Follow No One is the collaborative music project of two highly accomplished musicians from different parts of the world, with two completely separate musical backgrounds – singer/songwriter and pianist Rich Hall, who’s originally from Nashville, Tennessee, but now based in Denver, Colorado, and guitar virtuoso Pedro Murino Almeida from Lisbon, Portugal, but with roots in Brazil. Rich began performing at a young age in theater, but found his true calling in writing and performing music. Pedro was classically trained in music composition, with a successful career involving his own musical acts, and his work has been featured in film and video.
Influenced by such rock giants as Dream Theater, Alter Bridge, Foo Fighters, Queensryche and Styx, to name but a few, they draw from the classic hard rock that defined an era, while adding a fresh approach to create their own distinctive sound. Working remotely from their respective home bases in Denver and Lisbon, the duo released their debut EP, simply titled “5“, in September 2017, featuring five hard-hitting tracks (here’s my review). They followed up with several singles over the next few years, including an excellent cover of David Bowie’s “I’m Afraid of Americans” (which especially resonates with me at the moment, but I digress). In 2019, Follow No One was named Best Rock Act at the Nashville-based Josie Music Awards, the world’s largest all-genre, privately-owned award show.
Now they return with their first full-length album FATE, a monumental concept work based on Hall’s real-life and near-death experiences that tested his faith, endurance and will to live. The album is an epic rock opera of sorts, featuring 17 tracks, 11 of which are songs and the other six spoken word pieces that drive the storyline forward. FATE‘s overarching theme is predicated on the question “If you lost everything you had, would you just give up or fight like hell to get it back?” The various tracks follow Hall’s journey from the depths of despair that culminated in a life-threatening health incident, to his self-redemption and healing that followed to get him to where he is today.
The album opens with “The Beginning Is in the End“, a spoken word piece that begins with sounds of someone gasping for air making a 911 call, then hanging up. We soon realize it’s Hall in a severe state of distress, recalling some important events in his life as he stares death in the face. Those events include happy times like the birth of his first son and his early career success (to which his father comments “You’re a lucky young man. This is one helluva place you got here, son. Just keep doing what you’re doing and you’ll be fine. But, if you want my advice, enjoy your time at the top of the mountain. You may not always be here“), as well as the devastating news that his wife is leaving him and taking their two sons with her.
Next, we’re launched headlong into the hard-rocking “No Happy Ever Afters“, in which Hall bitterly laments of feeling betrayed and abandoned, his life now in tatters: “Take everything you have, and all that you hold dear, and watch it disappear. It’s just me we’re talking about, but I don’t think we’ll ever speak again.” Almeida’s guitar-playing prowess is on full display as he lays down scorching hot riffs, backed with pummeling rhythms and explosive percussion. They keep the aural onslaught going full throttle on the appropriately blistering “Drowning in Fire“, which is followed by a spoken word interlude “Adding Insult to Injury” that chronicles Hall’s life spiraling out of control from destructive behaviors, and isolating himself from others to the point where his father sends the local police to check in on him.
As the album progresses, Hall’s story unfolds with the telling of the rupturing of a major blood vessel in his throat, detailed in the song “Hanging by a Thread” and spoken word track “ICU – Can You See Me“, in which his doctor tells him of the severity of his condition. Realizing he nearly died, Hall has an epiphany “You were on a hell of a ride, but soon you may be dead. Now you’re in that moment where the memories of your life are passing by. Better hope the man pulling the strings, is pulling for your side.”
He starts coming to terms with his life as it now exists and contemplates the path he must take going forward on “Erase Me“. A year later, his sanity reaching the breaking point, he just wants to run away from his pain, which he lays out on the exhilarating rocker “Just Drive“: “Ok, take a deep breath and just remember: Every mile you go is one mile away from where you were. So fuck it, just drive!”
Now we arrive at the title track and centerpiece of the album, “Fate“, an anthemic rock ballad in the style of some of the great rock ballads of the late 80s. Almeida’s guitar work is especially magnificent here, and nicely accompanied by Hall’s beautiful piano and keyboards. His vocals are particularly moving as he plaintively ponders whether all the hardship and pain he’s going through is pre-determined or totally random “Is it fate, that makes our tomorrow? Is it me, that determines it all? Could it be, through the pain and the sorrow, there is no choice at all?”
Hall’s journey toward his recovery and self-improvement encounters a few setbacks along the way. On the very poignant “No Christmas Without You“, he’s left heartbroken at the prospect of facing another Christmas alone, without his sons. This pain is expressed on the hard-rocking “Million Miles Away“, with Hall lamenting about how he feels that, no matter how much he’s moving forward, he still feels farther away than ever. “A million miles away, is not far enough to keep my heart away. The closer I am, the further you are to me.” For this track, bass was played by Tony Franklin, and Hall’s son Reagan sang backing vocals.
Hall takes on his depression on the spoken-word “Just a Dream“, a conversation with his father who also suffered from the mental illness, and the song “This Bastard“, giving a name to the emotional foe he vows to vanquish. Once again, Almeida lays down some blistering riffs, making this a pretty good rocker. On “Never Surrender“, he sings of not giving up and letting his problems and depression defeat him. Things are finally looking up as he picks his sons up at the airport when they arrive for a Christmas visit on “Airport – Reunidos“. I like how he tells them about his new music project with Almeida when they get in the car.
FATE ends on an optimistic note with “Let Love” a beautiful, cinematic rock anthem about the healing powers of love. Reunited with his sons, Hall jubilantly sings of how love, faith and forgiveness helped him to survive and find happiness. “I forgive you, I still love you / You know that anything’s possible, as long as you learn how to survive. Keep your dreams alive, there is nothing to stop you now. Now that you’ve learned how to die.” Almeida’s guitar work is spectacular, accompanied by Hall’s gorgeous piano and soaring strings that make this song one of the highlights of the album.
