Young Guns – Ones and Zeros [Album Review]

In the past year, Young Guns have undergone an exciting rebirth, exploding back onto the British and American rock scene with the release of their third studio album, Ones and Zeros. With a three and a half year wait since the release of Bones, which saw them rise to the top of the charts and have a seemingly endless series of UK/EU and US tours, it was uncertain whether Young Guns would sink or float in the increasingly choppy waves of the alternative music scene. They could have played it safe, made a ‘Bones II’ and be done with it. But they didn’t.

Opening track Rising Up instantly indicates the new direction that Young Guns are headed, drip feeding a smooth, melodic flow of synth beats before detonating into powerful bass-heavy rock. Immediately, Ones and Zeros oozes confidence and an energy that persists throughout the rest of the record. This is prevalent in I Want Out, a jaw dropping blend of slick bass rhythms, crashing drums, intricate guitars and thunderous gang vocals expertly intertwined with bursts of synth that makes for a show stopping dance hit. Memento Mori is another shining example of Ones and Zeros transcending genre barriers – rhythmic drum beats, repetitive choruses and periodic outbursts of ‘hey!’ are reflective of the more mainstream influences on the album, yet the track still keeps its groundings in rock.

However, although Young Guns have energy and vigour in abundance, they also demonstrate their gentler side with Lullaby and Die on Time. Both songs commence as slow, soft tracks that steadily build up into a ballad-like climax complete with pianos, deafening drums and hard-hitting, elongated notes from vocalist Gustav Wood. Both songs are solemn and emotional gems, the rubies on the treasure chest that is Ones and Zeros.

The peak of the album comes in the form of Speaking In Tongues, an anthemic godsend of a song that’s not only a stand-out track from Ones and Zeros, but is a highlight of Young Guns’ entire musical career. A fiery explosion of deep bass riffs, violent drums, powerful guitars and Gustav Wood’s dynamic vocals, this track firmly cements Young Guns’ place at the forefront of the British rock scene.

Ones and Zeros is beautifully indefinable. Its irresistible mixing of genres and styles reflect the complicated and often unstable writing process that has consumed Young Guns over the past two years. Ones and Zeros was written between the US and the UK, and this influx of influence is reflected in the final product. It is an amalgamation of the past three and a half years: copious amounts of experience, changes in their styles of writing, the band being torn apart and reborn stronger, louder, better.

It’s different from anything they’ve ever done, but it’s also different from anything most rock bands have done. It’s a beautiful hybrid of pulsating electronic beats and fiery anthemic riffs – it’s bursting with creative genius, and it’s a risk that is certain to pay off. Although this may be an exciting new direction for the five-piece, there are some things that never change. They’ve never lost the energy or the dynamism demonstrated in All Our Kings Are Dead and Bones and, as usual, Gustav Wood’s breath-taking affinity for lyrical poetry is humbling. This album is revolutionary, and Young Guns are going to dominate the world of music like they’ve never done before.

As December Falls – Capture [Single Review]

The UK pop-punk scene pales in comparison to our friends overseas, but thankfully Nottingham based four-piece As December Falls are a welcome blush on the ill cheek of Britannia. Their newest track Capture has already made its debut on BBC Introducing’s ‘The Beat’ two weeks before its official release, and it comes as no surprise that this song has the potential to be the radio’s darling – sweet vocals, catchy guitar riffs and lyrics of a troubled relationship are a perfect recipe for mainstream attention.

That’s not to infer that Capture is without its rugged elements. Lukas James’ drums are certainly aggressive, and perfectly illustrate the frustration that tints this seemingly upbeat track of a relationship that’s spiralling out of control. Perhaps the light-hearted quality conveyed in the fluttering guitars and vocalist Bethany Curtis’ deceptively sugary tones that contrast with the fierce drums is exemplary of the illusory front of a crumbling inner self. From this, it’s fair to say that As December Falls are definitely on their way to writing a ground-breaking debut album.

A highlight of the track is the discourse between Curtis and guitarist Ande Hunter, who claims a vocal role in Capture and adds a layer of complexity to an already intricate song. This especially cements the track as reminiscent of early We Are The In Crowd. The only thing that is uncomparable between the two bands here is Curtis’ lack of vocal tension. Her vocals are very clean-cut, which isn’t necessarily problematic in the verses, but her lack of vigour in the chorus still leaves a lot to the imagination.

However, this is only a minor scratch on the band’s solid endeavour and the track as a whole is expertly mixed. As December Falls possess refreshing maturity for a band that are still very much in their infancy. Not only are they the best band to come out of Nottingham in recent years, they’re looking hot candidates to explode onto the UK music scene – one can easily imagine them entertaining audiences at Slam Dunk Festival, Hit The Deck and maybe even a small slot at Reading and Leeds. Watch this space.

Neck Deep: Leeds Beckett Union 31/1/15 [Review]

It was a pop-punk fan’s wet dream as the most exciting up and coming bands from all corners of the world joined under one roof to play good music to an angst-ridden crowd, and the excitement and unity within the venue as Trophy Eyes rolled onto the stage was tangible. Though they only had small clusters of fans dotted in the audience, the Australian newbies had a following as loyal as their better-known kin 5 Seconds of Summer, singing every word and shooting their fists in the air to fan favourites such as ‘Hourglass’ and ‘In Return’. Undoubtedly the heaviest band of the night, they certainly created enough heat to combat the icy January winds in which fans had queued for hours.

