Bristol, England-based hard rock band Mallavora are making a big splash on the British music scene with their exciting and hard-hitting sound, with features on BBC Introducing and airplay on UK radio station Planet Rock. Hot on the heels of the late March release of their spectacular single “Ego” (you can read my review here), on April 26th they dropped their latest single “Deceiver“, and now follow up with an exciting new video of them performing the song. “Deceiver” is the second single from their forthcoming Paradise EP, due out later this year, and it another winning tune.
Strongly influenced by progressive rock, groove and doom metal elements from some of their favorite bands like KoЯn, Mastodon, Muse and Alter Bridge, Mallavora create melodic hard rock songs characterized by thunderous riffs, driving rhythms, intelligent lyrics and the incredible sparks that come from having both female and male vocalists with great singing voices. The current lineup consists of Larry Sobieraj (guitar), Ellis James (bass/vocals), Jessica Douek (vocals) and Jack Pedersen (drums).
“Deceiver”explores the theme of domestic abuse, with lyrics describing someone trapped in a toxic relationship. She yearns to break free, but his recurring promises of love, combined with her weakness and lack of self-esteem, prevent her from leaving him. Mallavora skillfully expresses the darkness of the subject matter with an aggressive barrage of Larry’s chugging gnarly riffs, Jack’s pummeling drums and Ellis’ heavy, grinding bass that together sound downright diabolical. Larry’s an amazing guitarist, and his wailing guitar solo in the bridge is a highlight for me. Then there’s Jessica’s powerful, soaring vocals, which beautifully convey the intense emotion and despair described in the lyrics.
Look in his eyes Love is a lie
She can’t hear anything Her heads still ringing The tears on her face The last result of his embrace
And she can hear him calling Feels her heart start stalling She lets her life stay falling down Without a sound
So wash away the truth Except the one he told you Give him your hand to hold And let the fear within take control Look in his eyes Love is a lie She can’t feel anything Her heart’s still beating The rings round her eyes Revealing how she spent last night
Goes to where she was lying To find her phone still dialing But no one’s replying how Is she gonna leave him now?
You’ve gotta tell the truth Accept the things he’s done to you Break free from his hold It’s your life babe, regain control
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.
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.
Three years ago, British rock band These Wicked Rivers blew me away with their phenomenal album II (you can read my review here). Since forming in 2014, the Derby, England-based four-piece have gained a huge following in the UK and beyond with their melodic and riff-heavy blues-infused style of rock’n’roll. Making the music are John Hartwell (lead vocals/guitar), Arran Day (guitar, vocals), Sam Williams (bass) and Dan Southall (drums, vocals). It’s been a while since they’ve put out new music, but thankfully, they returned to the studio to record their second album Eden, which is due for release on May 22nd. In February, they released “Shine On”, the first single from the forthcoming album, and now follow-up with their second single “Floyd“, which I’ve chosen as my New Song of the Week.
These Wicked Rivers get right down to business, as “Floyd” blasts open with a thunderous onslaught of gritty distorted guitars and smashing drumbeats. I love the contrast between the calmer verses, with their bluesy riffs, throbbing bass and softly pummeling drums all creating a menacing vibe that adds to the building sense of tension, and the explosive choruses where all hell breaks loose. It’s fucking amazing rock played the way it should be played! The guys are highly-skilled musicians who play as an impeccably tight unit and deliver the rock goods to perfection. Hartwell has a powerful and vibrant singing voice that’s well-suited to their hard-driving style of blues rock. The way he transitions back and forth from earnest croons to impassioned spine-tingling wails is impressive.
Floyd seems to be a metaphor for the conscience of the town – which appears to be sadly lacking these days. All sorts of bad behavior – drinking, drugs, gambling, stealing and sexual affairs – are shown occurring in the video under the watchful eyes of a mysterious bearded man named Floyd. The band told me that most cannot see Floyd, but those who do/can see him, know why. As soon as they see him he’s gone, yet haunts their conscience. The photos we see him throw onto the ground in the woods at the end are of some of the people he’s observed committing their transgressions.
