First off, I want to give a huge thank you to everyone who has taken the time to read my articles, give them likes, comment and so much more over the past few months. Your enthusiasm and love have energized me and brought me so much happiness with what I’m doing so THANK YOU for being amazing and showing so much support. You guys are the best.
I wanted to let you all know that right now, there’s a lot happening in my personal life and I’m taking a temporary break from the Anchor Point. It’ll only be for a week so I can sort out some things that need my full attention. Currently, I’m in the process of seeking out film work where I live, including production assistant work and jobs for on-screen extras or more and will be contacting a myriad of people and companies around where I live.
This takes a while but the work is absolutely worth it since the film industry is where I’ve wanted to be since I was a kid, watching Star Wars for the first time and having my mind blown. To be on a live set, watching everything unfold before me and having the chance to collaborate and just assist with any aspect of the production is a dream and hopefully that dream will become a reality soon.
Sometimes, in pursuing your life’s purpose and chasing that one thing you want to do as long as you’re alive, it takes a tremendous amount of patience, dedication and perseverance but if you’re willing to commit 100% and not let anything distract you from reaching that goal, you will make it. Sure, it might take a little longer than you hope and the journey might take you down some unexpected roads along the way but you will always end up where you need to be.
Even with this blog, discussing music I love and geeking out over films and movie culture in general has helped me realize even more how much I love and care for this industry. The amount of fantastic, forward thinking people, amazing stories, cool new tech and more contained in this one area is mind-boggling and anyone who thinks they have even an inkling of interest in being a part of it should take a stab at getting their foot in the door.
So, with that being said, I will see all of you next Monday (or Sunday depending on how things go) with more music reviews, film discussions, trailer thoughts and much, much more. Hope every single one of you have a fantastic week and I shall return!!
Also, are there any segments you’d like me to try or things you would like to see me discuss? If there’s something you’re interested in that I haven’t covered yet, leave a comment below and let me know what you’re thinking!
Time has a funny way of changing your perspective on things.
When Nashville based arena rock superstars Kings of Leon first released their seventh LP WALLS back in October of last year, my first reaction after listening to it was a mix between agonized boredom and failing to express more than a tired meh after each song. The bristling midnight energy of their breakout LP Only By the Night, gorgeous acoustics of Come Around Sundown and grimy rock of Mechanical Bull were nowhere to be found and there was little that grabbed my attention or sounded remotely memorable.
After coming back and listening to it again recently, though, something changed.
Before, WALLS felt lethargic and sluggish, drawing out its’ longer compositions with refrain after refrain of meandering and airy instrumentation and lacked a defined sense of purpose or momentum. The group was obviously looking to reclaim the anthemic, radio friendly highlights of Night but nothing on this LP clicked with me or had the immediacy I was hoping for. Turns out those poor impressions were due to my state of mind and not appreciating WALLS for what it was.
Upon my recent revisit, the album suddenly blossomed into a slow burning, surprisingly gorgeous and willingly vulnerable statement from a group that was traditionally satisfied with writing hooky, punching tunes that never dug too deep lyrically into their own lives. Rather than going for a knockout, the boys instead focus on immersing you in the music and letting the emotional peaks and valleys do the work rather than resting on the riffs or choruses as crutches.
The guitar play between Caleb, Matthew and Jared has never sounded tighter or creatively aligned and Nathan yet again shows off some serious drumming chops, focusing on subtly complex rhythms that give the songs just enough energy to maintain a steady tempo and mood throughout the album without any one dragging too much. Caleb especially proves why he’s one of the best vocalists in the alternative rock world with his gruff but deeply stirring performances.
Lead single ‘Waste A Moment‘ and ‘Reverend‘ make for a strong one-two punch on the LP’s first half and ‘Moment‘ acts as the traditional KOL earworm with woozy, jangling guitars, huge swells of joyous energy and a chorus that’ll be stuck in your head for weeks (“take the time to waste a moment / never ask to be forgiven“).
‘Reverend‘ pays homage to fallen country star Blaze Foley and reaches euphoric heights with its’ soul stirring, stomping melodies and reflective lyrics (“Just like the reverend, like the reverend on the radio / Your heart will never say so“).
‘Around the World‘ spins up some sunny, tropical warmth with its’ rattling percussion and funky bassline and as the guitars and drums crash down around the chorus, Caleb sings of the journey that led him to his love (“Been around the world, been around the world / I stormed the gates inlaid in pearl / All around the world all around the world / I lost myself and found a girl“).
Radiant synths open the Southern jam ‘Find Me‘ and once the powerful drum beats and dueling guitars kick in, we’re transported to KOL’s earlier days with one of their most rousing songs to date. Uncertainty and unexpected visitors seem to be the song’s focus, especially on “How did ya find me, how did ya find me? / What are you looking for, are you looking for”.
On the six minute confessional ‘Over‘, Caleb opens up about the issues of alcohol addiction and fame, referencing the band’s horrifying July 2011 concert where he was barely able to perform due to intoxication. He goes on to explore how it affected his relationship with his wife (“I’ll hang around forever, until you cut me down / I’m crossed and ready to face the crowd“) and even though some might find it a bit meandering, the song hits hard if you let yourself fall into its’ steady waves.
The band has a solid track record of writing subtly humorous songs and ‘Muchacho‘ continues this by incorporating classic country guitars and even echoing the genre’s traditionally lower baritone vocals. As Caleb reflects on memories of a good friend and repeats “He was my favorite friend of all“, you get the sense that his ‘muchacho’ has passed on.
Due to the bleary keys and cheery chords of ‘Conversation Piece‘, you’d be forgiven for thinking you were listening to an OK Computer-era Radohead song. Along with the lyrics that speak on finding solace in a lover (“I’d love to know just what you’re thinking / Tell me what I ought to do / I will never leave you lonely / You’re the one I’m runnin’ to“), the song’s unique vibes help it stand out from an album of somewhat monochromatic sounds.
WALLS stumbles just short of the finishing line with ‘Eyes On You‘ and ‘Wild‘, two songs that are pleasant enough but do little to make themselves memorable or even remotely unique. ‘Eyes On You‘ sounds like classic Strokes with its’ bopping beats, 80’s keyboards and calls to make great memories with a lover before the chance disappears (“We’re here for a moment / So let’s own it“). The experimentation is appreciated but KOL doesn’t take it far enough to prevent it from sounding like a cheap knockoff.
‘Wild‘ returns to the brighter sounds of the LP’s first half but treads familiar ground instead of expanding upon it, becoming stuck and tired by the first chorus. Gratefully, the blissful, reverbed album closer ‘WALLS‘ ends things strongly with Caleb singing of how love shatters emotional and mental ‘walls’ (“You tore out my heart / You threw it away / The western girl with Eastern eyes“). The band lays themselves bare and you can feel the same vulnerability he’s expressing.
Even now, I’ll say this: WALLS is far from a perfect album but also far from a failure. KOL has been at it since the turn of the millenium and have grown comfortable in their craft. Even though the decision to return to the more straightforward sounds of Night makes WALLS much more immediate than Sundown or Bull, it lacks Night‘s grit and comes off as almost too clean, signaling that their sense of comfort could be dragging them down.
Fans still have no reason to pass this up, though, as there are a handful of tracks destined to become KOL classics and the band shows no signs of slowing down, 17 years into their career.