Seaway were by far the best support act of the evening, proudly flying the Canadian flag with pride through their hit ‘Sabrina the Teenage Bitch’. As increasing numbers of the crowd bubbled with activity and new waves of fans surfed over the barrier,Seaway played brilliantly, and recent single ‘Shy Guys’ earned a stunning reaction from a crowd of ever growing fans. The boys kept energy levels high and excitement brimming, and even as final support act Knuckle Puck graced the stage the audience never grew restless – Neck Deep chose their support acts well, and as Knuckle Puck sauntered through their set, not one person stood moodily in the corners waiting for the headliners. All eyes were on the Illinois quintet and newer songs such as ‘Oak Street’ gained a reaction just as emphatic as aged track ‘No Good’.

At last, Neck Deep strolled on stage. It was as if a slow-boiling kettle had finally peaked – the crowd that had simply simmered throughout the evening exploded, and those that weren’t thoroughly engaged in mosh pits or crowd surfing were submerged in the torrent of foam fingers tossed to fans from the balcony. Kicking off their spectacular set with ‘Losing Teeth,’ a highlight from their debut album ‘Wishful Thinking’, not a single person remained silent, and the infectious energy of the band rolled in waves throughout the crowd. For a band that’s only two years old, Neck Deep have certainly amassed a large and loyal following, and as they played their entire discography bar a couple of songs, the united voice of the crowd resonated throughout. Tracks from their first EP ‘Rain In July’ were executed with as much passion and fervour as more established singles such as ‘Growing Pains’ and ‘Crushing Grief (No Remedy)’, but the highlight of their entire performance was ultimate fan favourite ‘A Part of Me’. Dedicated to a fan that sadly could no longer be with us, vocalist Ben Barlow requested that the crowd sing in their honour, to which every pair of lungs obliged. Guest vocalist Laura Whiteside joined the band on stage for the truly moving performance, but both voices were threatened to be drowned out by the 1100 strong crowd. The sentimental touches continued into the encore, which allowed the evening to end solemnly with their tender track ‘Candour’. Still, the reaction Neck Deep manage to illicit from the crowd was one just as resounding as if they had finished on a more upbeat note.

Despite their modern twist on the genre, Neck Deep managed to bring out everything that’s great in pop punk, and for an hour it was as if you’d stepped into the early 00’s. The band have never lost their humility, even noting how flattered they were that bootleggers were selling counterfeit merchandise outside the venue. And after all, that’s what pop punk is about – no judging, no standards, just a bunch of teenagers united in the fact that they all love a band of misfits that own too many pairs of cargo shorts.

LIGHTS: Brudenell Social Club, Leeds 26/1/15 [Review]

Here in the UK we have a love/hate relationship with Canada (we haven’t yet forgiven them for Justin Bieber), but electropop queen LIGHTS is one of its many treasures. Hitting the Great British shores last week with K. Flay, she embarked on an almost sold-out tour – and she was mind-blowing.

American hip-hop artist K. Flay probably isn’t the support act people expected when they walked through the doors of the Brudenell Social Club, but they soon found themselves bobbing along to the chilled out tunes from ‘Life As A Dog’, her debut album that she released last year. Her set primarily consisted of soft rapping, live drums, a keyboard and pre-recorded synth, a combination that worked surprisingly well. However, a lot of songs sounded disappointingly similar and with little fans in the audience and even littler interaction with the crowd, K. Flay couldn’t evoke the reaction that was sorely needed to kick start the evening – but no one was expecting a standing ovation, no matter how talented she may be.

With a performance that contrasted sharply with the softer, more relaxed tones of K. Flay, LIGHTS graced the stage and immediately kicked off the set with the intimate ‘Muscle Memory’. Perhaps a sit-down song wasn’t the best choice of entry as the crowd were still floundering, but following track ‘Toes’ certainly got the crowd on their – ahem – feet. A song from her second album ‘Siberia,’ it’s clearly a track which fans had waited years to see live, and it’s great to see LIGHTS revelling in the reaction. Engaging in a little crowd interaction, she reminisces on the last time she was in Leeds five years ago at The Cockpit (may it rest in peace), before kicking into the next song. She seems to have a natural modest stage presence, humble yet somehow self-assured – maybe it’s the bright red military style-jacket that adds to her confident image.

Without the manipulation of recording, LIGHTS’s voice is astounding, carrying the resonance and vitality that simply cannot be captured on tape. It’s almost illusory the way she holds every note perfectly, shown especially in ‘Running with the Boys’, the video for which was premiered that day. Saying that this song makes her feel young again, she engages the band and the crowd in a discussion of Mario Kart before wielding a guitar (seriously – is there anything this woman can’t do?) and diving head first into the song.