Floyd sits still on the cold wet night
Shackled to the sins he’s indebted to find
the fake facade printed in their eyes
Is what he heeds of the people playing out their lives
But Floyd knows the truth
He knows the lies
He knows all of the evil that you lock down inside
Floyd don’t come around here no more Been seen in town once or twice before The people speak of his judging eyes But Floyd don’t come around here no more, Floyd don’t come around here No more
People see Floyd around the town He moves from street to street blending in with the crowds But those who stop and catch his marble eyes Usually know the reason why ‘Cause Floyd knows the truth He knows the lies He’s the judge, jury, councillor of freedom and exile
“Floyd” is a wickedly good song, and one of the best yet from this talented band. Based on the high quality of it and “Shine On”, Eden looks to be another stellar album.
One of the quirkiest and most enjoyable bands I’ve had the pleasure of featuring on this blog is Johnny Kowalski and the Sexy Weirdos. Based in Birmingham, England, the self-described “body-snatching carnival punk band” fuse Celtic, Balkan and Gypsy folk melodies with reggae, ska, mariachi, punk and rock’n’roll to create a uniquely eccentric sound that’s totally original, eclectic, and deliriously entertaining. In 2017, I reviewed their wonderfully marvelous album European English, and am now pleased to feature their latest release Until The Day, which dropped March 19.
Like many bands, they’ve experienced changes in personnel over the years since forming in 2009. Their current lineup consists of frontman Johnny Kowalski (Vocals, Lead Guitar), Chris Yates (Bass), Ilias Lintzos (Percussion), Matthew Osborne (Drums) and Katherine McWilliam (Violin). McWilliam is also violinist and vocalist for the Celtic rock band Quill, and her image is featured in the wonderful artwork for Until The Day, which was designed by Kat Bennett.
Until the Day is the fourth album by Johnny Kowalski and the Sexy Weirdos, and continues their tradition for making fun, generally upbeat songs while also touching on political and cultural issues of the day. Kowalski told me that while the album “doesn’t ignore the multitude of horrors being inflicted upon the world right now“, it’s also about “finding some hope and something to live for despite all that, even if that’s something as simple as celebrating the people around you.”
Things kick off with the title track “Until The Day“, a lively song that nicely encapsulates the album’s overall theme. McWilliam’s spirited violin takes center stage here, accompanied by gnarly guitars, exuberant drumbeats and a bit of funky bass to round out the proceedings. With his distinctive smoky vocals and delightful Brummie accent, Kowalski croons to his beloved about soldiering on together through good times and bad: “Let go of your secrets they’ll be safe with me / From the floor of this bedsit into eternity / We could live like pirates, each day standing tall / Fuck and fight for freedom until the day we fall.”
The mood abruptly changes with “Flowers For Antifa“, a dark and aggressive song of protest against fascism. The raucous, punk-infused melody and harsh instrumentals are the perfect backdrop for Kowalski’s raspy, emotionally-charged vocals that sound a lot like The Clash’s Joe Strummer as he rails against those who fall prey to the hateful and divisive rhetoric of would-be fascist politicians and media talking heads. A verse in the lyrics express support for the militant anti-fascist movement Antifa: “I gave my money to buy flowers for Antifa / And to get the chance to shoot you I would trade in my guitar / When the war is over we will dance in sweet release / Feasting on the bones of all your sycophants and chiefs / Fall in fall out of line…” The song ramps up to a near-frenzy at the end, with Kowalski angrily shrieking “Good night alt right!” I wholeheartedly agree!
“Smug Song” is a classic Sexy Weirdos tune, featuring a rousing gypsy folk vibe delivered with a colorful mix of instruments, highlighted by Lintzos’ electrifying percussive beats and McWilliams plucky violin notes. She lets loose with a terrific violin solo in the bridge that continues through to the end of the track. Next up is “Batch Music“, the first of two instrumental tracks on the album. The blending of fuzz-coated heavy electric guitar and bouyant violin give the song a strong Celtic rock feel.
The band shows their playful side on “Next Year“, which sounds to me like an old drinking song. The lyrics speak to letting loose and opening oneself up to any and all experiences and debaucheries that come along, and to hell with the consequences. We’ll worry about that shit tomorrow. “Pull down the ceiling again / Contact all your crazy friends / Wasted in weird foreign streets / Making memories we will not repeat / The circus is coming to town / Pretty girls bury your frowns / Weird women and men / They might not come again / Ah, fuck it, they’ll be back next year.” The delightful video shows Kowalski and a lovely, scantily clad woman taking turns on a stripper pole in the middle of a rather stylish room, while the other sits in a chair with their back to the person dancing.