‘We’ve made it to the weekend!! For many of us, the sun is out, an early Springtime seems to have kicked in and it’s the perfect day to get out, have an adventure, make some memories with friends and blast some of your favorite new tunes. There’s also a blizzard happening here in the US, though, so for those of you caught in those lovely whiteout conditions: here are some new songs to help you pass the time while locked indoors without going completely insane!
Even though this week was a bit slow in regards to huge new tunes, some familiar faces made their return and once again, 2017 continues to look better and better for fantastic album releases. I won’t hold you back any longer. Here are just a few of the most notable new songs released this week!!
Katy Perry – ‘Chained to the Rhythm’
Ever since pop superstar Katy Perry released her smashing electro hit ‘Rise’ for the 2016 Summer Olympics, rumors began to run wild that her fourth LP would see the light of day soon afterwards, especially since it had been over three years since her previous album, Prism. The timing would’ve been perfect due to the tense political and social climate that’s taken over the US post-Trump and Perry’s knack for pinning powerful, relevant and socially conscious tunes.
She’s already stated in multiple interviews that her still untitled fourth album would be her most experimental and adventurous yet and now that lead single ‘Chained to the Rhythm’ has dropped, it’s clear we’ll be hearing a new side of Perry’s ever-widening musical scope and versatility.
‘Chained’ channels the glossy, bass filled dancehall and disco hits of the late 70’s and early 80’s with its’ slick but subdued beats and moody pianos that inspire you to dance and think at the same time. The tune subtly hits at people who are complacent and unwilling to speak out about the horrendous and unparalleled events happening before our eyes, choosing to stay ‘chained to the rhythm’, rather than reaching out and doing something to help those who are being negatively affected.
Perry nails the mindset many let themselves become trapped in (“Turn it up, keep it on repeat / Stumbling around like a wasted zombie, yeah / We think we’re free“) and expresses disappointment in those who remain silent during times when they need to be louder than ever (“Are we tone deaf? / Keep sweeping it under the mat / Thought we could do better than that / I hope we can“).
Skip Marley, grandson of the late Bob Marley, even makes a guest appearance in the bridge, laying down lines over the oncoming demise of the Republican oligarchy (“Up in your high place, liars / Time is ticking for the empire“). ‘Chained’ isn’t as boisterous or party ready as previous hits like ‘Roar’ or ‘California Girls’ but it isn’t meant to be. Now isn’t the time to dance, it’s the time to act and Perry looks ready to be another voice in the growing Resistance.
Milky Chance – ‘Ego’
Anytime you decide to give your band a bizarre name, chances are your sound will likely follow suit and become something equally weird or inventive. German alternative/indie group Milky Chance likely grabbed many by surprise by their name alone but their mix of tapped guitars, downtempo beats and mumbled lyrics gained them an even larger audience, even if their music is a bit of an acquired taste.
Their 2013 debut Sadnecessary sounded like almost nothing before it with singles like ‘Flashed Junk Mind’ and ‘Stolen Dance’ being some of the year’s most captivating tunes despite seeming like they should bore you out of your mind halfway through. The LP adopted a ‘less is more’ aesthetic throughout, maintaining their unique style but preventing it from ever breaking out of the drowsy pace set by ‘Stunner’, keeping it from becoming the classic it could’ve been.
After releasing ‘Cocoon’, the lead single from their upcoming LP Blossom, though, it was immediately clear that the group would at last be injecting their sound with a lightning bolt of energy and even wider stylistic influences and this new, more vivid and confident approach becomes clearer in their latest single ‘Ego’.
Huge, Nelly Furtado-ish beats and punchy guitars elevate Clemens’ lively vocals (it’s awesome hearing him so engaged) as he sings about missing a lover while on tour (“Gold shimmering sand is making me thinking of her / Thinking of her / But I am at Half Moon Bay / It’s just too far away“) and the chorus is straightforward enough to become lodged in your brain for days. This group is indeed ‘blossoming’ into something special if these first tunes are any indication.
2CELLOS – ‘Moon River’
‘Cover’ bands and instrumental groups get a bad reputation. Even though many of them choose to play hits exactly as they are rather than add any of their own personality or flair, there are others out there who take a more creative approach. By throwing in instruments that typically wouldn’t be used in the songs they’re covering or pulling the songs into an entirely different genre and style while maintaining the heart of the original, they prove they have just as much merit and skill as any other band out there.
Croatian duo 2CELLOS, composed of classically trained cellists Luka Šulić and Stjepan Hauser, rose to fame after posting a brilliant cover of Michael Jackson’s ‘Smooth Criminal’ on YouTube back in 2011 and have since then gone on to release three critically acclaimed LPs (2Cellos in 2011, In2ition in 2013 and Celloverse in 2015), gone on a hugely successful world tour with Elton John and even playing two back to back nights at Madison Square Garden.
None of this would’ve happened if they were a simple ‘cover’ band and on their upcoming fourth LP, Score, the duo will be turning their attention to the worlds of classic film and television compositions. The LP’s first single, a gorgeous medley of Game of Thrones‘ most memorable tunes, has already racked up over four million views in just under a month and fans’ anticipation will only grow with the cover of crooner Andy Williams’ unforgettable ‘Moon River’.
The idea of redoing the tune without Williams’ signature vocals might sound crazy to some but the duo manage to capture the melodies and emotions that have made ‘River’ a timeless classic that’s still as stirring today as it was when it was first recorded. Songs with this much feeling fit the dui’s style like a glove and Score will doubtlessly be anything else than a fantastic and memorable listen.
The Staves – ‘Tired As F***’
England-based indie folk trio The Staves blew critics away with their overwhelmingly beautiful, poetic and unrestrained whirlwind If I Was back in 2015, pulling off some of the most powerful harmonies and gut punching stories of heartbreak and personal struggles heard in quite some time. Songs like ‘Blood I Bled’ and ‘Damn It All’ possessed a forcefulness and creative vigor that only grew on their 2016 Sleeping In A Car EP.
Even though the group hasn’t formally announced a new album or even EP, new single ‘Tired As Fuck’ at least shows they possess a work ethic not often matched by others in and around this genre. ‘Tired’ is yet another step up from even the most potent songs on If I Was with thunderous guitars and a bluesy stomp that reaches a fiery, cacophonous climax as the sisters sing of growing weary and worn down by life’s experiences (“never had a prayer to follow / I’ll be coming home tomorrow“).
By itself, it’s yet another strong addition to their growing catalog and one can only hope a new album won’t be too far behind…
Jamiroquai – ‘Cloud 9’
Jay Kay, the man who brought Virtual Insanity to the world two decades ago, has faded a bit into the limelight in recent years with none of his 2010s releases managing to have the same impact and longevity as ‘Feels Just Like It Should’ or even ‘Seven Days In Sunny June’. His musical career is far from over but it’s starting to feel like high time for a reinvention or something that could revitalize his music and put the Space Cowboy back on a strong course.
‘Automaton’, the first single from Jamiroquai’s upcoming LP of the same name, was a dramatic, dark and sleek electronic banger in line with modern acts like French duo Justice that still featured some of the group’s signature grooves and hinted towards potentially great things to come. New single ‘Cloud 9’ is a straight up disco ballad, showing Automaton could be one of the band’s most musically varied LPs yet.
The keys, guitars and steady beats hearken back to Daft Punk’s Random Access Memories and ‘9’ wisely avoids the nostalgic cheesiness that plagued LPs like Dynamite, instead playing it straight with a matured and groovy reflection on a man freeing himself from a failed relationship (“Only a fool could walk away from me this time / I’m walking on air and every cloud is Cloud 9“).