Slowing down the loosely turning cog of the show, she sits down to serenade the audience with ‘Portal,’ a mellow track from her new album ‘Little Machines’, which bewitches the audience into silence before continuing her energy and fervour with ‘Where the Fence is Low’ and ‘Banner’. This is undoubtedly the highlight of the evening with supposedly the best reaction of the tour, and even the middle aged men get involved in the sudden wave of motion.

It’s a shame that the crowd were so sombre, as LIGHTS’ performance was absolutely breath taking – she came, she saw, but she didn’t quite conquer.

Catfish and the Bottlemen – Leeds University Stylus, 9/11/2014 Live Review

Catfish and the Bottlemen – Leeds University Stylus, 9/11/2014 Live Review

                Their name has been tumbling off the lips of rock fans everywhere due to the plethora of media attention they’ve been receiving in the past year, so if you don’t know who they are yet, you should probably stick your nose out of the rock you’ve been hiding under every once in a while.

                Last time they were in Leeds, Catfish and the Bottlemen absolutely smashed the Festival Republic stage and it’s clear from the very second that the hordes of fans swarm upon the venue that expectations are high and tonight is going to be phenomenal.

                Brother and sister duo Southerners are the first to grace the stage with their blues fused rock and roll twang, and exceed all expectations that could be set of a family pair that have been in business for only two years – they’re confident, smooth, and the perfect composers of a crowd that are loving every minute of their set.

                Then, the lights drop and the soundtrack to of Pirates of the Caribbean thunders through the speakers, sending an electric pulse through the crowd that’s almost deadly. On walk Catfish and the Bottlemen, clad in their leather jackets and surrounded by a smoke of self-assurance as the crowd transcends into a wave of madness. The very first chord of ‘Rango’ sends the venue into a mental frenzy that lasts until the end of their set. Despite claiming that his voice is on its ‘last legs,’ frontman Van McCaan doesn’t hold back and performs every note to perfection despite being almost drowned out by the 1000 strong crowd. Sweat is dripping from every forehead five minutes into their set, shoes are being thrown everywhere and at least a half a dozen crowd-surfers have gone over the barrier already.

Perhaps the only flaw of the night is that it’s very much the Van McCaan show, with the rest of the band resigned to merely playing their instruments in their set stage places (though still playing excellently nevertheless), but Van’s interaction with the crowd and his dynamic energy fuelling the masses at his feet are more than enough to carry the crowd.

It isn’t just the hits such as ‘Kathleen’ and ‘Pacifier’ that get a roaring response, every song on the set list is reverberated off the walls. Penultimate song ‘Cocoon’ is the highlight of the entire evening, with the crowd chanting the chorus several times over to the point that it’s deafening. After an elongated and explosive rendition of finale ‘Tyrants’, it’s time for Catfish to leave the stage with the promise to return to Leeds O2 Academy next year. Amazingly, the energy continues to pulse through the venue as the crowd filters out into the tranquil Sunday evening that had been forgotten in the heat of the concert, proof that tonight has been one that verifies why Catfish and the Bottlemen deserve every ounce of praise they get. 

Framing Hanley – The Key Club, Leeds, 27/10/2014 Live Review

Framing Hanley – The Key Club, Leeds, 27/10/2014 Live Review

                Little has been heard of Tennessee five piece Framing Hanley since their last UK tour in 2011, but since then they’ve lost and gained a member, made an album and released a couple of singles. Support bands The Wilde and Hours are pleasant enough to listen to, but ultimately flop in igniting a spark of energy from the crowd, and the venue is pretty dead by the time Framing Hanley walk on stage.

Although opening song ‘Criminal’ is one of the belters from their new album ‘The Sum of Who We Are’, very few members of the crowd react to it. Other songs from ‘‘The Sum of…’ scarcely get a reaction, whereas hits from the first two albums, such as ‘You Stupid Girl,’ ’23 Days’ and ‘Back To Go Again’ get the less miserable fans singing the lyrics back to a band who are clearly worried at the small turnout. Despite a tiny stage and a largely disagreeable crowd, Framing Hanley play as excellently as they always have, with frontman Kenneth Nixon executing his vocals perfectly, blending soft tones with powerful belting choruses, and there’s an unappreciated energy coming from the entire band that would be brilliant if it was captured by a better crowd.

Unfortunately, the only way to drive fans out of their reverie was to play older tunes, which is pitiful for a band that have tried so hard to push ‘The Sum of Who We Are’. Their famous cover of Lil Wayne’s ‘Lollipop’ gets the crowd going a little too late, with less than a handful of songs left.

It’s clear that most people are here to relive the days of their early teenage years, and the band provide the nostalgia that fans have been sucking on all night with ‘Hear Me Now’ as their finale, the track that got them signed in 2006, which surprisingly lets the night end on a high.

It’s sad that such a passionate and talented band have been reduced to playing a mediocre venue to a flat crowd. Although the way the band handled this and played excellently despite it was admirable, after this reaction it’s uncertain what the future holds for Framing Hanley. 

Prides – Brudenell Social Club, Leeds, 7/10/2014 Live Review

Prides – Brudenell Social Club, Leeds, 7/10/2014 Live Review

            You’ll be hard-pushed to find a synthpop band nowadays that not only creates great dance music but that performs it as powerfully and as loudly as Prides, a Glaswegian trio that were only formed in 2013 and are already leaving their stamp on the music scene.

