LIVE REVIEW. Otherkin at The Boileroom

Date: 23 May 2017
Venue: 
The Boileroom, Guildford
Genre: Grunge pop
Words: Steph Baker
Photography: Aaron Crawford

 

Tonight’s gig reminded me of why independent venues such as The Boileroom are so important to local communities and the music industry. Seeing live music, and having unique, memorable experiences at places like these, filled with welcoming and creative people is what it’s all about, right?

Bad Nerves

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The main support for Otherkin came on stage to a warm and building crowd. The first thing that made this East-London four-piece currently touring with Otherkin was the front-man’s pounding vocals. His voice travels up, down and all around, diversifying the band’s indie-rock tunes and bringing each one to life.

The crowd were engaged, and our night was kicked off with a frenzy of heavy riffs and catchy hooks, especially within the most recent single ‘Dreaming‘. This was one of the band’s final gigs with Otherkin, an yet you would never have known it with the amount of manic energy the guys brought to the room, the set was actually exhausting to keep up with, and that’s exactly how music like this is meant to be.

 

 

 

Otherkin

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Otherkin are a grunge-pop frenzy from Dublin who are… quite the experience. The four-man group came onstage looking rather un-disruptive but managed to turn a politely-bobbing-your-head-along kinda Tuesday night into a sweaty, bloody mess within their first track, ‘It’s Alright‘. The crowd were pulled to the front and brought up to the same level as the band while thrashing around to the infectious ‘Why Did You Treat Me So Bad‘. In today’s music scene, over-saturated with Libertines-wannabes and inauthentic boy bands, Otherkin proudly stand out by managing to genuinely connect with the audience and bring about an uproar with their ferocious hooks, passionate lyrics and attitude filled grunge riffs.

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As the country tries to digest and contemplate the truly horrific attack on a gig in Manchester, tonight’s gig is a bittersweet event. Otherkin stopped their set to express their thoughts and pay their respects, saying “Music should be a safe space for everyone” before everyone in the room took part in a minute of silence. After this emotional moment came to an end, the group summoned up all the energy they had in them with the next tune of the night, ‘Come On Hello’, something fun and positive to get everyone dancing again. Further along the night, the London boys invited everyone onto the stage, this was a moment of pure joy and madness for everyone at the Boileroom tonight, exactly what we needed. Hook-filled, manic pop tunes full of attitude and truthful tales. Otherkin are a truly class act, and a band that will inevitably continue to shake up venues across Europe this summer.

 


Listen to Otherkin’s latest Single ‘Bad Advicehere

The East-London boys are on Facebook, Twitter and Instagram

 

Baker Out

LIVE REVIEW. MUNA at Hoxton Bar & Kitchen // double gig

Date: 28th & 30th March 2017.
Venue: Hoxton Bar & Kitchen, London.
Genre: Dark Pop/Electro-pop.
Words & Photography: Victoria Ling.
The last week of March was dubbed as MUNA week, as the American trio came to London on a highly anticipated whistle stop trip to play the Hoxton Bar & Kitchen in East London. After having sold out the first date in less than 5 minutes, a second date was added which also quickly sold out – not to anyone’s surprise. It was definitely a hot ticket and I was lucky enough to be at BOTH dates.

Admittedly I am a bit late to the MUNA party, only having discovered them three weeks before the release of their debut album ‘About U’.  As soon as I heard ‘I Know A Place’ I found myself playing the album non-stopped and was hooked, thinking to myself, ‘am I getting too hyped too quickly?’ and ‘what if it is an anti-climax and I’ve got two shows to go to!’ Thankfully, I was not disappointed.


Tuesday 28th of March was the first night. It was a calm London day. I had stepped off a coach after an 8-hour journey and I could not contain the excitement in my bones.  We approached the venue and Hoxton Square was plastered with A2 posters of the debut album. We passed the members of the band in the bar. It was a case of do we/don’t we talk to them. As we plucked up the courage they parted. No worries we will catch them after the show. The queue escalated quickly. My friend who was gigged at HSB&K many times (this was my second and soon to be third) said this rarely happens. Doors delayed opening but we ran in as soon as they did. It was that kind of gig.