The Jesus and Mary Chain – ‘Always Sad’
It’s hard enough to believe that legendary alternative rock bands like Grandaddy and Acceptance will be making their return in the same year but the news of 90’s shoegaze group The Jesus and Mary Chain reforming and releasing a new album was truly mind-blowing. LPs like Psychocandy and Darklands practically defined an entire era of music and even though later albums weren’t as prolific, the group had still left an indelible mark on the industry that influences artists even now in 2017.
Damage and Joy, the group’s first album in nearly twenty years sits just over a month and a half away and first single ‘Amputation’, released last December, sounded like vintage J&MC with the same fuzzed out production and blaring guitars of their best work, even if it wasn’t quite at the same level as those classics. But this far into their career, who’s actually expecting them to deliver something that good again?
Latest single ‘Always Sad’ is a clean, sunny alt/punk tune that channels equal amounts of Oasis and the Beatles and depicts someone struggling with being away from their love and trying to maintain their relationship (“I’m think I’m always gonna be sad / cause you’re the best I’ve ever had / a million miles between us now / why can’t we just work things out“). Sure, their signature distortion is nowhere to be found but the sign of a healthy band is one that never stays in one place for long.
Prides – ‘Away With the Night’
It’s hard to pinpoint exactly where the modern revitalization of 80’s music began but Scottish electropop duo Prides, composed of members Stewart Brock and Callum Wiseman, jumped on the bandwagon without just ripping off what every other alternative and indie group was doing, crafting a potent and endlessly danceable mix of enormous synths, pounding drums and unforgettable choruses that would make some of the 80’s most popular pop stars proud.
‘Messiah’, the lead single from their 2015 LP The Way Back Up, was an anthem for the ages with its’ euphoric and uplifting chorus that proclaimed “I know now that I want to keep it / Oh my god do I want love“, expressing the life changing and profound power that comes with new love. This radiant energy permeated throughout their debut LP and even though it never found the audience it deserved, the duo pushed on and has been releasing singles every few months since last year.
Their sensibilities continue to sharpen with every new song and ‘Away With the Night’ captures more of the guitar-heavy yet distinctly poppy sounds of Way Back Up but is filled to the brim with even stronger musical confidence and vocal chops from lead singer Stewart. The drums hit harder, the synths glow brighter and if Prides can maintain and accelerate this momentum on their eventual second LP, the world will have no choice but to take notice of a new and vital talent.
The most difficult times in life are often the ones that irreversibly transform us forever and show us a strength or courage we never knew we possessed.
Nottingham based alternative rock quartet Amber Run has faced some grueling trials of their own over the past few years when, despite releasing their fairly successful debut LP 5am and gaining wider recognition through a tour with fellow band Kodaline, they were dropped by RCA Records and lost a band member, leaving them feeling hopeless and yes, lost.
In discussing the events that transpired and how they fueled the themes and sounds of new LP For A Moment, I Was Lost, bassist Tom Sperring said “When you go through the really hard times, you realise whether or not you actually want it badly enough“. There were likely some moments where the band considered hanging it up but instead of caving to the pressure, they used their struggles to rediscover themselves and their music and poured it all into one powerful statement of purpose and passion.
Beautiful things can come out of dark days and For A Moment nearly overwhelms with track after track of deep, swelling waves of pure emotion and heart wrenching instrumentals, lyrics that lay bare stories of hopelessness, not finding happiness in what you thought you wanted and seeking redemption despite overwhelming odds and Joe Keogh’s distinct, moving vocals which have strengthened dramatically since their ambient, hazy debut LP.
On opening track ‘Insomniac‘, the band makes immediately clear that they’ve moved away from 5am‘s slower, more patient mood with huge piano keys, tight drumming and enormous energy behind Keogh’s vocals. Coming off like a rockier Reign of Kindo tune, the stresses behind holding true to something despite outside pressure are brought to light on “do the promises you make feel harder to keep / Are you losing any sleep” and we get our first peek into Amber Run’s mindset pre-Moment.
Digital beats and drums team up on ‘No Answers‘ to give it a soft but steady heartbeat, contrasting with the dramatic, brooding lyrics that the group says are “about struggling with uncertainty and anger“. As Keogh howls “I’ve got no answers for you“, that aggressive spirit explodes and the erupts into a climactic finale of furious guitars and pummeling drums before quickly fading out.
Subtle atmospherics return on the winding, midnight-tinged ‘Island‘, a soaring reflection on losing your way in life (“I forget where I was and for a moment, I was lost“). Sky high walls of guitar bring back some of Coldplay’s most moving moments on X&Y and Keogh shows himself to be a strong a vocalist as Keane’s Tom Chaplin with some powerful notes near song’s end.
‘Stranger‘ intoxicates as its’ reverbed guitars and swooning melodies pull you into a deep ocean of bliss and by the chorus of “Love, sometimes / You don’t get what you need / But sometimes love comes easily“, it reaches near euphoric levels with massive layers of vocals and instruments hitting you from every angle.
Gratefully, the momentum continues on piano led ballad “Fickle Game” with some U2-like guitar wails filling in the song’s background and Keogh’s thoughts on struggling with getting older and living each day with purpose (“I’m old enough to know I’ll end up dying / And not young enough to forget again / It’s all a fickle game“).
The band takes a page from Imogen Heap on two-minute a cappella track ‘Haze‘, which only heighten’s Keogh’s fears from the previous track as he sings “Scared of getting older, / Scared of dying alone / I’m in a blue haze“. Despite the heavy-handed nature of the lyrics, it still manages to feel cathartic without leaving you depressed.
Melancholic guitars and mournful vocals capture a powerful feeling of pessimism and dejection on ‘White Lie‘ and the chorus of “I’m a failure, I’m a disaster and I don’t wanna be anything else / I’m a loner, I’m a loser and I don’t wanna be anything else” examines a mindset some of us are all too familiar with.
‘Perfect‘ carries onward with some of these uncertain feelings, sarcastically portraying a man willing to put himself through emotional torture for a ‘perfect lover’ (“I want to fall in love with a perfect stranger / And out of touch with the God that made her / I want her to pick me up and hang me out to dry“).
The aftermath of a hollow relationship is never pretty and ‘Dark Bloom‘ explores the thoughts of someone in the middle of a comedown from the high (“I worshipped you like I’d always wanted you / cause you, you’re a dark bloom / you brought me down to my knees / and I’m haunted by you“).
‘Machine‘ recalls some of 5am‘s more gorgeous moments with its’ slowly strumming guitars and patiently held piano keys but the song is far from gentle lyrically. Keogh delivers some surprisingly tender vocals as he asks a lover “come together, are we part of a machine / If we’re starting over, are we living in a dream / Do you love me?“, hinting towards a relationship that could be faltering.
Some major OneRepublic and/or Civil Twilight vibes bleed through in the tender pulse of ‘Are You Home?‘ with a ticking clock, shuffling beat and piles of vocal harmonies comprising the meat of the song. During the refrain of ‘are you home or not?‘, we get a sense of someone trying to reach a loved one or close friend who has become distant either literally or emotionally.