“Anarchist Barbeque (Egg For McGregor)” is the second instrumental, and once again, the combination of electric guitars, strong percussion and spirited violin give the song a wonderful Celtic folk-rock feel. The final track “The Dead Yard” continues the Celtic-gypsy vibe, with a bouncy violin-driven melody, gnarly electric guitars, a pulsating bass line and a frantic mix of exuberant percussion and snappy drums. I’m not certain about the song’s meaning, but my guess is that it’s about how on a certain level, our own truths are the ones that really matter to us in the end: “Deceivers will naysay but we’ll still be here / Believe us as we slay / The things you hold dear are gone / I’ll see you in the dead yard once again.” But whatever the meaning, it’s a fantastic song from a musical standpoint, and a fine finish to a terrific and highly satisfying album.
Bristol, England-based Mallavora are a young hard rock band on the rise. Their exciting, hard-driving sound is strongly influenced by progressive rock, groove and doom metal elements. They’ve released two terrific singles, beginning with “Clockwork Drunk” in 2017 and followed by “Daylight” in 2019, and have been featured on Planet Rock and BBC Introducing. 2019 also brought changes in their lineup with the addition of a new female vocalist, as well as the recording of four new songs that will be featured on their forthcoming Paradise EP, due out later this year. They plan to release all of the songs as singles over the coming months, the first of which is “Ego“, which drops today, March 29.
Mallavora’s new lineup consists of Larry Sobieraj (guitar), Ellis James (bass/vocals), Jessica Ansell (vocals) and Jack Pedersen (drums). About the new single “Ego”, they state that it’s about “autophobia”, generally defined as a phobia of isolation, specifically a dread of being alone or isolated, but oddly also having a morbid fear of being egotistical. The lyrics are about “confronting a tortured soul consumed by fear of itself.”
The song opens strong with a thunderous explosion of gnarly riffs, driving bass and pummeling drumbeats. What’s unusual is that the first lyrics we hear are actually the chorus, passionately sung by the dramatic vocal harmonies of Jessica and Ellis that remind me a bit of Evanescence:
Holds me tight Her grip’s all I can feel Seeps through my dreams I can’t tell what is real Why can’t you just set me free I’m begging Take this voice from me
The music calms down to a melodic interlude in the verses, highlighted by Larry’s gorgeous chiming guitar and Jessica and Ellis’ stunning vocal harmonies. Their vibrant singing voices are somewhat similar in tone, and sound really incredible together.
She’s in my head again Twisting words and sense she bends Plunged into my soul Washed away my pure with cold Tore out my heart my love my empathy Left me just with lust and insecurity
Crept away into my mind Left no place for me to hide Darkest truths untold Dreaming of losing control I can’t hold back what’s beneath the skin She will break out and torture everything
The music ramps up to a feverish crescendo in the final chorus as the band unleash their arsenal of sonic weaponry. Larry shreds his guitar to the breaking point as he lays down intense reverb-soaked riffs of distortion, while Ellis and Jack nearly blow out the speakers with their punishing bass and smashing drums. And, of course, Jessica and Ellis’ vocal harmonies are spine-tingling.
You did it to yourself Forgot your mental health
“Ego” is a spectacular and beautifully-crafted song, and a big step forward for Mallavora. It’s great to see a band’s music and songwriting improve over time, and I’m confident they’ll have a bright and successful future.
Sadly, like so many other artists who’ve seen their tours canceled in the wake of the COVID-19 outbreak, Mallavora have had to postpone their April mini-tour as well. They hope to be able to go on tour later in the year. The artwork for “Ego”, as well as the EP and all upcoming singles was done by Caitlin Shephard.
I recently learned about British band Tungz when their PR rep reached out to me about a possible review of their latest single “Can’t We Just Be Friends Again“, and after listening to a few of their songs I’m now a big fan of this charming foursome. Formed in early 2017, and based in Bristol & London, Tungz is comprised of Jamie Maier (guitar, vocals), Nicky Green (keyboards, vocals), Ollie Horne (bass) and Rick Holland (drums). Drawing from elements of pop, funk, soul and disco, they create wonderful music that’s upbeat, melodic and overflowing with smooth, soulful grooves. Having two vocalists also gives their songs extra vibrance and color.
They released their enchanting debut single “Window Love” in 2018, then followed up with the delightful “Fruit”. In October 2019, they dropped their self-produced EP Okay, featuring four outstanding tracks that are far and away better than okay. They now return with ‘Can’t We Just Be Friends Again’, released via their label Heist Or Hit on March 12th.