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There has been a lot of talk about the support act of the opening night.  I think a lot of the audience got word of this as it was pretty much packed as Lo Moon took the stage.  We were crammed in tightly for their indie-electro sounds and unfortunately for me there were a few talk-active people near to allow me to not enjoy it properly when Lo Moon were definitely giving it their all. For those that took and were allowed to take note, I can see why their live shows have been hyped and there was definitely something endearing about keys/guitarist Crisanta Baker.

With not that much more room, people still squeezed in. Even the tall people were reluctant letting their smaller counterparts in front of them. If it wasn’t hot enough already, we were ready to become a sweatbox. With a slight movement of the side curtain in the darkened room you could hear and feel hearts pounding then a tinkle of the synths and Katie Gavin’s opening lines of I Know A Place, the whole place is electrified and the band is jumping with every person in the place singing out every word, even the new lyrics, “I throw my arms open wide in resistance. He’s not my leader even if he’s my president,” a testament to Trump’s presidency.

A little place swap between Gavin and Naomi McPherson as McPherson takes lead on Promise. The intensity of this is enormous especially when Josette Maskin’s solo kicks in. Even the backing band of Scott Heiner (drums) and Brian Robert Jones (bass) are just as involved that they really are not a backing band, with Gaskin, McPherson and Maskin every single soul on that stage oozed charisma.

dTurning the tempo back up End Of Desire has the crowd jumping again and with the mention of new songs (Loser and In My Way) we get excited. In fact there is not one moment that MUNA or the crowd slows down. Well, until they have to wipe the sweat from themselves. It was actually a nice little moment between Gaskin and Maskin and the banter between the whole band is very inclusive of every soul inside of the venue. Speaking of inclusivity, the band requested that the toilets were ‘gender inclusive,’ and inclusive they were.  If you are unaware of MUNA, they are a political group. It is in their lyrics and it is apparent in a lot of their visual work. Their shows are inclusive of everybody. You could see it every which way you turned. A beautiful feeling.

Maskin then tells us it’s ‘covers’ time. She is very excited by this.  The other band members question this but as Gaskin leads Paramore’s Bring Me To Life the crowd go crazy. Yes, Josette! Thank You! Then they ‘go all LA,’ as Gaskin tells the crowd that we have been amazing singing along to every single word but if there was a time to really make our voices heard that time was now, as Loudspeaker literally booms into an explosive performance that at the end make all those at the front, reach and grab the stage décor of roses.

Thursday 30th March was the second night of this whistle stop trip.  The crowd gathered early again and the queue seemed to have grown quicker than Tuesday and with the heat wave outside, it seems no one was taking chances inside as the aircon was full blast as we entered.  

eElectro dance rockers, Otzeki opened with a promising set but then technical hitches came and cousins Mike and Joel laughed it off between them and the show went on…with more technical hitches and dancing in the middle of the crowd, which was very entertaining.  In parts it seemed a bit long but in all it was a fine performance to most of the crowd.

It seemed to be a more relaxed crowd, in that people were not pushing against each other but as lights went down and the music started the jumping started within the first second.  Noticeably Gavin even dressed ready to sweat and gone was her oversized T-shirt and in place was a bikini top.  

All members took notice again of the sell out crowd and asked if they were any returners – only a few hands went up – everybody in the know wanted to be there and some wanted to be there again and it seemed like Gavin, McPherson and Maskin could not quite believe it.  The energy that was there on the first night was here but with just that bit more intensity and that little bit more loudly but both were just as energetic. There did seem to be less banter on stage though but by watching each member you could still feel the chemistry between them, even with McPherson hidden from me behind the synths this time. The new songs went down just as well as the first night and the crowd and the vocals to Bring Me To Life seemed to go up a notch.  All words for every song from the album were sung back with passion.  What was not noticeable though was that every member on that stage was sick.  Many knew this was the case for Gavin but even with this and all the smiles back and forth it seemed they were on top form, even when they all come to the front of the stage for the second verse of Loudspeaker. How anyone was left standing after that performance with all the energy given is beyond me and with two shows in such a sweaty environment – let’s just say, and I quote, “something massive happened here” and all those posters that were plastered over Hoxton Square were gone BOTH nights.