                About 150 people gradually packed into the quaint little venue, and opening act Polo, formerly GirlsOnDrugs, commenced the evening. Although their songs were primarily unknown to the audience and their set was quite slow and tranquil, a fantastic cover of Arctic Monkeys’ ‘Do I Wanna Know’ was enough to win over the opinions of the still crowd.

                Duo The Wild Curve played their third ever live performance to perfection, contrasting with Polo by playing tunes that were loud, brazen and full of flair. The two juggled a mixture of instruments, from guitars, to drums, to keyboards as well as vocals and there was a circus-like feel to their set that was entertaining and well-played.

                Finally, Prides entered the stage to an impatient crowd. ‘I Should Know You Better’ carried the energy and power that set the tone for the rest of the night and Prides just didn’t stop giving. ‘Out of the Blue’ was the peak of the set, due to it being released it on Spotify that same day and having a place on the FIFA 15 soundtrack. Sweat was flowing aplenty from both crowd and band; big, beltering choruses and an earth-shattering bass drum made the compact room seem to vibrate. Their cover of ‘Roar’ by Katy Perry went down a storm and finale ‘Messiah’ was an anthemic explosion. The entire gig was a mass of colour and dance, and both the crowd and the band loved every second.

                Prides are definitely ones to watch – having already supported Blink 182 alongside Neck Deep at the O2 Academy Brixton and headlined the BBC Introducing Stage at Reading and Leeds Festival this year, we can expect big things from the Scottish trio. 

State Champs – 'The Acoustic Things' EP Review

State Champs – 'The Acoustic Things' EP Review

Tracklist:

1. Elevated

2. Deadly Conversation

3. Hard to Please

4. Simple Existence

5. Easy Enough

6. Leave You In The Dark

7. If I'm Lucky 

The new generation of pop-punk is one of the hottest topics surrounding the current rock scene and last year, New York quintet State Champs secured their spot in the limelight with their first full-length record, The Finer Things, which was undoubtedly one of the best debuts produced in a while. Since then, the boys have been busy teasing us with the anticipated release of their acoustic EP The Acoustic Things, the Sunday morning to The Finer Things’ Saturday night.

The EP primarily consists of renditions of older songs: Elevated, Deadly Conversations, Hard to Please, Simple Existence and Easy Enough. The majority are replicas of their originals, with nothing new to offer besides an acoustic guitar - some listeners may feel a bit cheated at the lack of imagination shown in these performances. Far from being purely acoustic and stripped of all else, tambourines and finger snaps fill out the spaces previously occupied by drums, with the occasional piano key making an appearance in Elevated.

New tracks Leave You In The Dark and If I’m Lucky are reminiscent of Mayday Parade’s 2011 self-titled album, with the occasional added grit from vocalist Derek Discanio. These two songs are pleasantly delicate and soft, brimming with the emotion and angst that keeps these tranquil tracks firmly in the pop-punk frame.

Probably the highlighting feature of The Acoustic Things is that by toning it down, State Champs perfectly showcase Discanio’s mix of soft and gravelly vocals that the electric originals just can’t expose. The Acoustic Things is a great treat for existing fans, but if you’re on the fence about where to invest your cash, The Finer Things would be a far better investment. 

The Ratells – ‘Behind The Fire’ Single Review

The Ratells – ‘Behind The Fire’ Single Review

          They’ve played a sell-out headline UK tour, supported the likes of Kaiser Chiefs and won ‘The Best Unsigned Band’ Exposed Award in the space of a year. This is, of course, Sheffield’s own four-piece indie-rock band, The Ratells.
          Combining soft, chilled out riffs with a punchy drum beat, ‘Behind The Fire’ starts by demonstrating The Ratells’ gentle quality alongside Ashley Holland’s smooth yet powerful voice. This track showcases Holland’s vocal range and the band’s unique flair for music as ‘Behind The Fire’ drifts effortlessly from quiet, subtle tones to explosive belters of choruses with silky and playful bass riffs throughout that contribute to the track’s overall fluidity. An instrumental solo ensues, complete with upbeat and fast-paced drum patterns and catchy guitar cadences.
          With one listen, it’s easy to forget that The Ratells are an unsigned gem that have yet to record an album. ‘Behind The Fire’ is brilliant in that it makes for easy listening whilst still retaining the seemingly effortless fiery finale that wouldn’t be out of place in arenas. With a feel as timeless as The Ratells’ leather-jacket-and-cigarette image, it’s evident that the boys already know how to write killer tunes and have attracted the likes of Ross Orton, the genius behind Arctic Monkeys’ ‘AM’ and producer of ‘Behind The Fire.’
          Hailing as one of Britain’s most hard-working bands with a strong and dedicated fan base, it’s likely that The Ratells will storm the UK this year with a hefty headline tour in June and a string of singles and EP’s set for release. If they’re anything as good as ‘Behind The Fire,’ you’ll be hearing a lot more people describing them as the best band to emerge from Sheffield since Arctic Monkeys.