With FATE, Hall and Almeida have created an epic work of musical art. It’s an impressive accomplishment, for which they should be very proud.
One of the perks (and there are a few downsides as well) of being a blogger who writes music reviews is getting to know a lot of musicians and bands from all over the world, some of them on a personal level. High on my list of favorites, both as musicians and humans, is Chicago-based rock band The MillionReasons. Though I’ve never met them in person, I seriously love these guys and consider them friends who honestly care about me as a person, rather than simply a blogger who can be of use to them. A few of them actually check in from time to time to ask how I’m doing, which means a lot to me. It also makes me an intensely loyal fan.
The Million Reasons originally formed in 2016 as a trio comprised of Scott Nadeau on lead vocals, and Ken Ugel and Mike Nichols on guitars. They were joined a year later by drummer Colin Dill, then bassist Jason Cillo in 2018. I first learned about them when they followed me on Twitter in July 2018, around the time they released their magnificent single “Dizzy”. It was love at first listen, and I quickly became a big fan of theirs. Without question one of the most beautiful rock songs I’ve ever heard, I was happy to write a review of “Dizzy”. I loved it so much that it went all the way to #1 on my Weekly Top 30, and ultimately ranked #69 on my 100 best songs of the decadelist.
The guys went on to release a few more singles, then in August 2019, Scott decided to leave the band. Fortunately, they quickly found a phenomenal replacement in singer-songwriter Taylor Brennan, a close friend of Colin’s, and the band lineup was complete again. Taylor brought not only his impressive vocal talents, but also great songwriting skills and years of experience, which have expanded The Million Reasons’ musical horizons quite nicely. Whereas their music had primarily been classic rock/rock’n’roll oriented, some of their new songs venture more into progressive rock territory.
All five band members are highly accomplished musicians, several of whom are also involved with other projects. Taylor is vocalist for alternative-progressive rock band Polarizer (who’s brilliant album Love From the Underground I reviewed last November). Ken is guitarist for rock bands Guardrail and Wild Gravity, and Colin and Jason are members of covers band Dad’s Night Out. Having five members, including two guitarists, their sound is dynamic, heavy and melodic, consistently delivered with incredible riffs, tight rhythms and powerful vocals – everything we lovers of rock want to hear.
With their new lineup, the band set to work writing new songs, as well as re-working a few song ideas from their previous iteration that had never been fully-developed. This culminated in the release of their EP If Not For the Fire in February 2020, which I also reviewed. The title single “If Not For the Fire” also climbed to the top of my Weekly Top 30 chart, and ended up at #20 on my Top 100 Songs of 2020 list.
Unfortunately, the Covid pandemic cast its ugly pall soon after the EP’s release, hindering the relatively new lineup from touring or performing live to promote it. Also prevented from gathering together to record more songs, the guys soldiered on remotely, often struggling in the process. In the hopes of getting their music out to a wider audience, they signed with Pavement Entertainment in summer 2020, and once Covid restrictions were lifted, got back into the studio to continue recording songs for what would become their debut full-length album Haven, which finally dropped April 15th. It’s a beautiful work that was definitely worth all the blood, sweat and tears it took them to finally get it done and released.
The word ‘haven’, defined as a place of safety or refuge, is the perfect title for The Million Reasons’ new album, as it encapsulates all that got them to this point. The album features 11 tracks, including the four previously released on the EP, which have been re-engineered and mastered with a bigger and fuller sound. Though I did not conduct an interview, each band member beautifully articulated their own thoughts about the album, some of which I’d now like to share in order to provide some context.
Taylor: “It’s an intensely personal album for me. But I/we always hope that our songs connect with people, whether it’s an individual or a crowd. I like to think there are enough overarching themes to speak to someone else going through the emotions represented by the songs; the highs, the lows, or especially if it’s both. It’s about one’s journey through highs and lows, no matter the obstacles, no matter the duration of the tumult. One of my favourite lyrics on this album is ‘It’s not over til it’s better’. It updates on the ’til its over’ aspect because to me the original phrase implies a potentially negative finality. The point being, I now believe there is always “better”. Even if the body shots keep coming, even if it feels like death by a thousand shots, even if “better” is achieved incrementally…if you keep going…if you work on yourself and surround yourself with love and support…it will get better. To me, that culminates in ‘Haven’. Haven is the place where you finally feel safe. The place where you finally feel home. The place where you finally feel better. The place where you finally feel like ‘you’.
To me, the album represents that natural chemistry cannot be denied. That’s obviously a theme of the lyrics, but the band also lived that. We have a great time together when we get together. Musically, we gel. I think we had the rocky start that could have ended some projects before they had a chance to get going. But we made it through and now we know what we are capable of. I love the record, I am as proud of it as anything I have done. When you have to work hard to get through adversity, the end result is that much sweeter. We’ve done that, and we like each other and this band more now than we did when we first met, I feel. So while this feels like our peak right now, like a penultimate record, I think it also represents that we’re in this together and we have what it takes to see this through indefinitely. We are a band, and a fucking good one. And we’re just getting started.”