 


Make sure to check out MUNA on Facebook, Twitter and Instagram and listen to ‘About U’ here

 

INTRODUCING. Cameron Avery with debut album review – Ripe Dreams, Pipe Dreams

Release date: 10 March 2017
Genre: Experimental blues/folk
Rating: ★★★ 1/2
Words by: Scott Murray

With such an emphasis on production in the modern era, vocals have seemingly fallen to the back burner. This is not the case for Perth’s Cameron Avery. His debut album ‘Ripe Dreams, Pipe Dreams is a truly beautiful offering thanks to Avery’s transcendent vocals, with the entire album highlighting vocal qualities reminiscent of Jeff Buckley. This, paired with Avery’s poignant lyrics of longing and loss, create a dramatic vocal landscape.

That is not to say that Avery’s production suffers as a result, to the contrary Avery has created a striking instrumental landscape filled with sounds not of the modern age. His use of strings, horns and even an organ is shockingly refreshing in an industry filled with synths, and generic drum beats.

This old school sound shines in the albums fifth track, ‘Big Town Girl’, a soulful ode to Jane, the girl running circles in Avery’s brain. Avery drives this home in the song’s forth verse.

“You know I’ve never had the time to wait around for a dame, but if I knew that we could make it I’d wait around for Jane”.

The track begins with a swell of an organ before being joined by thoughtful guitar and minimalistic percussion. Avery’s voice then cuts through the instrumentals in what feels like an instant, but lasts in your ear for far longer.

A standout of this track is the pain in Avery’s voice, constantly oozing his longing and eventually his loss. These two themes can be heard throughout the record, no more so than when Avery croons “Could I suit her better, than that dark blue sweater? Probably not.”

There isn’t a tune on the record that manages to escape Avery’s titanic wave of despair, every track dips its toe into the deep pool of Avery’s pining. This coupled with Avery’s seeming opposition to contemporary sound has allowed Avery a unique opportunity to let his lyrics to take the fore.

However, there are tracks that seem entirely independent of this sound. The album’s third track ‘Dance With Me’ highlights this through its neo-western sound, similar to that of Nick Cave & The Bad Seeds track ‘Red Right Hand’.

As well as this there are tracks that give glimpses of Avery’s psych rock pedigree. Avery, Tame Impala’s touring bassist and a former member of Pond, briefly lets his roots show in the album’s two busiest tracks ‘The Cry of Captain Hollywood’, an entirely instrumental track that is as rousing as it is peaceful, and ‘Watch Me Take It Away’.

Watch Me Take It Away begins with pulsing, almost sitar-esc guitar before the track takes flight with a swarm of rhythmic clapping and heavy short bursts of guitar and rapid fire percussion. This ensemble becomes a tapestry that allows Avery to highlight his range whilst also allowing his powerful lyrics to shine. The track follows Avery’s growth as he grasps that he need not waste his time on relationships without mutual respect, starting the third verse with the glass shattering realisation that his time is as important as anyone else’s. “I aint got time for your perversions, I spend my time transcribing versions of the truth”.

Overall the album is musically undefinable, and yet astoundingly beautiful. There is something ethereal about Cameron Avery’s voice that creates a sense of hope, despite the distinct sense of loss seen through almost all of his lyrics. This is a fantastic first effort from a talent that has been hidden behind a bass guitar for far too long.

 


Listen to the highly anticipated debut album from Cameron Avery here
Also make sure to check him out on Facebook, Instagram and Twitter

 

S.M.