Closer ‘Wasteland‘ delivers one more blast of hopefulness, recapping the themes brought up by previous songs and acting as a send off to a lover who is no longer in the narrator’s life. It’s heartbreaking to hear Keogh sing “I hope you’ll find somebody / who you can love like I love you” but as the organ-like pianos, uplifting guitars and drums lift the song out of pain and into acceptance, it’s like stepping back into the warm sunlight after being trapped in darkness.
Amber Run showed some promise on 5am but hadn’t quite figured out how leave a mark that was uniquely their own. The group likely didn’t realize at that time it would take them coming to the edge of breaking up to truly find themselves and become who they were meant to be. For A Moment takes the strengths of 5am and brings in an enormous sense of positivity, bright energy and clear-as-day, rejuvenated passion that at last reveals their full potential and their place as a vital, young creative act.
Here’s hoping that this record will not only bring them continued success but open up the creative floodgates even further for them. They’ve grown tremendously as musicians and people and who knows where their third LP will catapult them to.
Conservatives and those fed up with the modern SJW movement love to bash anyone who talks about ‘safe spaces’, inclusiveness and acceptance, but considering how volatile things have become in America over the past few weeks and how much anger has been directed at millennials and those who consider themselves part of the LGBT community or feminist and/or Black Lives Matter movements, they have every right to shield themselves from the eyes of hate and wrap themselves in arms of love.
Even though these movements have only continued to grow and become more prominent, the music industry hasn’t reflected what’s happening in society. Lady Gaga has been championing LGBT rights and welcoming those from every religious, social, ethnic etc. background since 2011’s Born This Way but she’s only one artist in an endless ocean of indifferent creators. Up and coming LA indie pop/R&B trio MUNA stand poised to finally bring this inclusive spirit into the worlds of alternative and electronic music.
Members Katie Gavin, Josette Maskin and Naomi McPherson originally met in college and quickly discovered they shared not only a wealth of musical chemistry but a deep desire to write honest, unflinching songs about sexuality, the aftermath of heartbreak, struggles of the modern young woman and finding strength and acceptance in yourself, despite the world around you saying you don’t belong because of how you choose to live or who you choose to love.
All three members also identify as queer but have pushed beyond just being a ‘queer girl band’ and used their music to inspire anyone who never felt like they fit in. The decision to remove all gender pronouns from their lyrics also imbues the songs with both more universal and deeply personal meanings. McPheron, discussing the mission of the group, said “We want a safe haven” and their refreshing perspective & loving ethos opens the door for some of the most heartfelt and forward thinking music in years.
From their first EP More Perfect, released in 2014, the trio has produced every aspect of their music themselves, crafting a unique blend of warm, uplifting and 80’s influenced alt/pop ballads with huge hooks and endlessly danceable rhythms that balance out the often heavy subject matter. The easiest way to get to the heart is to get the feet moving first! Anticipation has been building since their 2016 Loudspeaker EP and MUNA has at last delivered their grand opening statement to the world with debut LP About U.
Regarding the album’s themes of empowerment and encouragement, McPherson said “We think it’s really important that when it’s released that we can tell our fans that we made it on our own. We want them to know that they can make it on their own“. And indeed, About U features song after song about fearlessly expressing yourself and knowing that you are loved, even when it feels like the world has turned its’ back on you.
Opening track ‘So Special’ brings in some distinct HAIM vibes with the deep grooves and crystalline keyboards and the group described the track as “a drunken reckoning of oneself” with lyrics like “There’s a few bad things I’ve done / That nobody made me do” that show a person struggling to recover from a failed relationship in a healthy way.
‘Loudspeaker’ hides feelings of weakness and low self-worth due to sexual abuse and/or assault just below its’ driving dance beats and spirited guitars with lines like “And if I feel like crying, I won’t hide it / I am a loudspeaker” and “I don’t know where the blame lies / But you better believe I’m not gonna carry it all” belaying the cheery instrumentals.
Despite only having been released a few weeks ago, ‘I Know A Place’ has become one of the trio’s biggest anthems yet, calling on anyone who’s ever felt marginalized or victimized because of who they are to come together in love and make a safe haven for others. If “You think being yourself / Means being unworthy“, the band seeks to reassure when they say “I know a place we can go (yeah) / Where everyone gonna lay down their weapon“.
The chilly, Imogen Heap influenced ‘Winterbreak’ reflects on a relationship that’s crumbling but continues to pull the two lovers back together. How many of us know exactly how this situation feels? Despite the desperate state of things, the refrain of “Oh, baby I think we both know / This is a love that we won’t get right / Still if you said that you wanted / I know I’ll always have one more try” reveals someone not quite ready to let go.
CHVRCHES-like vocal manipulations and radiant keyboards fill the atmospheric ‘Around U’ and the lyrics “Something false that once was true / I no longer revolve around you” sees the singer realizing her love has drifted, perhaps permanently, away from her and the dark, R&B vibes of ‘After’ focus on the aftermath of this heartbreak, with lines like “Is it all alright now?” and “I am going to be lonely for a long, long time” effectively expressing all of the confusion and sadness felt during this strange period.
Love is messy and we sometimes unintentionally say hurtful things to each other out of fear or stubborn pride and ‘Promise’ grapples with trying to make sense of these feelings, especially on lyrics like “And even if you said you would forgive me / I don’t know if I could ever say I’m sorry“. Solemn piano ballad ‘If U Love Me Now’ gets in the mindset of someone feeling undeserving of a lover’s affection and the refrain “There’s me in the doorway telling you please / You should just let me leave / If you love me now” is a brutal but sincere look at the depths we push ourselves into when dealing with these conflicting emotions.
An unexpected pounding, industrial beat propels the moody ‘Crying on the Bathroom Floor’, a self examination of an abusive relationship (“Give me your disrespect / Give me your pain and loneliness / And I’ll love you the best / Promise I’ll love you the best“) and the singer ponders if they’ll forever be trapped in this disastrous cycle (“Tearing off the dress I wore, I wonder / If I could never ask for more / If I’m never gonna ask for more from a lover“).
Electro banger ‘End of Desire’ brings some much needed levity back to the album with the story of a lover consumed whole by a crush that could become something more (“Turn your head to the side / Hold your gaze against mine / And there it is / A mark of the divine“) and the overwhelming, anthemic closer ‘Everything’ sums up About U‘s themes with one succinct line: “Everything’s about you to me“.
‘Love’ songs have been around since the beginning of the music industry but have found themselves stuck subject wise, repeating the tropes of ‘I love you’ and ‘you broke my heart’ ad nauseam and never digging any deeper. MUNA finally smashes through this barrier, transforming the entire idea of a ‘love’ song into something focuses on every facet of the person, their life, emotions, deep thoughts, personal struggles, pain, honest confessions and so much more.
Combining that with lyrics that could be referring to any type of modern relationship (straight, bi, gay, you name it) and an ever-present sense of welcoming and honest caring elevates the trio’s songs to an entirely new level of significance and proves they could finally bring about a new wave of musicians and bands ready to open their arms to everyone and heal the divides that have needlessly driven so many of us apart.
About U is an extremely promising first step for this young trio that manages to dodge the typical issues of sounding too much like their influences or not remaining consistent throughout. Their musical and personal identities are strongly established and the LP does exactly what it sets out to do, if not more. Revolutions begin with one small step and the three ladies of MUNA may just have started something great…
About U gets a 9 out of 10!!
FAVORITE tracks: ‘I Know A Place’, ‘Winterbreak’, ‘Crying on the Bathroom Floor’
WORST tracks: ….I’ll get back to you on that one.