About the song, the band states “The track is an open dialogue about wanting to snap back to being happy with someone you’ve only ever really been cool with before. [The opening line] ‘This is BS and we said this was golden paradise’ expresses the weird frustration that comes with trying to argue with someone you don’t know how to argue with because you’ve never had need to do so. It’s about two people who’ve never really started an argument trying to end one. This track feels like a statement to us. But it’s also a question. That’s why we left off the question mark. We went heavy on the production – it’s gonna be a nightmare to work out how to play it live.”
Starting with a lively mix of bouncy percussive drum beats as a foundation, the guys add layers of swirling and warbling synths, funky guitars and throbbing bass to create a sexy and soulful sound with a retro 80s vibe. As I listened to the song, I sensed a familiarity that took a bit of thinking, but it eventually dawned on me that it sounds like some of the songs by 80s British bands Go West and Scritti Politti. Jaime sings lead vocals on this track, and I love his smooth voice and fervent delivery that beautifully conveys the urgency expressed by the lyrics:
This is BS And we said this was golden paradise Pretty pointless This isn’t even what we are like
It doesn’t have to be so hard (Can’t you see what you’ve done to me?) Aren’t we both on the same team? (Take a look what you did to me) Can’t we just skip this part (Can’t you see what you’ve done to me?) If we both want the same thing? (Take a look what you did to me)
(Blame myself but it’s bad for my health to blame myself when you’re not blameless either)
Can’t we just be friends again? Can’t we just be friends again? You know it’ll be easier on me
Sadly, due to the nasty virus now plaguing the world, their tour to promote the new single ended after the first show at Bristol venue Rough Trade. They hope to restart the tour this summer, music gods willing.
British electropop/funk band The Winachi Tribe make some of the catchiest and fun music of any artists around today, and I love them! Based in and around Leeds, they draw from a ton of legendary influences such as Parliament-Funkadelic, Sly & The Family Stone, Primal Scream, Grandmaster Flash & The Furious Five, Massive Attack, The Stone Roses, Talking Heads, D’angelo, Prince and Daft Punk to create their infectious funk-infused style of electro/dance pop. In 2018, I reviewed their fantastic song “Transition”, and am thrilled to feature them once again with the release of their latest single “Funky But Chic“, which dropped on March 6th. The delightful song is a marketing collaboration with iconic Italian fashion brand Pantofola d’Oro, and coincided with the release of the very handsome and sporty Pantofola d’Oro Winachi Collection Trainers, pictured in the heading.
Formed in 2015, The Winachi Tribe is comprised of Liam Croker (vocals), Antony Egerton (keyboards, programming), Inder Goldfinger (percussion), Jamie McGregor (lead guitar), Ritchie Rich (bass) and Mr. Whommit (drums) (although their previous guitarist Mike Bee played on “Funky But Chic”). All accomplished musicians in their own right, they’ve collaborated with musicians and producers in both the UK and Southern California, and have released a number of critically acclaimed singles.
As with many of their songs, they start off with a bouncy dance beat that aims straight for the hips, immediately hooking us in and commanding that we get up and get moving! Then they serve up generous helpings of wobbly psychedelic synths, funky guitars, throbbing bass and snappy percussion. The result is a delicious and upbeat tune with more funky grooves than a boxful of Funkadelic records. Liam’s wonderful vocals exhibit equal amounts of humour and sexiness as he croons with a cool and casual air:
I got a pair of shoes I swear that somebody gave me
My mama says I look pretty fruity but in jeans it feels rockin’
I don’t wear nothing that’s too fussy on me
I just want something so I can walk down your street
Eh, come on baby, let’s get on down to the boutique
Let’s bring back something that’s funky but it’s chic
The entertaining video was produced by John X of Earthstar Creation Center, and directed by Pro Direct Select, and shows some of the band members sneaking into a warehouse to steal several pairs of the trainers. They then go on a high-speed chase with a police car through the countryside, finally eluding the police and connecting with a guy played by Liam who’s waiting for their haul in a parking garage.
From the ashes of what was the beloved West Sussex alternative rock band Third Time Luckie rises a new band The 86 Special. Calling their sound “modern day pop rock accompanied by 80s synth & stadium rock”, they aim to tickle our earbuds with music that’s retro, yet fresh, and always exciting. The 86 Special is made up of two former Third Time Luckie members Chris Horner (bass & lead vocals) and Carl Swietlik (drums), as well as Matt Dawe (rhythm guitar & vocals), Dom Parris (lead guitar & vocals) and Jake Rae (synth & keys). The band is so new that they don’t have any official photos yet.