 

LIVE REVIEW. Martha Hill live at The Cumberland Arms

Date: 18/02/17

Venue: The Cumberland Arms, Newcastle.

Genre: Alt folk/blues

Words and photography by: Victoria Ling


One girl. One cello. Ceitidh Mac instantly silences the room as she takes to the strings and held us there for her full set that included a cover of John Martyn’sOver The Hill’. Cietidh is an artist that engages with her audience to a point that they are hesitant to move in case of unwanted disruption or missing a second of the performance. What an attentive audience…well at least for the opening act.

Hailing all the way from the North West in Manchester and joining the tour in the North East of Newcastle is Pip Fluteman (with fellow musician James on guitar and fiddle) This duo followed on from Ceitidh and brought something entirely different to the stage. Pip has us laughing and in some parts of his set and goes as far as declaring James as single which is met with some of the audience getting straight onto Tinder. It’s quite refreshing really how effortless Pip’s stage presence it, his performance is on point but the real connection with the audience comes from his talks in between songs, he’s really not afraid to drop a few jokes in here and there. His explanations of songs such as Dandelion Days’ and ‘She Was The Circus’ has the audience laughing, but also struck with admiration as his set is delivered with passion and clear brilliance.

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It was finally time for the main act of the evening, with the room now at full capacity and many being turned away at the door.  Martha Hill is becoming quite a name and definitely has a following here in the North East, as soon as she stepped onto the stage and opened with ‘Reborn’, you could feel the electricity fill the room. As a photographer, it became increasingly hard as every inch of the floor was taken up by everyone who was lucky enough to get a ticket. The third number of the set, ‘Traveller,’ sees the return of Ceitidh and the addition of Shannon on the keys, both creeping quietly onto the stage whilst front woman, Martha plays on. Everyone is so consumed that it is like the appeared from nowhere as all eyes and ears are fixated on center stage. Martha herself goes from the guitar to the drums and in doing so becomes quite theatrical and majestic. The crowd does become more animated in their engagement with a few cheers here and there while also remaining attentive with a roar of appreciation for ‘Blue Moon’, her debut single released just before Christmas. It is ‘Boom’ however that brings in the audience participation of a few finger clicks that go with the song.

As Martha and her band exit the stage you could still feel an electric buzz from the audience. By the look on Martha’s face, it is like she simply cannot believe this reaction.  Martha takes a spot on the stage by herself and treats the audience with a final song, an old folk classic of the North called ‘Geordie’. This seems fitting considering Martha has become an adoptive Geordie and this night on the Newcastle leg of her tour – a great homage to both the artist and the audience.


Make sure to check out Martha Hill’s single ‘Blue Moon‘ on Soundcloud now.

You can also catch her live in Edinburgh on 16 March. Check out her Facebook and Website for updates.

 

Through the eyes of Lil Vik

 

 

INTERVIEW. Talking Tunes, Knitting, and Ray Romano: Getting to know Vertigo

Knitting and Ray Romano may not seem like central parts of the typical band, but the lads that make up Vertigo are not typical. They may not be a household name yet, but they are definitely on track to being so. In less than a year of performing together Vertigo have become a mainstay of Brisbane’s Fortitude Valley precinct, known to pull large crowds on days when everywhere else seems to be dead.

Through this live exposure Vertigo managed to broker a deal with The A&R Department, known for their work with Harts, Meg Mac and SAFIA, and ultimately grab some studio time at Airlock Studios to record a few tracks for their upcoming EP ‘No Feeling is Final’.

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We had a chance to sit down with singer Hamish, and guitarist James, to talk all things Vertigo. The lads, who met at high school, with the exception of bassist Hugh, have recently released their lead single ‘Get Away’. The track begins with an energetic guitar riff, joined by rapturous bass and the powerful drums of Nelson, before settling down into the bass driven verse of the song. The vocals of Hamish fit exquisitely amongst the distinctly heavy instrumentals of this tune, which is akin to ‘The Hunter’ by Slaves with markedly better vocals.