Colin: “‘Haven’ is the culmination of 5 years of songwriting, practice, shows, line-up changes and hard work, all finally pieced together to create the true foundation and spirit of The Million Reasons as a band. The spirit being defined by keeping Rock N’ Roll alive and well and having a damn good time doing it. COVID impacted our timeline and motivation greatly. It was extremely challenging to find time to finalize writing and recording each piece whether at the studio or on our own. There were absolutely discouraging times that we would never quite get there, but we persevered and are absolutely ecstatic at the end product. I’m very proud of this album and release. I love the guys in the band like family and it’s so exciting to have this release finally happening. “If Not For The Fire” and the passion of the group, there would be no album!“
Jason: “This really is a culmination of all the band’s work. Some of these songs were written during the first iteration of the group (Mike & Ken being the only remaining members) and then re-done with new vocals. I personally joined the band where the music was already mostly outlined for about half the album and the other half was written together. We write the music completely separate from the lyrics and let Taylor write on top of what we came up with. A lot of these songs came from jams or specific writing sessions in Ken’s apartment. Ken and I paired off a lot to write in a more rigid, methodical way, while Mike and Colin would go into the rehearsal space and jam with something recording them and then we’d converge on those ideas. I hope that [the album] gets in front of people who will enjoy it. I’ve never felt better about music that I’ve worked on and I know it’s good, it’s just a matter of showing the world that. Truthfully, I just want people to enjoy it and for the band to play some more shows to see that in-person.”
Ken: “‘Haven’ is our defining moment as a group and the place where we’ve established our sound. This is our base, and acts as the beginning of something special. The journey to find our ‘Haven’ over years of songwriting, lineup changes, and a pandemic; has led us here: our safe place, where we are coming into our own. The metaphorical and physical start of this new chapter of TMR. I truly believe if these songs were played to a wider audience and given the attention it deserves, we’d break out of the ‘only friends and family’ listening parties. I’d hope to start opening up for some bigger acts and get in front of new people over the next year. ‘Haven’ showcases everything the band is about and just to boost my self-esteem up a bit: I think it’s a damn good album!“
Mike: “‘Haven’ is about overcoming adversity, from being at your lowest point and attaching your focus from one silver lining to the next in order to escape your rut. It’s an emotional story from Taylor’s point of view, but to me it can also represent the journey the band has gone through over the last few years. There’s darkness, but there’s light to bring us out of it. Lyrically, ‘Haven’ delves into love, loss, and self-doubt, followed by hope, confidence, and triumph over hardship. Musically, the album explores the spectrum of rock music we grew up listening to, from the poppy sensibilities of “1985” and “Alone With You”, to the high energy of “Oh, Tranquilizer” and “If Not For The Fire”, to the anger of of “All You Can’t Afford” and “Only Human”. “No North Star” might be a standout track on the album, easily distinguished by being melancholic and acoustic, but it also reads as a flashback, setting the scene for how we’ve arrived at the emotional state that came to influence the rest of the record. Track by track, there’s something for everybody. Everything about this album is overdue, it’s about time the world gets its ears on The Million Reasons. I want people to hear the album and love it. I want to play on stage for those people. I want this album to inspire people to create. ‘Haven’ is the catalyst that turns our dreams into reality.”
Well, I’ve heard the album loud and clear, and I love it more with each listen! Haven kicks off with “Oh,Tranquilizer!“, a rousing blast of atomic energy that both Ken and Mike name as one of their favorite tracks to play. And no wonder, as they deliver an onslaught of scorching riffs, fortified by Jason’s pummeling bassline and Colin’s explosive drumbeats. Taylor has a commanding tenor voice, dazzling our earbuds as he sings about our failing to clearly see what’s important amid all the noise: “Oh tranquilizer, this will be our year. You soothe the symptoms of this mania. We’ve got a lot to lose. Pay attention to the signs around. You’ve got a lot of nerve, to hear the noise but miss out on the sound.”
On the fiery (no pun intended) title track “If Not for the Fire”, the guys unleash their inner beasts, letting loose with an electrifying barrage of thunderous musical mayhem. The song is a rock masterpiece, and a highlight of the album. Taylor says the message behind the song is simple: “Do not settle. We get one go at this. Whatever makes you happiest, whatever makes you feel most alive, whatever lights you up, go fucking get it.” And once again, he raises goosebumps as he passionately wails of his need for an intense, almost obsessive kind of love that thrills and excites: “I came for the curse of, I came for the kiss of, A love divine that paralyzes. What did you come for, if not for the fire to light you up this way.”
The powerful video, filmed and directed by Philip Goode, shows Taylor seated at a table and struggling to write, juxtaposed with scenes of the band performing the song and working their magic with their respective instruments. Their energy and charisma are clearly evident.
Perhaps the most upbeat track on the album is “1985“, a bittersweet love song with an infectious and pleasing pop-rock sensibility that sets it apart from the others. I love the bouncy, guitar-driven melody, soaring harmonic choruses, and especially Colin’s spirited drumbeats. Taylor plaintively reminisces about lost time he could have enjoyed with a loved one: “Take me to 1985. I’d do it all again with you. I learned too late, the only priceless thing is time. Bring me back to 1985.“
The guys get back to business churning out hard-rocking bangers on the next several tracks, starting with “Coup De Grâce“, a blistering song about a toxic and abusive relationship featuring lyrics with boxing metaphors: “Back in the ring again, absorbing the body shots. Jab to a cross then uppercut, sends me back to my corner.” I’m starting to sound like a broken record, but wow, these guys know how to deliver the rock goods, nearly blowing out the speakers with rampaging riffs and explosive, stomping rhythms. And it goes without saying that Taylor rises to the occasion with his jaw-dropping vocal gymnastics.
“Shine On” has a bit of a Meat Loaf vibe, with it’s frantic galloping beat and aggressive guitar work, but especially in that Taylor’s vocals sound at times like those of the late, great singer. “Alone With You” is a proper rock tune with a catchy melody, intricate guitars, and thumping rhythms. Essentially a love song, Taylor sings of the joys of being with the woman he loves: “Anything to be alone with you. Where you go, I’m locked beside you babe. I don’t think I can get enough of you. And we are only getting started.” “Ride Or Die” starts off with a grunge vibe, highlighted by Jason’s gnarly bassline, but eventually explodes into a full-blown rocker with blazing riffs and heavy chugging rhythms every bit as good as some of the iconic rock songs of the late 70s and 80s. And on the poignant “Only Human“, Taylor pleads with a friend to not surrender to the pain that threatens to overwhelm them: “We’re far from done. But please hold on. You’re going to make it. Remember, it’s not over ‘til its better.”