Swift social and cultural upheavals are happening right before our eyes in today’s tense, uncertain world and as Trump continues to baffle both Americans and those around the world, millions of concerned citizens and artists are beginning to rise up and protest in any way they can. The immigration ban was the catalyst to something that’s sure to blossom into something massive in the near future and this week, Depeche Mode was one of the first groups to step forward with a resistance-focused song.
Not everything has been focused on the ‘Resistance’, though. Themes of happiness, encouragement, looking at the big picture and more have popped up in some of the new songs released this week and more than ever, a sense of hope and coming together to overcome something greater than ourselves seems to be spreading further and further into the music community’s collective consciousness.
The most transformative periods in history lead to some of the greatest music, films, art, literature and more so it’ll be interesting to see what sort of avalanche is triggered by the recent events in the US. For now, here’s the tip of the iceberg.
Imagine Dragons – ‘Believer’
The Las Vegas based alternative rock/pop quartet has built quite the reputation for themselves despite only being in the spotlight for a little over four years, selling out massive headlines tours around the world, releasing #1 single after #1 single and crafting songs for everything from video games to film soundtracks to the UN Refugee Agency’s campaign to support the ongoing crisis.
Two years have now passed since their matured, all over the place sophomore LP Smoke + Mirrors and the group has hinted for months now that their upcoming third album was deep in development and with the release of lead single ‘Believer’, solid details on the album’s title, track list, sound and much more should (hopefully) be just around the corner. So what does ‘Believer’ tell us about this new LP?
It’s another stomping, acoustic/electro jam that falls in line with the sounds we heard on Smoke, including some fiery wordplay in the verse and a huge drop in the chorus that verges a bit too close to what the group did on ‘Gold’ but Dan Reynold’s ever-strengthening vocals and the cry of “you make me a believer” give it enough power to stand out. ‘Believer’ might not be their best single to date but their leads rarely are. If we’re lucky, we won’t have long to wait to hear more of this mysterious new LP.
Depeche Mode – ‘Where’s the Revolution?’
Ever since releasing their first LP Speak and Spell way back in 1981, new wave and electronic rock giants Depeche Mode transformed and challenged the music industry over and over again with jarring, shocking imagery in their videos, music, themes and lyrics that routinely verge on nihilism and a sharp tongue that rarely holds back when discussing politics or modern culture.
It shouldn’t come as a surprise then that their upcoming LP Spirit, their latest since 2013’s Delta Machine, will reportedly be one of their most politically focused yet. Anticipation over what the music could sound like is also higher than ever since Delta Machine was an unexpectedly powerful return to form for the group who had been releasing subpar and poorly received albums since 1997’s Ultra.
Lead single ‘Where’s the Revolution?’ brings back the lighter, rapid fire synths of classic early 90’s LPs like Violator and lead singe Dave Gahan holds nothing back as he lashes out at corporate and media manipulation (“You’ve been lied to / You’ve been fed truths / Who’s making your decisions / You or your religion“) and gets to the heart of what’s caused so much societal and social chaos in recent months (“They manipulate and threaten / With terror as a weapon / Scare you till you’re stupefied / Wear you down until you’re on their side“).
Even though the bridges becomes repetitive with the refrains of “the train is coming, the train is coming“, Dave’s message comes through loud and clear and the band sounds more fired up here than they did on Delta. Whether or not that ‘spirit’ carries through the rest of the new LP is unclear but this is about as strong a start as you can get.
Father John Misty – ‘Two Wildly Different Perspectives’
Whereas Depeche Mode’s take on our current cultural revolution was dark musically but not as much lyrically, Father John Misty fearlessly confronts the ideological divide between America’s political parties on new single ‘Two Wildly Different Perspectives’. Most of us know that Democrats and Republicans have been slowly swirling into one corrupted, amorphous group for years and it’s disheartening and shameful to see so many blatantly ignoring or denying where we’re heading.
‘Pure Comedy’, the first single from Misty’s new LP of the same name already hit hard enough but ‘Perspectives’ ups the ante even further, softening the blow of the blunt lyrics with a bed of graceful, ambient strings and pianos that gently support Misty’s vocals but maintain enough distance to allow his words to be completely understood.
The hate spat from those of different religious beliefs (“One side says / “Y’all go to hell.” / The other says / “If I believed in God, I’d send you there.”) and how many believe we should treat terrorists (“One side says / “Kill ’em all.” / The other says / “Line those killers up against the wall.”) are all discussed and even though it hurts your heart to hear, Misty’s music makes you hope that maybe, just maybe, we can change from a nation of ‘pure comedy’ to the one we desperately need to be.
BNQT – ‘Restart’
One thing that remains constant about supergroups is that they’re hit or miss in their ability to make music that’s original and doesn’t use their individual backgrounds as a crutch. The Dead Weather and Audioslave are just two examples of combinations that sounded crazy on paper but became brilliant, unique creative entities without copying the music they’d already made before.
BNQT has to be one of the most interesting, and almost bizarre, groups to come to life in a long time, though. Headed up by Midlake’s Eric Pulido, the new band also consists of Band of Horses’ Ben Bridwell, Grandaddy’s Jason Lytel, Franz Ferdinand’s Alex Kapranos and Travis’ Fran Healy. That’s a roster of names I never thought I’d see in the same place but Pulido said the mission behind the band was to create art “with other people that you love and appreciate“.
‘Their very first song ‘Restart’ makes a strong case for them with a wild mix of horns, classic rock guitars, triumphant pianos and keys and intoxicating, layered vocals. The song doesn’t fall stylistically anywhere near the band members’ primary groups and the fact that this first song is already so impressive and engaging only spells good things for their debut LP Volume 1 which is due to be released on April 28.
Future Islands – ‘Ran’
Few modern bands fit the textbook definition of ‘love them or hate them’ quite like Maryland indie pop trio Future Islands. Since releasing their 2008 debut LP Wave Like Home, the group quickly established an oddball aesthetic of bright, looping synths and bubbly beats that acted as a pleasant balance to lead singer Samuel Herring’s wild, all over the place vocals that could go from a soft croon to a gritty growl in a split second. They’re not so much vocals as they are a vehicle of pure emotional expression.
Their 2014 LP Singles, led by massively popular single ‘Seasons (Waiting on You’, catapulted them from their quaint indie beginnings to the world stage and publications from NME to Pitchfork plastered the band on every magazine cover and webpage headline they could get their mits on. This newfound fame brought in an ever growing and loyal fanbase who have been itching for something new from the trio ever since.
With the announcement of their latest LP, The Far Field, that’s due to come out on April 7th, said fanbase is likely stirring itself into another frenzy of anticipation and lead single ‘Ran’ hints that this LP just might match or even top the brilliant Singles. Twinkling keys and driving drums give an extra punch to Herring’s passionate vocals as he expresses his need for a lover or friend’s help (“And I can’t take it, I can’t take this world without / This world without you“).
London Grammar – ‘The Big Picture’
Somehow, nearly three years have passed since English dream pop/downtempo trio London Grammar blew our minds with their chilling, overwhelmingly gorgeous debut If You Wait and with the unending stream of negativity and stressful news coming at us 24/7, we’ve never been in greater need of more of their soothing, peaceful vibes. With the sudden release of ‘Rooting for You’ last month, it appears that wait might soon be over, especially now that a second single, ‘The Big Picture’ has dropped.