Halestorm - O2 Academy Sheffield 3/4/14 Live Review

Halestorm - O2 Academy Sheffield 3/4/14 Live Review 

Halestorm took the UK by, ahem, storm as they embarked on their second headline UK tour, this time stopping off at Sheffield to raise a little hell. Old and young fans alike piled into the generously-sized O2 Academy, but support acts The Smoking Hearts and Dayshell did little to kick off the evening – vocalist Ben Mills ambitiously named The Smoking Hearts ‘the best warm up band in the business’ before climbing on the edge of the balcony during the set, which only showed that security take their job of pulling fully-grown men over a four-foot barrier far too seriously. Regardless, on-stage banter made them likeable enough.

           Dayshell entered the stage in floods of screams and hair-flipping but few people could be seen enjoying the set amongst the polite nods and chit-chat of those who weren’t at the bar. This staleness continued into Halestorm’s first song, I Miss the Misery, but by the second song Love Bites (So Do I), Lzzy Hale had the crowd wrapped around her little finger. Their immense energy and volume was infectious and soon the entire academy was alive – Lzzy’s voice was on point, holding notes that seemed impossible, Arejay’s drums were on fire and guitarist Joe Hottinger’s solos were electrifying.
           Taking a break from the loud, gritty show that Halestorm do so well, the audience set the venue alight with lighters, cameras and phones as Lzzy performed Break In, a slow melody that accentuated both her talent on a keyboard and her astounding vocal range. When the rest of the band came back on stage, Lzzy and Joe stood face-to-face for the most of Familiar Taste of Poison until dramatic violins and drum beats kicked in before rounding off one of the best songs of the night with a drum solo – it wouldn’t be a Halestorm show without Arejay getting the big guns out – literally – as he produced a pair of huge drumsticks in the midst of his astonishing five-minute solo.
           Overall, Halestorm put on one hell of a show amidst one too many cover songs – their energy and passion set the venue alight and it was clear that the band were enjoying it just as much as the crowd, as Lzzy repeatedly thanked the crowd for being there. The highlight of the night was the finale, Here’s to Us, an explosive and heart-warming song that united both crowd and band in a celebration of Halestorm’s successes and as the Pennsylvanian four-piece bowed off stage, the entire crowd was left wondering how long it would take for them to headline an arena tour…Judging on this performance, not long!

The Pretty Reckless - ‘Going To Hell’ Album Review

The Pretty Reckless - ‘Going To Hell’ Album Review

Tracklist

1.  Follow Me Down
2. Going To Hell
3.  Heaven Knows
4. House on a Hill
5. Sweet Things
6. Dear Sister
7. Absolution
8. Blame Me
9. Burn
10.  Why’d You Bring a Shotgun to the Party
11.  Fucked Up World
12. Waiting for a Friend

Four years ago, The Pretty Reckless released their debut album Light Me Up which embodied vocalist Taylor Momsen’s hair-raising transformation of ‘good girl gone bad’ and split rock fans into lovers or haters of the band. Now the New York four-piece are at it again with Going to Hell, an album that’s gritty, hard-hitting and as beautiful as its cover.

The album opens with the sound of heavy rainfall and the erotic moans of a woman – as you’d expect from TPR – before exploding into a sex-fuelled storm of southern-blues rock. The feistiness continues into title track ‘Going to Hell,’ another fast-paced, bass-heavy belter which, coupled with Momsen’s drawling tongue, is the classic sound of The Pretty Reckless that’s worked so well in the past and is genius in its ability to embody the flavour of the entire album: religion, damnation and an indifference to consequences. ‘Heaven Knows’ was the first track released from the album and is a song made entirely for a live audience – with a chorus of children chanting repeatedly of condemnation and  powerful performances from lead guitarist Ben Phillips and drummer Jamie Perkins in conjunction with too much clapping and stomping, one can only imagine the angst-filled atmosphere ‘Heaven Knows’ would create.

‘House on a Hill,’ ‘Dear Sister’ and ‘Burn’ are pleasant breaks from the album’s ostentatious and loud-mouthed front. ‘House on a Hill’ is in the style of a classic ballad with violins and a big finale, whereas ‘Dear Sister’ and ‘Burn’ are short, sweet lullabies as bare as Taylor Momsen usually is. These impressive tracks show a softer side of The Pretty Reckless and expresses Momsen’s incredible vocal range whilst still retaining her trademark cigarette-stained twang.

Heavier tracks throughout consist of ‘Sweet Things,’ which throws a male vocalist into the mix and transcends from melodic and sweet to metal-style screams, and ‘Why’d You Bring a Shotgun to the Party,’ a thunderous track complete with the sounds of a shotgun and the controversial lyrics, ‘wanna make a statement, you should’ve come without it.’ ‘Absolution’ is a stand-out track complete with classic blues riffs and a Western feel, ‘Blame Me’ is a brilliant four minutes of angst-ridden alt-rock and ‘Fucked Up World’ is another song similar to ‘Going to Hell’ that comments on humanity’s need for ‘sex and love and guns’ and the pointlessness of giving a fuck. Finale ‘Waiting for a Friend’ has a distinctive country element and ends the album on a sombre note.

