now, maybe a home
I think I’m better off dancing alone
Up down, turned around
Up down, turned around

All of the lights are shining very brightly
My head feels like it’s tingling slightly
The touch of your hand is enough to make me think it might be love again

Connect with MMIV:  Facebook / Instagram
Stream their music:  Spotify / Soundcloud / Apple Music
Purchase:  Google Play

New Song of the Week: A VOID – “No Rest”

It may be 2019, but the enduring legacies of grunge – especially that of Nirvana – and punk continue to have a significant influence on music. I’ve reviewed a lot of artists and bands who’ve drawn their influences from those two groundbreaking genres, and am pleased to feature another today – a young band called A VOID. With members from both France and the UK, and currently based in London, the attractive female-fronted trio refer to their wild, unorthodox sound as “sonic grunge.”

They claim as their inspiration a decidedly eclectic mix of artists and bands, including the aforementioned Nirvana, as well as Sonic Youth, Smashing Pumpkins, Hole, Kaaris, Babes In Toyland, Patrick Sébastien, Deftones, Silverchair, Björk, Tokio Hotel, Lady Gaga, Céline Dion and even Charles Aznavour! Making the music are Camille Alexander (guitar, lead vocals), Aaron Hartmann (bass) and Marie Niemec (drums, backing vocals).

A VOID2

A VOID released their debut EP Roses As Insides in 2016, when they consisted of Camille and two previous band members. The current lineup released an excellent full-length album Awkward And Devastated in 2018. One of the tracks on that album is “No Rest“, which I’ve chosen as my New Song of the Week, as the band just dropped a hilarious and wildly entertaining new video for the song.

Camille’s a terrific guitarist, dazzling us with intricate, melodic riffs of jangly and grimy guitars. Early in the track, her riff calls to mind Nirvana’s “All Apologies” as well as Silversun Pickups’ “Lazy Eye”, but picks up the pace later on when her playing turns more aggressive. Aaron and Marie keep a tight rhythm with their resonant bassline and snappy drumbeats, respectively. Camille’s vocals are really wonderful, with a deep vibrancy that’s youthful, yet worldly, and I love how her French accent shines through. She shrieks “No rest” quite nicely in the frantic punk rock-like final chorus, matching the wailing guitars note for note.

The lyrics speak to the stress and anxieties that stem from relationships, being in a band, and the myriad responsibilities of young adulthood:

Bullshit over bullshit
I’ve lost my drive again
I’m all over the place… ace
Addicted to your sweet words and your belonging
I can’t replace

No Rest
No Rest
No Rest for me x2

Utterly broken
Keeping fading away
Completely wasted
I can’t believe myself

Unstable and insecure I try
Creating like the only way to survive
Holding on to everything as if you died today
All these lines I didn’t write
Now they come chasing me

No Rest
No Rest
No Rest for me x2

The music was so loud
So loud that I can’t hear the thoughts inside my head
The whispering voices
Silence violated

Can’t risk to deny
Responsibilities lie for you to take
Caught up into choices
It’s not my place to make

I wish I was more like you
Disregard and pass on through
I wish I had a clue
Of what I’d get myself into

No Rest
No Rest
No Rest for me

Connect with A VOID:  Facebook / Twitter / Instagram
Stream their music:  Spotify / Soundcloud / Apple Music
Purchase:  Bandcamp / Google Play

BLACK BEAR KISS – Single Review: “I Wanna Know”

I Wanna Know

British alternative garage-rock band Black Bear Kiss have been on a creative tear since the release of their terrific debut single “Hooks” in April 2018. With their exciting, guitar-driven music, strong charisma and rowdy live performances, the talented five-piece have built a loyal following in their home base of the West Midlands/Shropshire region of England and beyond – even out here in the Coachella Valley of Southern California!

Black Bear Kiss4

Comprised of Chris Leech on lead vocals, Colin Haden on lead guitar, Rob Jones on rhythm guitar, Rich Sach on bass, and Chris Bagnall on drums, Black Bear Kiss have been busy playing gigs and putting out a series of great singles, as well as an EP Fighting Our Corner, which they released this past March. A favorite of this blog, I’ve previously reviewed three of their singles (which you can read by clicking on the links under “Related” at the bottom of this post). Now the prolific band makes a fourth appearance with their latest single “I Wanna Know“, which dropped on August 9th.

The song gets our blood pumping right from the get-go as Haden and Jones lay down chugging riffs of gnarly quitars over Sach’s heavy, buzzing bass line. These guys play as a tight unit, propelling the song forward with their hard-driving rock’n’roll rhythms while Bagnall pounds out the beat. The layered guitars are fantastic, with aggressive, swirling riffs that create an exhilarating backdrop for Leech’s warm, earnest vocals which, along with the stellar guitar work, are a major component of Black Bear Kiss’s outstanding sound.

With regard to the meaning of the lyrics, Leech explained that the song is “about playing live and the buzz that comes from it – plus relying on your bandmates”: “Come a little closer, the room is on fire. But I’m alright, you’re gonna be fine. Ah, this is our time. I wanna know, just how much you’re meaning this. Lookin’ around, can I rely on you? Guided by stars. Wanna feel it. Wanna feel it all. Guided by stars. Take the other way, take the other way home.

“I Wanna Know” is a great tune, and yet another in a string of solid singles by Black Bear Kiss. I hope they’ll continue to strike gold with many more!