Hearing Hannah’s soaring, featherlike vocals over the band’s powerful and moving musical ambience brings about indescribable happiness and Hannah sings of finding peace in realizing someone’s true nature through heartbreak (“Only now do I see the big picture / But I swear that these scars are fine / Only you could have hurt me in this perfect way tonight“). Only London Grammar could make such a subject sound so uplifting and joyous.
Blanck Mass – ‘Silent Treatment’
English composer Blanck Mass, first known as a founding member of drone rock band Fuck Buttons, has been working away in the underground electronic music scene since 2011, whipping up a savage mix of foundation leveling, dense as concrete and overwhelmingly loud music. His 2015 LP Dumb Flesh was a roller coaster journey of aural attacks and melodic moments that proved he was capable of much more than just blowing your eardrums out.
With his new LP World Eater coming out in just over a month (March 3), you’d expect it to be even more adventurous and unpredictable than Flesh and new single ‘Silent Treatment’ all but confirms we’re in for one hell of a ride. Splashing hip hop beats and radiant synths steadily pull you into the song’s deep pool of sound before stuttered vocals, oriental keys and walls of noise blast it to pieces. This quiet/loud dynamic persists throughout ‘Treatment’, making it both incredibly engaging and, dare I say it, more accessible.
The wait for this new album is becoming unbearably hard.
Anytime a new Elbow album comes around the corner, it’s like reuniting with a long, lost friend and reveling in swaths of nostalgic memories and warm, heartening feelings. The long running UK quartet, one of the last musical groups still standing from the 2000’s Britpop explosion, has been trucking on since releasing their debut Asleep in the Back nearly 16 years ago.
From their earliest days, Guy Garvey and co. proved to be a strikingly intellectual and fiercely creative unit, often doing away with typical verse-chorus-verse song structures and allowing their distinctly British brand of alternative rock to slowly and steadily build, focusing more on setting a vivid scene and telling a story, rather than bludgeoning fans with a riff over and over again.
Listeners who prefer instant gratification and easily digestible hooks will be disappointed by Elbow’s often slow burning and languid tunes but they’re a nice contrast to so many modern bands who seem more concerned with style than substance and have fallen into a cycle of creating catchy but ultimately hollow, forgettable music. The group’s relaxed pace almost got the best of them, though, on their 2014 LP The Take Off and Landing of Everything.
Written in the wake of Guy Garvey’s split with longtime girlfriend Emma Jane Unsworth, the album explored themes of heartbreak, death and redemption but too often found itself wallowing in a sea of melancholy, occasionally showing signs of vigor with some gorgeous instrumental sections but for the most part coming off like a band stuck in place, creatively and emotionally. Even 2011’s Build A Rocket Boys! sounded positively vibrant compared to this.
The most successful bands always find a way to break free, allowing themselves to be carried by the winds of change, and the same gratefully happened for Elbow. In the years following Take Off, Guy released his first solo LP, Courting the Squall, in 2015 and married actress Rachael Stirling in 2016. Founding member and longtime drummer Richard Jupp also amicably parted ways with the group before writing on Little Fictions commenced, planting the seeds and setting the stage for some sort of reinvention.
Elbow has mastered and settled into their style and even though a dramatic transformation or change in sound wasn’t expected, Fictions, their seventh LP, glimmers with a newfound sense of vitality, love and happiness. Without Jupp in tow, the rhythm section is freed up to experiment with digital drum loops and subtly danceable beats, giving their new tunes an added punch and feeling of life and adventurousness.
From the opening notes of ‘Magnificent (She Says)’, it’s evident the band is operating with a completely new mindset as the shuffling drums, stirring strings courtesy of Manchester’s Hallé Orchestra and gorgeous, engaged vocals from Guy make it the most stirring Elbow song to come along in some time. When he sings “It’s all gonna be magnificent“, you already find yourself agreeing.
The minimalist, driving percussion of ‘Gentle Storm’ imitates the beats of techno or electronic music but in organic form and as the chorus of “Gentle storm / Rage my way / Fall in love with me” washes over, it becomes impossible not to sway along. Jazzy drums and gentle melodies propel the sublime ‘Trust the Sun’ and Guy sweetly reflects on how his new love has changed him (“I just don’t trust the sun to rise / When I can’t see your eyes / You’re my reason for breathing“).
Previously released single ‘All Disco’ is a more traditional and overwhelmingly beautiful alt rock anthem that pokes at the mentality of music being all there is to life (“What does it prove if you die for a tune / It’s really all disco”). The ending brings in the Hallé’s choir, elevating it past its’ already high level of aural exquisiteness. ‘Head for Supplies’ slows things down with its’ low key pulse but maintains the LP’s immense heart (“You are the reason for this missing beat / On the streets that I love / And in me“).
Spoon-like pianos and handclapped beats turn ‘Firebrand & Angel’ on its’ head and deepen the band’s rhythmic sensibilities. Blips, keyboards and echoed vocals fill the background and as the Hallé’s vocal harmonies climb higher and higher, Guy and crew sound more and more vigorous, making the song not only one of Fictions‘ highlights but one of Elbow’s best to date.
The song that will likely draw the most attention, though, is the Brexit-focused ‘K2’. A killer drumline and glowing keyboards effectively set a somber but reflective tone and Guy comments on the world’s view of Britain (“I’m from a land with an island status / Makes us think that everyone hates us“), the ugliness of modern politics (“It’s full of blood, snot and teeth and the glory of no one“) and his desire to just escape it all (“I’ve been asleep in the woods with a mother to be / Planning on a static caravan in the Andes“).
Two minute piano hymn ‘Monparnasse’ eases the tension with its light keys and loving lyrics (“Your heart could easy power three of me“) and leads into the epic, eight minute title track. Session drummer Alex Reeves finally lets loose, showing off his full dynamic range and the song steadily builds from its’ quiet beginnings to a massive finale of wailing guitars, squealing keys, overwhelming emotions and Guy victoriously proclaiming love’s power (“Let’s get old / Dare you now / Mix blood with me / All in / Love is the original miracle“).
Sounding like it was recorded in a woody attic, closer ‘Kindling’ is the sound of a man coming full circle from grief and finding happiness. As he references his breakup from years ago (“Had a circular saw blade / Where I should have had a heart / I was trusted, I adored her / And I tore it all apart“), Guy sounds truly grateful when, while on a train ride, a text from his wife makes “the wheat fields explode into gold either side of the train“.
Little Fictions ends on a powerful, heartwarming note and you’ll likely walk away feeling every bit of contentment and well-being that Guy and the band so evidently feel now. Elbow has matured and aged with grace and sound like they’ve embarked on a new creative journey with this LP. Like a fine wine, these songs will blossom and reach perfection if you’re generous with your time and patience. The pay off is worth it as you’ll be rewarded with Elbow’s best LP since The Seldom Seen Kid.
Little Fictions gets a 9 out of 10!!
FAVORITE tracks: ‘K2’, ‘Little Fictions’, ‘Gentle Storm’, ‘Firebrand & Angel’
WORST tracks: There isn’t a single bad or weak track here. Seriously.
Music fans in America and abroad have likely been searching more furiously than ever for a source of powerful, lasting emotional catharsis due to the harrowing, ridiculous and sometimes terrifying actions taken by the new President and his cabinet of fast and loose manipulators. With the next few years only looking bleaker, England based indie/dream pop duo Aquilo couldn’t have arrived at a better time.