                This album is definitely worth a listen if you’re open-minded or looking for inspiration. Musically and lyrically, ‘Going to Hell’ is a brilliant album that mixes a range of sounds and has stand-out tracks that will create a range of emotions within its listener. Perhaps the aim of this album was to showcase their impressive talent that the band so clearly possess, but the careless façade grew wearisome after Light Me Up and it’s probably time for Taylor Momsen to put some clothes on and concentrate on her musical talent rather than being rock’s answer to Miley Cyrus. 

We Are The In Crowd – ‘Weird Kids’ Album Review

We Are The In Crowd – ‘Weird Kids’ Album Review

Track listing

1.  Long Live The Kids 
2. The Best Thing (That Never Happened) 
3. Manners
4. Come Back Home 
5. Attention
6. Dreaming Out Loud
7. Remember (To Forget You) 
8. Don't You Worry
9. Windows In Heaven 
10. Reflections

We Are The In Crowd used to be a pop-rock band that was consistently fun and bubbly with upbeat riffs and catchy lyrics that annoyed you to the point of madness. But you loved them anyway. With Weird Kids, they seem to have dimmed their playful spark whist embarking on a journey of musical progression.

Opener ‘Long Live The Kids’ exemplifies this, with sombre piano notes accompanying Tay Jardine’s crooning at the beginning until we’re hit with a storming wave of guitars and drums that are boring and monotonous. It sets the more serious tone for most of the album and sheds the happy, carefree image that WATIC have held for so long. Musically, everything is great – Rob Chianelli’s drum beats are better than ever, Mike Ferri’s bass riffs are prominent and effective in contributing a grittier undertone and Tay and Jordan's vocals are on point; there’s just a repetitive nature to songs such as Manners, Come Back Home, Dreaming Out Loud and Don’t You Worry. They all share the same dull tones and seem to lack the punchy, kick-ass moments of elation and rapture that distinguished WATIC.

However, Weird Kids seems to be in two halves. The better half includes songs such as The Best Thing (That Never Happened), Attention, Remember (To Forget You) and Reflections, all of which are loud, peppy reminders of why WATIC are such a great band. The Best Thing (That Never Happened) was the first video to be released from the album and rightly so – it’s fun, it’s feisty and, better yet, it sings about punching Alex Gaskarth in the face. Attention and Remember (To Forget You) sound like relics of WATIC’s first album, Best Intentions, with dynamic vocals, loud choruses and bouncy riffs that are both light-hearted and powerful.

Windows In Heaven is the black sheep of the album, consisting of Tay singing a sorrowful solo of her late father and is a welcome break from the musical complexities of the rest of the album. Whereas other songs experiment with different instruments, melodies and pitches, Windows In Heaven is quite minimalist in its approach to accentuate Tay’s vocals, including only a faint synth line, dulled drum kicks and single strings until it shatters into a moving and powerful ending that will draw a tear from the eyes of many. Finale Reflections sets the bar high for future singles from WATIC, with powerful choruses and thorny lyrics that give the song a gritty vigour that Weird Kids so desperately needs. Reflections and Windows In Heaven are each in leagues of their own and create an explosive ending to a not-so-explosive album.

Overall, this album is a messy paint palette – it sounds like an experiment to show that We Are The In Crowd are not a one-trick pony. It has a certain element of intricateness, but it seems like everything has been over-thought in an attempt to show their progression in the two years since Best Intentions and it’s very cautious in its approach. Having said that, Weird Kids does have some killer tracks and it’s definitely worth a listen. You’re almost there, WATIC. Almost. 

Neck Deep – ‘Wishful Thinking’ Album Review

Neck Deep – ‘Wishful Thinking’ Album Review 

Tracklist

1. Losing Teeth
2. Crushing Grief (No Remedy)
3. Staircase Wit
4. Damsel in Distress
5. Zoltar Speaks
6. Growing Pains
7. Say What You Want
8. Mileage
9. Sweet Nothing
10. What Did You Expect?
11. Blank Pages
12. Candour

2013 saw pop punk five-piece Neck Deep supporting the likes of Enter Shikari and The Wonder Years, releasing their second EP ‘A History of Bad Decisions,’ visiting the US, headlining a huge Australian tour and, of course, signing to Hopeless Records. Phew! How will 2014 compete with that? Well, Neck Deep already have a jam packed schedule, including a UK tour (that’s set to sell out any second), supporting We Are The In Crowd on their UK tour and then jetting off to the States!

But will the release of their debut album please the hordes of fans that are cramming to get tickets for the hottest new pop punk band? Singles ‘Crushing Grief (No Remedy)’ and ‘Growing Pains’ have already received glowing reviews from fans and critics alike and it’s fair to say that ‘Wishful Thinking’ is far better than anyone could have expected of a band that never intended to have success.