“Pretty Ones” is a brilliant track, with a complex melodic structure and intricate, yet powerful instrumentation that give it a monumental prog-rock feel. Mike and Ken’s dual guitars are really spectacular here, and Colin’s drums are perfection. Taylor’s vocals are filled with intense passion as he sings the lyrics touching on restlessness and the internal struggle between putting down roots in one place or with one person vs. the desire for freedom, believing the grass is greener somewhere else or with someone else, but also fearing that perhaps we’re just running away from ourselves: “Ever after chasing down the pretty ones / Right back to the place where I am running from / In motion, stuck in motion / I fear it’s just my nature.”
Without question the most beautiful song on Haven is “No North Star”, a powerful and melancholy ballad about a man ready to give up all vestiges of hope. The song opens with a mournful cello played by Alyssa Laessig, accompanied by a lovely acoustic guitar as Taylor forlornly laments about mistakes he’s made: “Four on the floor / As the shower head pours heat on me / Praying to the god of sorry / I’m sure she has questions for me.” The music gradually grows more expansive until reaching a dramatic crescendo at the end, at which point he passionately implores: “Stare in the sunken-in eyes of a ghost of a shell of a half of a half of a man / Saying what good can I be if I couldn’t be better for you / I couldn’t lie when you asked me to lie / But I’ll die if you ask me tonight / I’m going to die anyway / I might as well do it for you.” Along with “If Not For the Fire”, it’s my favorite song on the album.
The final track “All You Can Afford” is a dark and heavy kiss-off to a lover who’s pushed the relationship beyond the breaking point. The guys deliver a torrent of blistering psychedelic riffs and crushing rhythms during the first three minutes of the track while Taylor rails “I’m taking the keys to my heart and your car. I’ll leave you behind, hoping you’ll find all that you can’t afford, my love, anymore.” The music then transitions to a gritty, almost cinematic instrumental for the remainder of the song, punctuated by a rather ominous, barely intelligible male voiceover and a mix of sirens and other harsh sounds.
What more can I say that I haven’t already gushed about, other than to proclaim that Haven is a spectacular album and a glorious feast for the ears. The five talented lads of The Million Reasons have outdone themselves, and should be quite proud of what they’ve created here. This band deserves to be successful, and I hope this review will encourage my readers to give this album a listen. And if they like it even half as much as I love it, my efforts will have been worthwhile.
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 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.
Carbonstone is an industrial alternative metal band from Baltimore, Maryland that I learned about a few weeks ago when their front man, songwriter and vocalist Corey James reached out to me about their latest album DarkMatter. Influenced by such acts as the Rolling Stones, Korn, Nine Inch Nails, Static-X, Linkin Park and Starset, among others, Carbonstone creates hard-hitting, yet incredibly melodic music fueled by powerful driving rhythms, explosive riffs and lush industrial soundscapes, and fortified by James’ exceptional vocals.
James originally formed the band in 2005 under the name ‘Unspoken’, but later briefly changed their name to ‘Carved in Stone’, until someone misheard him, thinking he said ‘Carbonstone’. In a conversation with bandmate Neely Johns I watched on YouTube, James humorously recalled the exchange he had with someone at a party: “Somebody asked me ‘So what’s the new band name?’, and I said ‘It’s Carved in Stone’. When you have about 15 beers in your system and try to say Carved in Stone, it slurs out a little bit. He repeated Carbonstone back to me, and I said ‘Holy shit, that’s now the band name!’“
Carbonstone released three albums, Behind Closed Doors, Process of Elimination and What You’veBecome, as well as two EPs Unspoken and Strength in Silence, before life demands, the pressures of touring and burnout ultimately led the band to call it quits in 2014. Everyone went their separate ways, and James came very close to giving up on music altogether. But he could never fully let it go, and after a hiatus lasting more than five years, James once again felt the pull of music. In 2019, he decided to resurrect Carbonstone with former bandmate Neely Johns on guitar, along with new members Daniel Ryan on bass, Tony Correlli on synths and production, and TJ Darpino, who handles the extra live guitars and produces the band’s videos. Armed with three previously-written songs and several new ones he wrote during the first three months of 2021, James got together with his bandmates in April, and spent the next six months recording Dark Matter.
Released in late October 2021, Dark Matter is a gorgeous work, featuring 11 outstanding tracks plus a brief instrumental intro. The album was masterfully arranged and produced by band member and engineer Tony Correlli. As implied by its title, it’s a dark concept album inspired by some of the personal traumas James experienced in the years after Carbonstone’s breakup in 2014. He says the album contains some of the most personal songs he’s ever written, which take us on a journey from initial injury, as depicted on the opening instrumental track “Laceration” and following track “AM Trauma”, through the process of addressing personal demons and beginning the recovery from emotional trauma, as described by “Mend” midway through the album, to a state of well-being on the closing track, “Heal”.
The opening instrumental track “Laceration” establishes a moody tone with ominous atmospheric industrial synths, highlighted by darkly beautiful piano keys, before launching into the full-frontal assault that is “AMTrauma“. The guys layer an intense barrage of gnarly riffs over a chugging bassline and pounding drums, all of which explode into a raging torrent in the choruses. James has a beautiful, arresting vocal style that’s perfect for hard rock. His voice reminds me at times of Trent Reznor or Adam Gontier, effortlessly transitioning from seductive breathy croons to bone-chilling impassioned wails as he sings “Have you recovered. You won’t admit you never knew me, and you’ll pay for the way you deceived me. AM trauma, look at what you’ve done!/What have I become? All eyes on me, I am a catastrophe!”