Ben Fletcher and Tom Higham have been toiling away for years under the Aquilo moniker after growing up as neighbors in Silverdale’s Lake District and eventually forming a strong creative relationship. Their self-titled EP, released all the way back in early 2014, showed signs of tremendous potential due to the overwhelmingly emotional, swelling piano ballad ‘You There’. That single alone changed their lives forever, granting them a spot at the 2014 Glastonbury Festival and the chance to be seen and heard by thousands more.
Their signature brand of soothing, ethereal and deeply cathartic electro only grew bolder and more powerful as the band released a string of EPs (Human in late 2014, Calling Me in Summer 2015 and Painting Pictures of a War in Late 2015) and continued to draw in an increasingly sizeable legion of fans. Many began to wonder, though, if Aquilo would continue this pattern of putting out small batches of music here and there or if a proper, full length debut was perhaps just around the corner.
In the first month of 2017, Ben and Tom answered that burning question by finally releasing their debut LP Silhouettes. Longtime fans with doubtlessly be pleased with the continuation of the duo’s signature style as the album weaves together previously released (‘Human’, ‘Never Seen You Get So Low’) and brand new songs (‘Silhouette’) that reflect their earlier EPs while subtly exploring new creative ground. It isn’t a big step forward, which might disappoint some, but still delivers exactly what we’ve come to expect.
Matters start off on a high note as the title track sounds like the best song Adele never recorded. Pianos reminiscent of ‘Someone Like You’ tug at every heartstring and Ben pours his soul into the moving, vivid lyrics (“We’ve become echoes, but echoes that faded away / So let’s dance like two shadows burning out our glory days“), hitting the same heights of the aforementioned songstress.
Tangible pain can be felt behind Tom’s voice in the string filled ‘Blindside’ as he struggles with a failed relationship (“And I could say that I’m broken, but i’m not / And I could fake that i’m hurtin’ / but i know that’s all you want from me“). The ambient, SOHN-produced ‘Human’ packs an enormous punch of uplifting trip hop and the lyrics of “This is us, dust the dust up off your shoulders, / Feet on ground, you’ll come round, / And be human again” give some welcome respite from ‘Blindside’s heartbreak.
Silhouettes veers in another direction with the rumbling bass, R&B beats and subtle funk of the seductive, Justin Timberlake-ish ‘Never Hurt Again’ before the unmistakable strings of composer Ólafur Arnalds pulls ‘Almost Over’ and the LP back into familiar territory. Shades of the 1975 echo in the colorful keyboards and strumming guitars of ‘You Don’t Know Where You Stand’ and Tom even matches some of Matt Healy’ clever wordplay (“I wanna walk with you in someone’s shoes / From somebody else’s point of view“).
Once we hit this point in the album, many will begin to notice a lack of stylistic or emotional variation between songs. Even though Aquilo prove themselves adept at consistently creating a rich sense of mood and atmosphere, it becomes clear that they haven’t quite discovered their full musical range and from ‘I Gave It All’ onwards, Silhouettes comes dangerously close to turning into relaxing but indistinct background music.
‘I Gave It All’ does feature another heart wrenching performance from Tom but doesn’t do enough to separate itself from ‘Blindside’ or ‘Human’ and the 2 minute ‘All I Ever Wanted’, though lovely, remains on the same note throughout, never building towards anything more. The lyrical anguish reaches a potent, piercing high point on ‘Sorry’ (“I’m reminded of the fool I was / I cut you off and fucked it up again / I’m sorry that I let you go / I’m sorry that I cared“) but again, the homogeneous instrumentation blunts some of its’ impact.
Brooding guitars and a wild, stomping beat inject ‘Complication’ with some much needed energy and ‘Never Seen You Get So Low’ captures a vivid, Arctic soundscape with its’ twinkling electronics and chilly atmospherics. ‘Low Light’ takes a cue from Ghost Stories era Coldplay as it crests into an enormous electro ballad replete with an ensemble of soaring vocals and a subtle, percussive heartbeat.
The only true misfire on Silhouettes comes in the form of ‘Always Done What You Say’, an awkward blend of Adam Levine’s slinking vocals and lyrical bite (“You were young, and you were so God damn excited / Telling lies, you never thought would come to bite you / But darling, blood is thicker than you think it is“) that just comes across as the duo trying too hard. Thankfully, the resonating piano serenade ‘Waiting’ ends things much like they began.
If you’re looking to be cheered up, Silhouettes might not be the best place to start but if you’ve got a taste for piano balladry, comforting electronics and a singer who wears his heart proudly on his sleeve, there’s much to love. This being Aquilo’s debut, though, they missed an opportunity to really branch out creatively and boldly step beyond what’s come before. If Silhouettes is a summary of their journey so far, hopefully their next LP will push them forward in both confidence and mood.
Silhouettes gets a 7 out of 10!!
For fans of: Jamie xx, Amber Run, London Grammar, Oh Wonder & Jaymes Young
FAVORITE tracks: ‘Blindside’, ‘Human’, ‘Low Light’
WORST tracks: ‘Always Done What You Say’
Everything in life seems to be caught in a perpetual loop: birth and death, sunrise and sunset, creation and destruction, etc. If something happens once, there’s a strong chance it’ll happen again at some point in the future. These events could be something as significant as the rise and fall of a civilization or something as minute as a YouTuber getting their five minutes of fame because of one viral video or controversial action.
The music industry especially moves and evolves in a distinct and never ending motion. Each decade has its’ own unique movement or sees the birth of a transformative genre (the 30’s had swing, the 60’s had psychedelia, the 90’s had grunge) and even though some of these fade as time goes on, they occasionally see a resurgence, for whatever reason, down the road.
Sometime around 2010, a modernized variation of 60’s psychedelic and garage rock exploded in popularity within the alternative and indie scenes as groups like Animal Collective and Tame Impala reignited the oddball spirit of that era but updated it with modern production techniques and musical sensibilities.
The tide only grew from there and as the floodgates burst open, bands like MGMT, Temples, King Gizzard and the Lizard Wizard, GOAT, Hookworms and countless more sprang up, each with their own unique interpretation of the genre, and their music became nearly inescapable.
One up and coming band that’s managed to not only make neo-psychedelia an integral part of its’ identity but also given it one of the most unique twists yet is Brisbane based five piece the Belligerents. Ever since they won the chance to play at Brisbane’s Parklife Festival back in 2012, they’ve been toiling away just under the radar, releasing EPs here and there but steadily building to a debut.
You can’t build a following without great music and the group released their first two EPs, Less Arty More Party and She Calls the Shots, back in 2012. Songs like ‘These Hands’ and ‘Bye Bye Bye’ featured a more straightforward, post-punk revival influenced sound with bouncy beats and sparse guitars and electronics before Shots‘ ‘Steal Money’ and ‘Imagination’ showed the group flirting with more atmospheric soundscapes and ever so subtle psychedelia.
Something dramatic must have happened within the band’s chemistry in the three years between these EPs and 2015’s Outside:Inside because their third LP reveals a nearly unrecognizable band with a massive, confident and utterly captivating new sound. ‘In My Way’ is awash in shoegazey, distorted guitars, pummeling drums and some fantastically high and clear vocals from frontman Lowis.