The album kicks in with ‘Losing Teeth,’ an energetic and powerful song that sets the tone for the rest of the album – loud-mouthed, fun and vigorous with a fuck-it attitude. It’s clear that Neck Deep are maturing and experimenting with different styles of guitar rhythms, mixing up their raw and unrefined edge that we saw in their EP’s with new, polished riffs and honed vocals from frontman Ben Barlow. Although the result is more intricate and smooth than fans are used to, it works wonders on songs such as ‘Mileage’ and ‘Staircase Wit’ which are milestones in Neck Deep’s road to musical sophistication (because we know they’re big kids at heart!).

Their revamp of ‘What Did You Expect?’ from their first EP is the only minor hiccup on the album, somehow losing the simplicity and roughness that the original possessed, but it’s promising to see that Neck Deep are testing themselves and exploring new sounds.

Nevertheless, ‘Wishful Thinking’ is full of belters that will secure a huge response from live crowds such as ‘Damsel in Distress’ that has a repetitive and catchy chorus with drums that will make drummer Dani Washington’s ancestors proud. ‘Zoltar Speaks’ is remarkably superb, a phenomenal tune that will definitely be on your playlist if you ever decide to take down the government. Perhaps the most distinctive song is finishing track ‘Candour,’ a giant step away from the loud and boisterous tunes on the rest of the album. It includes the return of Laura Whiteside who featured in the single ‘A Part of Me’ from the boys’ first EP ‘Rain in July,’ and is a tear-jerker that will imbed itself in the hearts of many. The fusing of violins and melodic yet powerful guitar riffs crafts an effectual finale that will help quench any doubts of Neck Deep’s outstanding musicianship.

As a debut album, ‘Wishful Thinking’ is a colossal gem in the crown of UK pop punk and its impact on a live crowd will be tremendous. The question that remains is… how will Neck Deep ever top this?

Kids In Glass Houses – ‘Peace’ Album Review

Kids In Glass Houses – ‘Peace’ Album Review

 Tracklisting:

1. Peace
2. Drive
3. Set My Body Free
4. V-I-People
5. Novocaine
6. Storm Chasers
7. The Runaways
8. Up All Night
9. Black Cloud
10. Night Crawler

After their 2011 release ‘In Gold Blood’ reached the Number 1 spot on the UK Rock Albums Chart, expectations for their new record have been higher than Lindsay Lohan, but Welsh quintet Kids In Glass Houses are back with a vengeance in the form of their explosive new pop album, ‘Peace’.

Opening with the title track, it’s unquestionable that Kids In Glass Houses have evolved into something phenomenal. Erupting with energy and instantly establishing itself as a masterpiece in the band’s extensive discography, ‘Peace’ is a rare gem that will lighten any mood and have you yelling the lyrics until you’re hoarse. It would seem that Kids In Glass Houses are aiming to release the guilty inner pop junkie in all of us and clearly they were not messing about when they said they ‘wanted to inject the fun back into ourselves’.

Unsurprisingly, the album does have an electronic underbelly and traces of computerisation can be found as vocalist Aled Phillips croons the infectious chorus to the ‘Drive’, the first single the boys released from the album.  ‘Set My Body Free’ and ‘V-I-People’ also consist heavily of electronic dance elements, but these songs would be nothing without the feisty guitar riffs and powerful drums that earned Kids In Glass houses their current status. All of these songs follow a similar route as ‘Peace’, with an energetic and robust kick to complement the catchy lyrics and contribute to the fun and carefree theme of the album so far.

Fifth track ‘Novocaine’ has a darker and more solemn undertone and, although the chorus is lively and loud, it helps to balance the pace of the album. This continues with ‘Storm Chasers,’ a powerful track that tells a tale of sorrow and regret and has vocalist Aled belting out his emotions with a passion.

Although the album picks up with ‘The Runaways’, it can be said that the second half of ‘Peace’ is a more serious yet relaxed side to the new Kids In Glass Houses. They’ve toned down the usage electronic synthesizers and reverted back to what alt-rock is all about – pulsating drum beats, powerful guitar riffs and earth-shattering vocals that aren’t just about dancing and having a good time. ‘Up All Night’ sings of a lost love, ‘Black Cloud’ is a tune that screams of defiance and determination and ‘Night Crawler’ is an anthemic and solemn finale full of torment and anguish.

With only ten tracks, ‘Peace’ is short but sweet and each track is worthy of being a top-selling single. All that’s left to tell is whether fans will appreciate the poppier sound of Kids In Glass Houses entering a new era.

Blitz Kids – ‘Run For Cover’ Single Review

Blitz Kids – ‘Run For Cover’ Single Review

‘Run For Cover’ is the second single that the Cheshire-born rascals have released under new record label Red Bull Records. Following from ‘On My Own’ which was released in April, this new single carries a more vengeful and bitter undertone as singer Joe James vents his anger with infectious chants and belting choruses that tell the tale of ‘getting blagged by your missus when you're out on tour with the lads, and the challenges that come with being in a relationship when you're constantly on the road’ as guitarist Jono Yates so elegantly puts it.

The song immediately seizes the attention of the audience with dulled instrumentals and tense vocals that secrete expectation with an infectious mantra of ‘lover lover, run run for cover’ before exploding into fiery guitar riffs and hammering drums and progressing into a passionate chorus that will undoubtedly warrant a roaring reaction from a live audience, with the vocals already being echoed by a crowd on the track itself.