The lyrics of the track, written collectively by the boys, are quite poignant, pleading a friend to leave a corrosive relationship. Despite the subject matter of the song, Hamish told us that while the realism of the song makes it appear to be based in personal experience, it was not. James then said “We were writing it like it was a pretty generic human experience.”

Get Away’ was one of the first tracks the lads wrote when they were first starting out, back in March 2015.  As Hamish quipped, “Our writing has definitely matured a lot since then”.  They credit this maturity to having performed live.  According to James “they were writing really elaborate, debatably self-indulgent music” prior to performing live. The experience of gigging on a stage has taught the boys how to work a crowd, using the reception of each song to adapt their set list.

The lads opened up about playing a private gig at a 50th, and how they managed to cater to that very different audience. “We played a 50th the other week… for this big country family. So we were like ‘we should probably learn some Johnny Cash. So we learnt ‘Ring of Fire’. When we were learning we were like what the fuck are we doing. What has Vertigo become. But then we whipped it out live and the crowd went wild… We played it twice and it went off even bigger the second time.”

Johnny Cash may never be heard again, at least not from these blokes, but it highlights the emphasis that Vertigo have put on performing live and creating a great show for their fans.

Vertigo not only care deeply for performing, and for their fans, but they also have a deep bond amongst themselves. Hamish highlighted this when he said “It’s like being in a relationship with three guys.”

ray-romano-covered-with-silly-string_pn016918The boys clearly get along.  My afternoon of sitting with Vertigo was filled with laughter and jokes, often at the expense of themselves and their hobbies. Hugh spent the weekend they recorded ‘Get Away’ learning how to knit, since he had recorded the bass early and had time to kill. Or at the expense of those surrounding them. Prior to their first gig at Rics, James’ Mum ignited the bands light obsession with Ray Romano, often referring to the Brisbane venue as Ray’s. This collective joy of their creative process bodes extremely well for future performances and for their upcoming EP ‘No Feeling is Final’. They are definitely a band to watch in the future thanks to their collective drive to make great music, and have a good time while they do it.


They will be playing at The Brightside’s Homegrown Battle of the Bands in Brisbane on March 15th and at Blackbear Lodge of April 23rd.

Keep an eye out for their upcoming single ‘Velvet Revolution’, and their EP ‘No Feeling is Final’, both coming out later this year. You can also keep up to date with all things Vertigo here

 

S.M.

 

LIVE REVIEW. Shura at The Forum

Date: 7 December 2016

Venue: The Forum, Kentish Town

Words: Victoria Ling

Photography: Victoria Ling

Dressed in layers and entering the stage for the penultimate date of the ‘Shura-pean’ tour, The Forum went into darkness as Shura took to the stage with her band (Luke – guitars, Ally – drums and Rory – bass) and kicked off the night with ‘Nothing’s Real’ to roars from the sold-out crowd. Who could have guessed that the main girl of the night was full of Shu-flu as Shura worked her way from behind the keys to the front of the stage and back again. As she gulped from a pint glass, the crowd were told that she is actually downing a hot toddie to kick her flu which also may have helped with her energy; however Shura is not a woman lacking in energy, they seem to be

getting better as the crowds grow bigger. The drive in this band is simply mind-blowing. ‘Kids N’Stuff’ kicks in with goose bumps inducing effect, any long-term fan of Shura knows that something special is going to happen at this point – the transition. Everybody was waiting for that transition and as soon as ‘Indecision’ starts, the crowd simultaneously loose control as The Forum’s atmosphere is stepped up a notch. Indeed, there was passionate crowd interaction a plenty tonight, especially during Shura’s confession that she is admittedly quite shy which she says is ironic to the career she has now. Thankfully Shura remains standing with strength and grace doing what she does best, and in quite a lump-in-throat moment we are given ‘2Shy’ going into ‘Make It Up’. “So I just released an album and every song I performed is from that album but this next one is not from that album,” is what Shura tells us. Excitement brews and I hear someone say ‘Just Once’ but it is not to be, instead a new track is presented, and ’Sacrifice’ is great testament to how Shura’s sound is still progressing. The sound is fresh and distinct, but still contains familiar elements, this is why Shura gains more recognition by the day in this ever changing cut-throat music industry.