“Hush” is a dramatic and melodically beautiful rock song with intricate guitars that run the gamut from shimmery to shredded, accompanied by swirling industrial synths and galloping percussion. The lyrics speak of being unable or unwilling to face one’s demons, choosing instead to suppress them in the mistaken belief they’ll just go away: “Ever feel like you’re always faking. It’s all in how you hold secrets left untold. You’d never know I’m suffocating.”
Bookended by rather spooky dulcet tones one would hear on a music box, “Phantoms” is a melodically complex tug of war between the calm of a lovely rock ballad and the explosive aggression of industrial metal. James plaintively laments of the demons – i.e. phantoms – that torment him: “I am forever haunted. These phantoms live beneath my skin. If I descend to madness, just look away and pray for me.” And on the heavy and dark “Mend“, he fears he’ll never experience happiness again: “I can never feel that way again. It’s so unreal the way I bend. Push and pull me closer to the edge. These open wounds will never mend.”
One of my favorite tracks on the album is “My Own Summer (Shove It)“, an excellent cover of the Deftones classic. Carbonstone does the song great justice, capturing the intense, eerie vibe of the original while making it their own, and James’ jaw-dropping vocal gymnastics are every bit as good as Deftones lead singer Chino Moreno’s. The title track “Dark Matter” is a powerful and stunning song with elements of Depeche Mode and Muse, only much more intense. James rails about the burdens he’s carried his entire life: “Cause I’ve carried the weight of the world, from the very day that I was born. Been buried underneath again, forever walking with the dead.”
The parade of excellent songs continues with “Pins & Needles“, featuring the dual vocal harmonies of James and his wife Chrystal, who’s the lead singer of metal rock band ANOXIA (of which James is also a member). Her beautiful vocals remind me a bit of Evanescence lead singer Amy Lee. The lyrics are a plea for help to escape from emotional torment: “I’m locked alone inside my head, it’s like a carnival. Somewhere between alive and dead, I’m just a tragedy. Rescue me from myself, the enemy.” “Vertigo” is a hard-driving banger addressing the negative impacts the cruel, hard ways of the world have on our souls: “It’s not your fault, the way you are. Thisfucked up world will leave you scarred. It tears you up and lets you down. This vertigo drives us underground.”
Another favorite of mine is “Kill the Dark (Astray)“, a stunning piano-driven ballad that’s the most melodic and beautiful song on the album. James’ breathy vocals are captivating as he sings of coming out of the dark and moving toward recovery: “Inside you scream, until it bleeds. Let’s kill the dark in you and me. Feel it all break, shattering away. Every move we make leads us more astray.” “Heal” closes the album on a high, albeit intense note, with a strong Nine Inch Nails vibe. James’ menacing vocals even sound like Trent Reznor’s as he passionately sings “The hardest part is letting go. It’s diving into the unknown. An empty space that you can feel. Sometimes the fall is how we heal. Do you feel better now?”
Dark Matter is a phenomenal, beautifully-crafted album brimming with impactful songs dealing with emotional trauma and the self-realization required for eventual healing. Carbonstone should be very proud of what they’ve created here, and this album needs to be heard by as many ears as possible. They’ve got a fan in me, and I hope my readers will love this album as much as I do.
I have a special fondness for female-fronted bands, and British group Never Apart fit the bill quite nicely. Consisting of the talented Alice (Al) Clarke (lead vocals), Rhys Scott (rhythm guitar), Ben Ollis (lead guitar), Nathan Gummery (bass) and Louis Baille (on drums, who recently left the band), the Coventry-based group plays a hard-hitting style of edgy melodic rock, with compelling lyrics addressing such issues as relationships and emotional well-being that many of us can relate to. They released their debut single “Damaged” in late 2019, then followed in May 2020 with “Hold On Hope“, which I reviewed. Now they return with a terrific new single, “Sick of It“, which dropped January 7th.
Never Apart wastes no time getting down to business, blasting through the speakers with a torrent of raging guitars before things settle down to a throbbing bass-fueled groove, overlain with chugging riffs of gnarly guitars and heavy thumping drumbeats. The music ebbs and flows with each verse and chorus, punctuated by a beautiful interlude of shimmery guitars, sparkling synths and delicate piano keys in the bridge, only to explode into a dramatic barrage of shredded guitars and pummeling rhythms in the final chorus. The band’s musicianship is impressive, and gets better with each new release.
Alice has a commanding vocal style that’s well-suited to the band’s heavy rock sound, and on this track her clear, highly emotive vocals are quite effective in conveying a strong sense of exasperation and anger as she belts out the searing lyrics in which she gives her former lover the big kiss-off.
You’ve got some nerve boy you're playing me like a toy
with all that I ever do
it seems its always too much for you
But now you won't see me
I'm running away from you
pleasure is pain now baby
more fool on youYou broke the wall around me built up the lie I believed
you burned it all now
I'm so sick of it
you dragged me down to the ground
so lost but thought I was found
you burned it all now
I'm so sick of it I gave you everything
now you’ll never see me again
with all of your games in my head I’ll never forget.