They’ve just recorded their first song “Dancing By The Moonlight“, along with a promotional lyric video. It’s upbeat, catchy and fun, with a retro 80s blend of pop, rock and post-punk grooves that call to my mind some of the songs from bands like The Go-Go’s, Huey Lewis & the News and The Cars. The guys serve up a mix of jangly and fuzz-coated guitars, humming bass and snappy drumbeats, creating an exuberant, head-bopping song that’ll have even the worst wallflower heading straight for the dance floor. I especially love Jake’s lively piano keys that are liberally sprinkled throughout the track. Chris’s pleasing vocals are perfect for the song, and nicely accompanied by Matt and Dom’s backing harmonies. Great job all around guys!
The song is scheduled for release on May 18 for streaming and download on all major music platforms.
Follow Deep is a young indie/alternative rock band from Hull, England who are making quite a name for themselves on the UK music scene with their dynamic, innovative music and high-energy performances. Making the music are Luke Bushby (vocals, guitar & bass), Joe Ingram (bass, keyboards & saxophone), and Jed Pearson (drums, vocals). The talented trio skillfully blend elements of alternative, progressive, psychedelic and grunge rock to create their unique, eclectic sound, with an added bonus of having two vocalists and a saxophonist in the mix.
They released their debut single “Bad Influence” in December 2017, then dropped an EP of the same name in July 2018. They followed up with several new singles in 2019, and in December, released their debut album Will You Still Love Me, which I’m finally getting around to reviewing. The album features ten songs addressing the highs and lows of love, along with the myriad perils of entering into romantic relationships.
The brilliant opening track “Before The Storm” is a shining example of Follow Deep’s solid songwriting and musicianship. The song has everything I love in a great rock song: a complex melody, a strong, driving bassline, intricate, multi-textured guitars, explosive percussion and superb vocals that span a wide emotional range. The aggressive gnarly riffs contrast nicely with the more subdued jangly guitars and deep bass during the track’s calmer interludes, and along with the dramatic stop-start breaks in the melody, keep the song’s overall tension on a high level. I really like Luke’s voice, which goes from a seductive croon as he sings “You’re a fan of Mozart / I love him too / But it’s now your time to…“, then launches into a chilling full-blown scream with “Sing!” I also love his well-placed shouts of “Woo” and the harmonica riff that comes later in the track. The lyrics seem to speak to our darker impulses, and possibly someone suffering the effects of PTSD. In an voice electronically altered to sound evil and menacing, we hear the words “Do you know what it is to be a monster? You have no idea.”
The band has released two videos for the song, first a lyric video to coincide with the album release last December, then an official video at the end of February. I’ve included them both, as the film footage in the lyric video nicely complements the lyrics, whereas the official video shows the band performing the song.
Next up is the album’s lead single “Alive“, a terrific rock song about the overpowering feelings that hit us when we fall hard for someone: “Cuz you are the reason that I’m not OK. Cuz you are the reason that I’m in pieces.” The dual contrasting vocals of Luke and Jed are highlights on this track and also the sexy and grungy “Sweet Innocence“, one of my favorites on the album. A torrent of grimy guitars and crashing cymbals are layered over a deep, throbbing bassline, creating a sizzling-hot backdrop for the guys’ sultry mix of falsetto and deeper vocals as they alternately croon and wail: “Cuz I don’t wanna behave anymore. There’s no good in your heart.” “Press Rewind” is a bittersweet song about a couple facing the fact their relationship is over, and needing to move on. The track has a pleasing guitar-driven melody, backed by some gentle, sweeping keyboard synths.
Another standout for me is “Hearts In Hands“, with its outstanding bluesy guitars and the guys’ passionate vocals making for a really stellar track. “Lifeline” is a hard-driving rocker, with fuzz-coated jangly guitars, crunchy bass and lots of crashing cymbals. But the real treat is Joe’s lively saxophone solo in the bridge, injecting a bit of a jazzy flourish to the track. “Steal A Flower” is a dark, grungy song with a strutting bass-driven melody. Luke laments about a relationship that began with promise, but ended badly. “How did it get so dark? You are not my destiny. I know what we could have been.” The intense, gnarly riffs and heavy percussion that erupt in the final chorus are fantastic.