If the night could not get any more emotional, a dedication goes out to the fans in the form of ‘Touch’, the first song written for the debut album. Whoops come from the crowd as Shura climbs into the pit to grace those who were lucky enough to get to the front barrier with her presence. It is such an exhilarating moment that it even stirs a few happy tears from the crowd as she disappears but thankfully not for too long as the encore comes with ‘White Light’ which is quite possibly Shura’s most electric track performed live. Strobes galore shine down with Shura bashing out the sample pad and sending the crowd crazy in awe that even she falls to the floor before catching a breathe to take us to the end of this ‘tidal wave of feelings’ of the Shura-pean tour to a sea of confetti.


Check out Shura on Facebook, Twitter and Instagram

 

Through the eyes of Lil Vik

LIVE REVIEW. In Dynamics at The Boston Music Room

Date: 30 November 2016                                                                                 Genre: Alternative-Rock

Venue: The Boston Music Room, London                                                Words: Steph Baker

 

In Dynamics sauntered onto stage at the semi-filled Boston Music Room in North London, and soon managed to pull the scattered groups of people into a front-facing, engaged crowd just with their opening track filled with raging hooks and the chantable lyrics “you pull apart“.

It is clear from the get-go that this Sussex group are capable of both creating huge explosive sounds that fill rooms whilst also maintaining full control, particularly over vocals, preventing it from turning destructive – a highly admirable ability. As the trio continue their set, the outstanding level of musical craftsmanship and scrupulous songwriting that runs through every note played is unmissable. img_2791

It is difficult to pinpoint which bands this group have arisen from, due to the complex mix of classic rock and pop-punk that intertwine with playful drum beats and lyrics hooks; during heavy-hearted instrumental breakdowns you even get a taste of some prog. Each member knows their role and executes it with strong precision, as the front man Beau Boulden‘s vocals provide vulnerability while telling their story, William Wrench‘s bass lines bring about depth to the scenario. The most entertaining aspect of this band is watching the harmonies being constructed – with William’s bassey (ha – geddit?) voice and Beau’s towering high notes fused to constantly take the song to the next level, especially during ‘Vital’.

It was refreshing to see that In Dynamics are not afraid to get creative with the musical structure and composition of their offerings, breaking the sometimes monotonous trends within new alternative rock music. The highlight of the set was probably ‘Another Minute’, the track taking the audience on a powerful journey brought down to earth by Beau’s emotive lyrics. The trio have recently released a live recording on YouTube and it’s a perfect introduction into the capabilities of this band, check it out below.

 


You can check out In Dynamics on Facebook, Twitter and Instagram.

 

Baker out.

 

 

 

 

EP REVIEW. Stevie Parker – Blue

Release date: 11th November 2016

Genre: Ambient/electro-pop

Rating: ★★★★

Stevie Parker comprises of a young artist from the West of England with a raw voice oozing wisdom and heartbreak. After building a substantial platform from her debut release ‘Never Be‘ on Soundcloud in 2015 and later performing alongside noteworthy British artists, especially in the Bristol Summer Series, Stevie Parker’s debut EP, ‘Blue‘ has been released highly anticipated and is seeming to gain success within the electro-pop world.

stevie parker press shot.pngThe EP begins with ‘Better Off‘, a sinister-toned tune with delicate vocals and an empowering message of realisation of worth in the face of sorrow.  Stevie’s vocals are reminiscent of a more energetic Lana Del Rey against the musical resonate notes of groups such as London Grammar. This is the perfect opener to set Stevie Parker aside from other up-and-coming alternative-pop artists, especially the young ones – who can often blend into one homogenous group. The title track of this EP takes a more heavy-beated, electro-pop turn. This foundation is well-suited to this artist’s hypnotic high-notes that are showcased during the outcry “I’ve been blue over you”. Despite being at risk of being slightly repetitive at times, this track demonstrates the versatility of Stevie Parker well, and is catchy enough to make you keep her music in your head all day.