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Stream their songs on  Spotify / Apple Music
Purchase on  iTunes cdbaby

New Song of the Week: DARKSOFT – “WannaCry”

Darksoft single art

This past February, I featured the creative and talented young Seattle music artist Darksoft when I reviewed his brilliant debut album Brain. Released in November 2018, Brain is a concept album named for the very first computer virus to attack the internet back in 1986, with each track named after infamous viruses that followed. In keeping with his penchant for writing and recording songs that address timely and relevant social and cultural issues related to technology, he’s just dropped a great new single “WannaCry“. The song was written and produced by Darksoft, and mixed and mastered by Mathieu Riede of L453RL4Dy Studios

The song features Darksoft’s signature fuzz-coated jangly guitars, accompanied by swirling synths and crisp percussion that create a dreamy, almost psychedelic soundscape. But my favorite aspect of the overall sound is his silky, almost breathy vocals that are incredibly pleasing, even when he sings of a rather disquieting subject.

The lyrics speak to the deep cultural and political divide in America, fed by our tendency to stay stuck in our own echo chambers. Reading and hearing only what we choose to read and hear makes it harder to learn the real truth, and reinforces our beliefs and opinions. Furthermore, the social networks we thought were friendly spaces now seem to be corrupted by those who use them to spread misinformation.

Maybe they just wanna give us all a say 
But I can’t help but feel like a pawn in some conspiracy 
What am I used to fight? 
Am I lined with the right history? 
Who are you working for? 
Are you buried in your day to day? 
I know, it shows 

So we live alone in our twin code 
Seeing polar sides to every lie 

wanna wanna cry 
you wanna wanna cry 
But you don’t know how… or why

Since I published this review, Darksoft released a fantastic video for the song:

Connect with Darksoft on Facebook / TwitterInstagram
Stream his music on Spotify / Soundcloud / Google Play
Purchase on Bandcamp / iTunes / cdbaby

DENSE – Single Review: “Displaced Face”

DENSE Displaced Face

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).

DENSE2

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.

Connect with DENSE:  Facebook / Twitter / Instagram
Stream “Displaced Face” on  Spotify / Soundcloud / Apple Music
Purchase on iTunesBandcamp

DRAFT EVADER – EP Review: “Cashed”

Draft Evader Cashed

Draft Evader is an earnest and talented young musician from Chicago who I’ve been following for a while, and it’s been gratifying to watch him grow and mature as an artist. An interesting name for the music project of singer/songwriter and guitarist Ryan Loree, Draft Evader aptly describes his independent and rebellious nature. I first featured him on this blog in December 2017 when I reviewed his single “The Devil’s Disguise”, and at the time he explained “the name ‘Draft Evader’ is kind of a middle finger to the whole system, like ‘you can’t tell me what to do.’ So in a sense it means freedom. Freedom to be who you are and do what you love, no matter what anyone says.

Draft Evader plays a dynamic and accessible style of what he calls “pessimistic punk rock”, with rock’n’roll and grunge overtones. He writes all his songs, plays guitar and sings all vocals, and his good friend Joe Scaletta plays bass and drums, as well as mixes and masters the tracks. His deeply personal lyrics are brutally honest and always relatable; he openly addresses his struggles with depression and self-doubt, something a fair number of musicians and others involved in the arts also experience (as does yours truly).

He released a great little EP Hound Dog in the fall of 2018, featuring four stellar tracks – one of which, “In My Mind” was particularly outstanding. I loved the song so much it went all the way to #1 on my Weekly Top 30 last December. On February 12, he dropped a new two-song EP Cashed – a double-sided single of sorts. Interestingly, both tracks are 2:36 minutes long. Cashed was inspired by Ryan’s involvement in a car accident: “Ever get into a car accident during an existential crisis only to lose your job right after? Me too, and I wrote a couple songs about it.”

On the hard-rocking title track “Cashed“, he candidly speaks of depression and self-destructive behavior that often leads to additional problems, contributing to a cycle of ever deeper depression. Yet he also yearns for comfort and reassurance from a older and wiser voice. Ryan’s an impressive guitarist, and he delivers an onslaught of gnarly riffs from the get-go, driving home the seriousness of the subject matter. His scorching little guitar solo in the bridge was written by fellow musician Martijn Frazer, and I love his soaring vocals in the chorus. In fact, Ryan’s vocals have really improved with time and experience, and here he beautifully conveys the frustration and anger expressed in the biting lyrics:

Cashed my check to fill my tank up
Slow down over one more speed bump
Blowing stop signs with no license
Crash my car then stepped in dog shit
Covered in shitty ink
What would my grandma think
Kill for an old-school opinion
Pickin’ up missing teeth until my knuckles bleed
Falling deeper into a depression

On “Sunnyside“, he addresses the self-doubt about his music that sometimes plagues him. He released an EP Heel Turn in April 2018 (a very respectable effort that I also reviewed) but being a perfectionist, Ryan wasn’t satisfied with the songs or EP artwork. He incorporates the EP and song titles in the opening verse of “Sunnyside”, describing his struggle with self-confidence and feelings of not belonging:

Heel turn, I’m on a warpath
If I stutter more, I’ll complain less
All I have are some petty songs
Trying to write out all my wrongs

And I think I died in the old world
Because here I just don’t belong
And I left my soul in the old world
Behind yellow bars and heineken

Once again, he lays down chugging riffs of gritty guitar, while Joe handles the rhythm section with skilled precision. Both tracks are excellent, with catchy melodies that immediately hook us in, and driving riffs to keep us in thrall while we enjoy the ride. It’s a testament to Draft Evader’s continuing growth and ability to put out terrific rock music. I admire this young man and am happy to help promote him and his music however I can.