“Paradise” is another fine example of how Follow Deep expertly fuses grunge with progressive and psychedelic elements to great effect. The track starts off with a fairly straightforward grunge rock melody, with some fine guitar work setting the tone. At 2:23, the guys inject a blast of grinding psychedelic riffs and spooky swirling synths that last about 28 seconds before calming back down to the previous melody. Luke admonishes: “I’ve told you once, won’t tell you twice. I’m sick of being nice. Why do you think you’re making it to paradise?” With that, the music abruptly launches back into the psychedelic trip, only this time with an onslaught of screeching, heavily distorted guitars that continue to the end.
The guys pull out all the stops on the final two tracks, beginning with the bombastic “Start A War“. Luke’s blazing guitar work is positively mind-blowing, accompanied by Joe’s lush, ominous synths that seem to channel Depeche Mode. Jed attacks his drum kit like a man possessed, adding tremendous power to this glorious track. On the 7:18 minute long “The Same“, they complete the question they began asking in the album title “Will you still love me the same?” This monumental track has more of a prog-rock feel, starting off slowly with a hauntingly beautiful little acoustic guitar riff. Gradually, the music expands into a thunderous soundscape, then Joe enters with a terrific, moody sax solo that’s pure bliss. At 3:50, the music calms down to the gentle acoustic guitar of the beginning, while Luke repeatedly croons the question in a lovely falsetto: “When I’m no longer here no more, will you still love me the same?” The music intensifies again, this time into a gorgeous extended instrumental, highlighted by a stunning guitar solo that continues for the last two minutes before fading out. It’s a magnificent track.
Will You Still Love Me… is a superb album from this very talented and creative trio who make up Follow Deep. I don’t know their ages, but I’m guessing they’re barely in their 20s, and their music has a maturity and complexity that’s quite impressive. With so many elements in the mix, there’s a lot going on here from a musical and compositional standpoint, and I found myself discovering something new with each listen. The guys are great songwriters and musicians, and have much to be proud of with their first full-length album. My lone criticism is that I wish a few more tracks featured Jed’s saxophone, but that’s pretty minor in the overall scheme of things.
Catch Follow Deep at one of these upcoming shows:
Sunday, March 8 – w/Bone Broke Kings, Slackrr & King Boa West Street Live, Sheffield, UK
Thursday April 16 – w/Dude Trips The Polar Bear, Kingston upon Hull, UK
Two years ago, I was blown away when I first heard the music of London alternative blues rock band CuriousHour. In my review of their superb debut EP Explore, I wrote “If you like soulful, blues-soaked rock accompanied by raw, passionate female vocals, then you should be listening to the music of UK band CuriousHour.” It’s been far too long since they’ve put out new music, but I’m happy to report that they’re back with a great new single “She Lies“, which officially drops February 27th. And my recommendation still stands.
Formed in 2014, CuriousHour consists of vocalist Emily Grazebrook, guitarist Andy Grazebrook, bassist Aaron “Bison” Lafayette, and drummer Louis Ricard (who recently replaced Wal Srankiewicz, who played drums on Explore and “She Lies”. On the strengths of their powerful, unique sound and dynamic live shows, they’ve built quite a following in and around London and southern UK.
“She Lies” is a dark and moody track – a “murder ballad” as described by band guitarist Andy. The intense fuzz-covered jangly guitars and deep, muddy grooves are fantastic, with an almost watery quality that quite effectively complements the grim narrative laid out by the lyrics, which were written by Emily. Her raw, soulful vocals are incredibly powerful in expressing the pain and terror of her dire circumstances – that her man is going to drown her to punish her for things she’s done. The words “she lies” can be interpreted to have two meanings: that she’s a liar, and that she now lies at the bottom of the river. Some pretty heavy stuff here.
Father forgive me my sins He promised me many things And when he got a hold have mercy on my soul And when I told him no He took me down to the river He held me way down low Held me way down low on the riverbed
She lies (I never lied) Have mercy on my head
And here on my river bed Way down here on my river bed My sins washed away he said
The beautifully filmed but rather disturbing video shows scenes of Emily walking down to a river and touching the water, as a mother desperately clinging to a young boy who would appear to be her son (played by her actual son), knowing it will be the last time she’ll see him, and her lying dead in the river. Have a look and listen:
Catch CuriousHour at one of these upcoming shows:
Friday, Apr 17 – The Birds Nest, London Friday, May 08 – The Birds Nest, London
ECLECTIC MUSIC LOVER 