But now you won’t see me
I'm running away from you
Your pleasure is pain now baby
more fool on you
Why am I so hard to please
cried my eyes to start to freeze
You burn it all
Tarraska started out as a mostly acoustic cover band, but within a few years the guys began writing their own songs, and incorporating more electric guitars and heavier bass into their dynamic blend of classic and modern hard rock. Influenced by some of their favorite acts like Myles Kennedy, Tremonti, John Mayer, Slash, Aerosmith, Van Halen, Whitesnake, Iron Maiden, Five Finger Death Punch, Alter Bridge and Foo Fighters, their music took on a harder rock edge, characterized by heavy riffs, hard-driving rhythms and aggressive vocals. Jack plays rhythm and acoustic guitar and sings vocals, Ben plays lead, rhythm and bass guitar.
The guys released their debut single “Trailblazer” in May 2020, and followed that December with “Renegade”, which I featured on a Fresh New Tracks post this past February. Now they’re back with their third single “Prose“, which dropped December 3rd. All three singles will be included on their forthcoming self-titled album, due out in early 2022. A beautiful rock ballad that’s a departure from their typical harder rock sound, “Prose” became a fan favorite after Tarraska played it in their live shows. In response to the song’s positive reception, including even frequent requests for its lyrics, the guys felt it was the obvious choice for their next single release. They decided to record “Prose” with their full rock sound, and the result is a magnificent, deeply moving track that I think is their best release to date.
Jack reflects on his inspiration for writing the song: “The lyrics for ‘Prose’ were written to honour the many, many influences, artistic and familial, that have helped shape both my lifelong love for my art and who I am as a person. Of course, for me personally the lyrics refer to music, story and poetry as these are the mediums I resonate most strongly with, though for others it may be dance, painting or any number of other pursuits. I therefore see ‘Prose’, as I hope others will too, as a love song not for any one person, but for the ideas and emotions that so many have been able to express only through their dedication to, and love for, their craft.”
The track was recorded and mixed at Absolute Studios in Bournemouth by Gareth Matthews of GMMix, and mastered by Grammy-winning Brad Blackwood at Euphonic Masters in Memphis, Tennessee. Fellow musician Allan Varnfield played drums on “Prose”, as well as many of the songs on their forthcoming album, and will hopefully be joining the guys for live shows in 2022. About the recording process, Ben elaborates: “We knew the arrangement of ‘Prose’ was going to command our utmost attention; it was a delicate balance between a waltz and a rock ballad. Through its metamorphosis in the studio, the song unfolds from its acoustic roots to a powerful, yet melodic, ballad that hopefully captures you within its numerous dynamic shifts.”
As Ben alluded, “Prose” starts off with a beautifully-strummed acoustic guitar, as Jack tenderly sings “The songs and the stories of childhood, made me who I am today. And if I could thank you then I would, for lighting the path that I take. Expression committed to page…” As the song progresses, more guitars, bass and percussion enter, flowing and ebbing with each chorus and verse, becoming more intense in the choruses when Jack passionately sings “Your numinous prose, the verse and the line. The depths of your mind, slowly composed for you at the time. But the meaning implied, spoke to my soul, and taught me to hope, to love and to hold.” It all builds to a dramatic crescendo in the final chorus, highlighted by Ben’s gorgeous guitar solo and Jack’s fervent vocals at their emotional peak, after which the song fades out in a trail of serene strummed guitar notes.
To learn more about Tarraska, check out their Website
Since forming in 2016, Annapolis, Maryland hard rock band VEER have made a name for themselves in the mid-Atlantic region through their hard-hitting melodic rock and riveting live performances, earning awards and an expanding fan base along the way. Comprised of brothers Ronald (vocals & guitar) and Jon (drums) Malfi, Ryan Fowler (lead guitar), and Christian Mathis (bass), VEER hit their stride in 2018 with the release of their debut album Apocalyptic, Baby, which nabbed a spot on the Amazon Top 100 Rock Albums list. That same year, they won a Maryland Music Award for Best Rock Band, then went on to win Best Rock Song for their 2017 debut single, “Come Clean,” by the World Songwriting Awards.
Last December (of 2020) they released their single “Red Tide“, a dark, grunge-influenced song addressing the repetitive nature of people who continually make the same mistakes over and over (read my review here). Now they’re back with a terrific new single “Science“, which dropped on November 13th. Both songs will be included on their forthcoming second album Soft Machines, due for release in Spring 2022 if all goes according to plan. Engineered and co-produced by Steve Wright (Slipknot, SR-71, Future Islands), the song features VEER’s signature hard-edged, guitar-driven grooves and pummeling rhythms, but presented with greater sheen and a stellar arrangement.
The song starts off with distorted psychedelic guitar notes layered over an otherworldly backdrop of spacey undulating synths, setting a rather unsettling mood appropriate to the title. Around 45 seconds in, the song shifts gears as the music explodes into a dramatic barrage of gnarly riffs, throbbing bass and thunderous drums. Ronald plaintively sings with increasing emotional intensity as the song progresses: “Angelina says it wasn’t right for me to look up at the stars. Far above, the atmosphere is clear, we’re on our way to Mars. Well I find you inside out, kick it over, hear me shout, I’ll shout again. Well you find me upside down, you kick it over, hear me shout.” His vocals soar into a full-blown anthemic chorus as he implores “Science! Return my pride.” It’s a great song that’s easily one of their best.
About “Science”, Ronald says it’s “about fact versus fiction, hard science versus fantasy. Strangely enough, it was written prior to the pandemic, but listening to the lyrics now, it’s eerily prescient. A song about living with your head in the clouds now has a more cynical and poignant meaning.” The beautifully done, surreal video, which was created by band drummer Jon Malfi, has a futuristic, space themed feel, in keeping with the song’s subject matter. He states “It was important for the video to compliment the song, but also for it to stand alone visually, on its own merits. It’s telling its own story against the backdrop of our music.” I think it brings VEER’s lyrics to life perfectly, and more.