As the song steadily reaches its culmination, the band coalesce the slick and sleazy melody of the leading guitar with the throbbing cadence of the rhythm guitar, impressively creating a solo worthy of The Killers in their ‘Hot Fuss’ era.

Overall, this track is a definite crowd pleaser and will tickle the fancy of most rock fans out there, so Blitz Kids can sit back, have a drink and bask in the pride they’ve earned with ‘Run For Cover’. 

Jet Pack – ‘Chasing Sunsets’ EP Review

Jet Pack – ‘Chasing Sunsets’ EP Review

Tracklisting:

1. Back To Life
2. Now I Know How John Locke Felt
3. The Heat Of The Moment
4. Chasing Sunsets (feat Lauren Pryke)
5. All I Need
6. This Is The End

      Jet Pack are a four-piece rock band erupting from Cheltenham and they’re one of those wonderful rarities that take your breath away upon impact. Jet Pack have successfully written an icebreaker that shifts effortlessly from an energetic and gripping introduction into a more intense chorus, complete with powerful vocals and subtle dramatic undertones courtesy of singer Dennis Cook. A hard-hitting combination of rhythmic drum beats and grubby guitar riffs ‘Back To Life’ perfectly and sets the standard high for the rest of the EP.

If You Me At Six and We Are The Ocean were to have a lovechild it would be ‘Chasing Sunsets’. It’s the ultimate blend of alternative rock at its best and it provides a rare opportunity to give inordinate attention to the diverse abilities of this band  - the EP fuses the upbeat and heavier element of Jet Pack in ‘The Heat Of The Moment’ with the placid and more dulcet nature of ‘Chasing Sunsets.’ The headlining number is predominantly acoustic which offers a break from the more vivacious songs on the EP and is perfected by the beautifully eloquent vocals of Lauren Pyrke that help add to the raw tone of the track and help extract the emotion that this song deserves.

There are no other words to describe this band other than exceptionally talented and it’s unsurprising really – they’ve been around since 2008. With five years of experience under their belts, the question is not their undoubtable music abilities - it’s how are they unsigned? 

Lost Trends – 'Buy the World' EP Review

Lost Trends – 'Buy the World' EP Review

Tracklisting

1. La La (Lies)
2. Takedown
3. The Pop Song
4. Buy The World

     Lost Trends are a wonderfully promising indie-rock band from York, releasing their debut EP ‘Buy The World’. Combining influences from Bloc Party, Sex Pistols and Joy Division, Lost Trends are destined to be in a league of their own with their original and innovative sound that is seemingly shaped by blending punk bass lines and jazzy guitar leads with viscous rhythms and a sharp Yorkshire accent worthy of Alex Turner. 

     Opening this brilliant EP is a song that sounds solidly like a track Kasabian constructed whilst on drugs – rhythmic and repetitive guitar riffs persist throughout together with distorted vocals and dynamic drum beats but there are also traces of techno and an unexpected historical-sounding lecture on the frequency of sound. The second track ‘Takedown’ is very similar and replicates the same elements of the opening track yet ‘The Pop Song’ has clearer vocals, presenting vocalist Stephen Green with an opportunity to demonstrate his choral and lyrical talents. ‘Buy the World’ is much more unique as it edges away from the funkier sounding theme of the whole EP and the guitar riffs are less profuse which unfortunately gives the song a weaker sound and isolates it from the more powerful tracks of the EP.

     Overall this EP is creative and unusual and the band have cleverly combined several musical elements to ensure a wider variety of listeners and as a debut EP, this should be very successful. 

Circle Of Reason – ‘These Hands and This Mind’ EP Review

Circle Of Reason – ‘These Hands and This Mind’ EP Review

Tracklisting:

1. Don’t Be Still
2. Home
3. Novel
4. Sleep
5. Themes Amongst Thieves

        Being compared to music giants Soundgarden and Smashing Pumpkins must be daunting for a little-known band that’s only been around since 2010, yet alt-rock band Circle of Reason are out to prove themselves again with their new EP, ‘These Hands and This Mind’.

       Their debut EP ‘A Favour For A Stranger’ received glowing reviews and certainly put the spotlight on Circle Of Reason, who haven’t disappointed in their latest killer release. The quartet have guilefully exhibited their expansive talents over the five songs on the EP, contrasting tracks of earth-shattering guitar riffs and thundering drums such as ‘Themes Amongst Thieves’ with the gentle and silkier rhythms of ‘Sleep’ and ‘Home’, which subsequently allows the entire record to flow mellifluously in fits of melodic vocals and ardent outbursts of instrumentals.  The entire record demonstrates divergence and every track contains its own uniqueness whilst still retaining an imprint of the unmistakeable sound that is Circle Of Reason, described as ‘merging considerate, visceral guitar parts, ear-shattering drums, and warm, alluring vocals’.

         Nevertheless, it’s possible to believe that Circle Of Reason are refraining from unleashing their full potential  but hopes remain high for the talented and indomitable four-piece from South-West England who will undoubtedly be causing quite a stir in the British music scene quite soon!