Siren‘ is possibly the highlight of the EP, as it is the most distinct and complex track. With raw lyrics, telling a tale of desperate love and lust, Stevie Parker shows her human side for all to relate and sing along to. The graceful combination of thudding beats with warm piano melodies creates a sound that belongs to only her. We are shown a contrasting aspect of Stevie with the final track ‘Different For Girls‘. Whether this track is making a political statement, or simply expressing the emotions often experienced within a troublesome partner, this acoustic number shows a totally different song-writing style, one of simplistic and honest statements. This is an artist is wise and elegant, with the ability to get you both dancing and crying out in sorrow.


Hit up Stevie Parker on Facebook and Instagram, and listen to ‘Blue‘ over here

 

Baker out.

 

SINGLE REVIEW. Blackwaters – So Far Out

Release date: 11th November 2016

Genre: indie-punk

Rating: ★★★★

Guildford lads Blackwaters first caught our attention whilst reeling people in and making a right ol’ noisy mess at Camden Rocks Fest in the summer, playing early hits such as ‘Fiction‘ and ‘Moon On A Stick‘. Since then, these four boys have really gone up in the world, as their following increases and their name is starting to appear on big announcements such as Live At Leeds 2017, Blackwaters are now able to get more creative and ambitious with their music – and this shows in their most recent release, So Far Out.

This is the band’s most fast-paced track yet, at the end of it you are left exhausted – but I think this is the intended effect. After a perfectly chant-able opening hook, front man, Max Tanner comes in with comical tales of drunken nights, like a young, rowdier Jamie T. The chorus hits and this is where the punk vibes shine through. With guitarist David Carpenter blasting out a strong re-verb heavy lead backed by James Watkins‘s brain-crushing drums. You instantly get the very fuzzy visualisation of your messiest ever night, and the shamelessness of it all. Blackwaters have finally managed to convey the turbulent, roughhouse action of their live performances into a recorded track, a massive accomplishment for the rising band.

The music video features the band members rushing through the streets of their hometown, Guildford with mates and various hits of madness. Check it out below.

 


Give Blackwaters some love on FacebookTwitter and Instagram

 

Baker out.

SINGLE REVIEW. False Heads – ‘Thick Skin’

Genre: Crack punk-rock

Rating:★★★★

So Iggy Pop has declared his commendations of this young band, saying “These kids make a lot of noise, I like it” and it’s not hard to understand why. It’s fair to say that there’s a hell of a buzz swirling around the young East London trio False Heads right now, and this new single represents their effortless response of ‘well…duh’.

 

Thick Skin‘ follows on from the successful ‘Steal & Cheat‘ which successfully got their name on all the right boards, and it similarly goes straight into the deep end from the first chord struck. As front man Luke‘s words of apathy slowly drip out the guitars are blaring and chaotic mess that you can’t help but get sucked into.

The chorus sees the group speed up the pace, it’s hard to tell if they are explosively riotous or indifferent as they sing “What a waste in the end” I don’t even think they know themselves but it is contagious. The music video for ‘Thick Skin‘ shows the three lads struggling to escape from a constrictive trap and tug-of-war, and despite it being filmed in a shitty field somewhere in true youthful angst style, this song could be related to a lot of different situations: whether it be on the road or in a small venue moshing your heart out, as long as you’ve got a Fosters (or any other substandard beer) in your hand False Heads will provide the perfect snotty-punk soundtrack.

One thing’s for sure, there’s a palpable excitement brewing around False Heads, and with a series of new releases set to follow across this year, it looks like their rise is only set to continue in 2016.


Check out the new music video: 

You can also give them your love on facebook and their website

Baker out.