I’ve noted many times on previous posts that some of the best rock music today is coming out of the UK. Perhaps it’s the rich musical legacy, the prickly politics or even the persistently dour skies that spurs such incredible creativity, but whatever the reason, there’s no denying the consistently high quality of British rock. One of the indie bands that stands out among many for me is Amongst Liars. Their fiercely aggressive style of melodic hard rock, forged from a dynamic and colorful trifecta of alternative rock, grunge and punk, has earned them a dedicated and passionate following, me included. With support from Kerrang Radio’s Johnny Doom, Moshville, BBC Introducing and Great Music Stories, their songs have garnered airplay on local and national radio throughout the UK, and have been collectively streamed over 177,000 times on Spotify.
Based in the Brighton/Eastbourne area along the southern English coast, Amongst Liars consists of Ian George (lead vocals, guitar), Leo Burdett (guitar, backing vocals), Ross Towner (bass, backing vocals) and Adam Oarton (drums). I’ve written about them numerous times, but to recap, 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.
Beginning with the release of their spectacular debut single “Over and Over” in February 2020, they’ve followed with five more singles, the latest of which is “Kill the Tide“, which dropped October 8. All six singles will be included on their forthcoming self-titled debut album, due out in Spring 2022. I’ve previously reviewed four of them – “Over and Over”, “Wolf Machine”, “Burn the Vision” and “Black Days” (you can read some of those reviews by clicking on the related links at the end of this post) – and three have charted on my Weekly Top 30. All of their songs, along with the entire album, were recorded, produced and mixed by David Radahd-Jones at Red City Recordings in Manchester. “Kill the Tide” was mastered by Grant Berry at Fader Mastering.
While they don’t consider themselves a ‘political band’ per se, Amongst Liars have been pretty outspoken on some of their songs about what’s happening in the UK and beyond. Band vocalist Ian George explained “We’re not preaching at anyone or trying to change the world. We’re just saying these are the things that affect and concern us.” On “Wolf Machine”, they called out inept and ineffectual governments led by power hungry politicians, while “Burn the Vision” denounced those who’ve sought to profit from the misfortune of others by distorting the media with fake news to spread their own narratives and lies. “Black Days” railed against the last 10 years of Tory rule in the UK, calling out austerity measures, questionable decision making, incompetence, lies and self-serving political bias.
On “Kill the Tide”, which was the very first song they wrote together after forming in late 2019, the band reflects on their own personal traumas they experienced over the collapse of their previous bands that ultimately led up to their formation as Amongst Liars. They describe the song as an “anthem of rebirth” that tells the story of their formation and determination “to dig deep and come back even stronger.” Ian explains: “Our new single has its genesis in our beginnings, yet it also marks a new chapter for the band. Despite the enormous challenges during lockdown, we used the time to focus on our songwriting and to issue new material regularly. During this process, we found our sound, we pushed ourselves, and we grew as songwriters. ‘Kill the Tide’ marks that evolution.”
In an interview with VENTS Magazine, Ian elaborated on their experiences: “Originally I was in a band for many years that imploded in mid 2019, and was really let down over the space of six months by a succession of people I really trusted. The other guys were in a different band who had a similar experience, being let down by people too, and we kind of knew each other before that having played a show together, so I reached out, we met up and it just clicked. It’s what bonded us so quickly I think, when you go through similar things. The title for the song came from a group chat when we were looking for a band name. Someone suggested ‘Kill the Tide’, which we didn’t like as a band name, but I thought that it would make a great song title. And with that title, the lyrics for this song just flowed and came quite easily – and helped me personally move on from the past, so it was very cathartic writing it!“
Tonight we’re gonna demonstrate So long – we nearly got it right Those eyes they want to self-assure Your side I can’t give any more Those lies you’re not the only one No end without a setting sun Alive – you’ll never take it When your hearts not in it – your head’s on fire For what’s it worth This wreck of hurt I cast it all aside I will embrace, I will insist You are no friend of mine In all I am – and all I see – I’ll bring it back to life Don’t kill the tide, don’t kill the tide
The song was originally recorded in late 2019 with a long intro, but this past April, the band asked David Radadh-Jones to cut the intro and remix the song to make it more ‘fresh’ sounding. The result is a tight, beautifully-arranged melodic track that delivers the powerful driving rhythms and fearsome riffs we’ve come to love and expect from Amongst Liars. The song begins rather tentatively, with Adam’s gentle drumbeats and Ross’s soft vocal chorus, then Ian’s raw vocals enter the proceedings as the music ramps up. At 34 seconds the songs blasts open with Leo’s heavy chugging riffs layered over Ross’s throbbing bassline and Adam’s pummeling drumbeats. Ian’s vocals rise to the occasion, displaying the spine-tingling emotional ferocity that makes him one of the finest and most exciting vocalists in rock music today. I love the contrast between his intense vocals and Ross’s gentler backing vocals in the verses. Leo lets loose with a terrific guitar solo in the final chorus that takes the song to the next level.
“Kill the Tide” is another fantastic banger, and further proof Amongst Liars are a band to be reckoned with.
The official video shows the band giving an electrifying performance of the song in a studio space at the Congress Theatre in Eastbourne. It was produced, directed and edited by Josh R Lewis, with assistant editing by Robert Ruardy, the same team who produce all Amongst Liars videos.