‘Voices’ takes the psychedelic influences up to 11 by drenching every instrument in a thick, gooey, rainbow colored sheen and every drum strike and riff echoes into a radiant wall of glorious noise. ‘Shake It’ even echoes the quirky lo-fi guitar rock of Mac DeMarco or recent MGMT and the title track is as blissful as it is rocking, with Lowis’ vocals scaling the same monumental heights of the instruments.
It’s impressive hearing a band carve out such a unique and striking style in barely three years of existence and leaves the door open to nearly limitless potential avenues of sonic exploration once they release a proper debut album.
And speaking of debut album, theirs is currently in the works and due to be released sometime before this summer. Aptly titled Science Fiction, little is known about the LP so far but the band has given us a few tastes of what’s coming, first with lead single ‘Before, I Am’. Sitars form the backbone of the more rock-oriented tune and even though the psychedelia has been tuned down a bit from Outside:Inside, its’ presence is still just as strong.
The most recent and most exciting tidbit we’ve been given, though, is second single ‘Caroline’. Keyboards straight out of Who’s Next era the Who blip behind Lowis’ always trippy vocals and chants, wildly energetic drums and walls of wailing guitar begin swinging in from every side before a group of flutes (yes, flutes) flutter in and put the icing on an already delicious cake.
It’s a new peak in their confidence, chemistry and musical direction and judging by this and ‘Before, I Am’, it won’t take long before the Belligerents are blasting out waves of irresistible music on stages far bigger than the ones they’ve been playing. Here’s hoping we don’t have to wait long to find out when Science Fiction will drop at last.
Even though the alternative and indie markets are already fairly crowded with all different shades of neo-psychedelia artists, the Belligerents have managed to stand out and prove they’re one of the most promising out of the bunch. I’ve no doubt they’ll go on to conquer in the music world and if you have a taste for anything remotely 60’s influenced, give this band a shot and then spread the word to everyone you know.
They deserve as much.
If you want to learn more about the Belligerents or follow them on social media, you can find them on Facebook, Twitter, YouTube, Instagram, Soundcloud and Bandcamp (wow, their social media game is strong) or check out their website.
Over 40 years have passed since bands like Iggy Pop & the Stooges, Black Flag and the Sex Pistols ushered in an era of dirty, speaker shattering and utterly rebellious garage, punk and psychedelia that transformed the traditionally tame and measured rock scene forever. Those days have long since faded and as those groups faded into the limelight or disappeared into history, few young bands took the opportunity to step up and carry their torch forward.
Undercurrents of those acclaimed groups and sounds can be heard running underneath the songs of modern bands like Cage the Elephant, FIDLAR or even Wavves but you could accuse these bands of crafting music that’s too carefully constructed or immaculate in its’ production. They keep themselves restrained, only occasionally letting loose but never make an attempt to reawaken the wild spirits of that bygone era.
A full on resurrection might be just beyond the horizon if the England based trio of Oliver Henry Burlsem, Andy Jones and Elliot Rawson, also known simply as Yak, continue making more of the righteous noise that’s brough them international attention despite only being a creative unit since 2014.
Fusing the reckless and unbridled volcanic energy of 60’s punk and garage rock and combining it with a modern lo-fi aesthetic as well as some unexpected creative detours, Yak’s bewildering style is equal parts sonic assault and hooky, unforgettable melodies. That’s hard to do when you’re constantly pushing your speakers past 11 and practically leveling foundations with a single riff.
Chances are you’ve already heard about their reputation as one of the most insane live acts in music today or have had a chance to see them obliterate the stage in person. The trio holds nothing back, blasting out chords and beats like it’s their last night on earth and every now and then throwing their instruments into the thrashing heart of their crowds.
It shouldn’t come as a surprise that they’ve taken every bit of that electric energy and channeled it with ruthless efficiency into their glorious, 41-minute experience of a debut, Alas, Salvation.
Wasting no time in establishing exactly who they are, opener ‘Victorious (National Anthem)’ roars to life with lurching, gritty guitars and a mindless stomp of a drum beat before Andy Jones’ low bass threatens to disintegrate everything in its’ path.
‘Hungry Heart’ toys with the listener, at first sounding more stripped back with only drums and bass backing Oliver’s vocals before a wall of dense as concrete guitars hammer down “again, again and again” in the chorus and there’s no relent in the onslaught until the song’s final second.
Sunny melodies and surf rock grooves find their way into the psychedelic waves of ‘Use Somebody’ and Elliot Rawson proves himself to be a beast of a drummer, laying down some heavy rhythms that only increase in intensity as the song rockets towards a cacophonous finale of manically plinking pianos and wails coming at you from every angle.
Classic country guitars come from nowhere in ‘Roll Another’ and the band somehow makes them sound natural despite being smack dab in the middle of a static-filled, abrasive punk anthem. Don’t let the song lull you into a false sense of security, though, because ‘Curtain Twitcher’ jettisons every bit of the trio’s restraint with every member, especially Oliver, going completely unhinged and savagely tearing the song apart like Looney Tunes’ Taz.
‘Take It’ yanks Salvation onto an entirely different stylistic path with atmospheric riffs that hearken to Amnesiac-era Radiohead and Oliver even adopting just a smidge of Thom Yorke’s unmistakable style. As Oliver’s guitar and Andy’s bass seamlessly intertwine over Elliot’s taut and tense drums, Yak prove they’re just as masterful with more layered, nuanced rock as they are with pure noise.
‘Harbour the Feeling’ continues down this road but ups the intensity in the chanting, merciless chorus and by song’s end, Oliver’s vocals are nearly swallowed by the torrential downpour of squealing guitars and feedback. Before giving us a chance to breathe, ‘Alas Salvation’ delivers one last, powerful minute of furious commotion and ‘Smile’ finally clears the air, if only for a moment.
The tune sounds like the soundtrack for a bizarre, twisted Spaghetti Western with some distinctly Southern flavored guitar twang thrown into the mix, albeit with a bludgeoning chorus thrown in for good measure. As Oliver shrieks “look how we run for cover“, the trio pushes things into overdrive, giving no protection from the spectacular racket.
If you’re expecting ‘Doo Wah’ to have some heavy 60’s influences from the title alone, you won’t be disappointed and aside from the deranged, meandering guitars, Yak paints the tune with some surprising shades of the Strokes’ tuneful post-punk, colorful riffs, Julian Casablanca-ish vocals and all.
Nearly 8-minute closer ‘Please Don’t Wait For Me’ pulls all of Yak’s random creative detours together by swerving between lucid, dreamlike psychedelia and massive, wailing rock explosions before suddenly transitioning into a drunken, 60’s country ballad in its’ second half. By some miracle, nothing sounds out of place and the song becomes as unpredictable a journey as the rest of Salvation.
There’s no telling where exactly the modern psychedelia/garage revival started but it’s been endlessly thrilling seeing so many artists take motifs and influences from those monumental decades and creating something with just as much weirdness and fearless originality for today’s audiences.
By the end of Alas, Salvation, I was and am still convinced that Yak are already on to something big and will no doubt become giants in the alternative scene before long. If they’re able to put together a joyous, skyscraper toppling album this good despite having been around for just over two years, one can only imagine what’ll come out of them when they’ve gained more live experience and deepened their creative chemistry.
Alas, Salvation gets a 9 out of 10!!
FAVORITE tracks: ‘Take It’, ‘Harbour the Feeling’, ‘Hungry Heart’
WORST tracks: Yeah… I got nothing.
The Anchor Point 