Along with “Kill the Tide”, Amongst Liars has also released an exclusive (and elusive) B-side “Crucify”, a blistering song of protest. Their raging guitars, crushing bass and thunderous drums are positively mind-blowing, and Ian’s already feral vocals sound more fearsome than ever. The track will not be available on streaming sites, but only by download for one week only, via their website at https://www.amongstliars.com/
Those of you fortunate enough to live in the UK can see Amongst Liars at one of these upcoming shows:
Blight Town are a five piece alternative/math rock band based in Nottingham, England. Formed in 2019, the band consists of brothers Jake (vocals) and Sam Hough (guitar), Will Emmerson (guitar), Scott Taylor (bass) and Joseph Smith (drums). Together, they combine elements of progressive, math, pop and metal rock with bold instrumentation, complex time signatures and a dramatic mix of screamo and melodic vocals to create their wildly explosive sound. In short order, they dropped their debut single “Jejunum” in September 2019, but since then have taken their time releasing new music. Nearly a year later in August 2020, they followed up with their second single “Argument Bargument“ (which I reviewed), and now return with their self-titled debut EP Blight Town, which dropped July 16th. The EP features the two aforementioned singles, plus two new tracks.
The guys get right down to business with the opening track “Frostilicus“, instantly demanding our attention both musically and lyrically with an unrelenting thunderous barrage of grungy guitars and pummeling drums as Jake screams “She needs to listen to us right now!” I have no clue as to what the song’s title means, but the lyrics seem to be about confronting a duplicitous and self-destructive person: “Such whack shit is going down. The bullshit she’s churning out. If you don’t say the words to her then I will. Such a shame that you haven’t got the guts to still. Tell me where do I go? I wish that I didn’t know. A slave to the wages of sin. Where do I begin?” The scorching, intricately layered guitar work is fantastic, and a testament to the guys’ impressive musicianship.
“Jejunum” continues on a similar theme, delivering another onslaught of fearsome riffs and explosive percussion, accompanied by a marvelous, almost skittering bassline. Once again, the intense, richly-textured guitars are mind-blowing, turning hauntingly beautiful at the breakdown that occurs at the 1:06 minute mark. Jake’s vocals are downright fearsome throughout much of the song, but also soften to an enchanting ethereal calm in the interlude. As for the song title, a quick Google search revealed that ‘jejunum’ is a part of the small intestine in both humans and most higher vertebrates, including mammals, reptiles, and birds, so it’s anyone’s guess as to the title’s meaning. The lyrics seem to speak to a similar type of unpleasant person we were introduced to in “Frostilicus”, who Jake roundly denounces: “You already know you made my life a living hell.“
The cheekily-titled “Argument Bargument” is a prog-rock gem, opening with an atmospheric strummed electric guitar that gradually becomes enveloped in wobbly reverb. Suddenly, we’re hit with a burst of chaotic gnarly riffs, throbbing bass and aggressive drumbeats as the song evolves into a rousing, melodically complex and discordant banger. Amid some terrific guitar noodling punctuating the otherwise tumultuous proceedings, Jake’s vocal gymnastics are a thing of wonder as he transitions from pleasing croon to scary screams. The band states that the song is “A wistful retrospective on the transient nature of modern relationships and the lengths we will go to in order to rationalise our lived experience.” Jake emphatically snarls “You never wanted an argument, well now you’ve got it. And that’s why they call me the cynicist.”
The guys unleash their full arsenal of sonic weaponry on the final track “Don’t Touch Me I’m Covered in Poisons“. The instrumentals are heavier and more intense than ever, with Sam and Will’s dual intertwining guitars laying waste to the airwaves while Joseph nearly blows the speakers with his smashing drumbeats. Then there’s Jake’s feral vocals, which are positively spine-tingling as he screams like a wild beast. It’s a wonder he has any vocal cords left!
Blight Town is a great little EP, a literal bundle of explosive TNT packed into 12 minutes and 51 seconds, beautifully showcasing this band’s outstanding songwriting and composition talents, as well as their impressive technical skills. Though their music is both complex and intense, it’s still surprisingly accessible and melodic.
Blight Town also offers an array of merchandise, including tee shirts, hoodies and caps made from sustainable and vegan-friendly materials, which you can purchase at https://slugapparel.com/.
VEER is a hard rock band based in the historic and charming Maryland capital of Annapolis, but their dark and aggressive sound would suggest roots in nearby Baltimore instead. Formed in 2016, the band consists of brothers Ronald (vocals and guitar) and Jon (drums) Malfi, Ryan Fowler (lead guitar), and Christian Mathis (bass). They hit their stride in 2018 with the release of their debut album Apocalyptic, Baby, which quickly made the Amazon Top 100 Rock Albums list. That same year, they won a Maryland Music Award for Best Rock Band, then went on to win Best Rock Song for their 2017 debut single, “Come Clean,” by the World Songwriting Awards, an international organization that promotes and recognizes songwriting in various genres throughout 129 countries around the globe. Their riveting live performances have earned them a loyal following in the mid-Atlantic region, where they’ve had the pleasure of opening for such acts as Buckcherry, Sponge, Fuel, Puddle of Mudd, Trapt and 40 Below Summer.
This past December they released their latest single “Red Tide“, which will be included on their forthcoming album Soft Machines, due out later this year. The song has a moody grunge undercurrent that – to my ears at least – gives it somewhat of an early Pearl Jam or Soundgarden vibe. The instrumentals are all fantastic, starting with layers of fairly intense gnarly guitars over a fuzz-coated shimmery riff that serves as the basis for the song’s ominous melody. Christian lays down a throbbing bass line in perfect accompaniment with Ryan’s moody riff, while Jon fervently attacks his drum kit, pounding out the powerful rhythm with impeccable timing. Ryan’s blistering guitar solo in the bridge is quite good too.
Ronald told me that the song is about “the repetitive nature of human beings, continually making the same mistakes over and over—be it in society in general or our personal lives.” His raw, impassioned vocals convey a strong sense of exasperation as he bitterly wails the refrain “I’ve been here before“. I really like “Red Tide”, and think it’s VEER’s best song yet. Have a listen, and let me know what you think.