Rituals have been making waves in recent months winning ‘The Deal’ and playing Download Festival. Now the band unleash their new EP, ‘I Found Myself In The Dark’ on Marshall Records as the band seek to capitalise on not just their recent successes but on years of hard graft!
On this EP, the band clearly want to show what they are all about and the ensuing eleven minutes of brutal, beautiful heavy rock hooks is a powerful statement indeed.
Each of the three tracks stands solidly on its own which only strengthens the overall package and ensures that Rituals prove their point that they have much to offer. Each crushing riff and every soaring, melodic chorus is a sonic phenomenon and you are left wanting more once the short runtime concludes.
That then must be considered a job done for the band and hopefully there will be much more to come from Rituals in the future!
Watch Episode 49 of our ‘Discover’ New Music Podcast with guests Rituals!
‘Discover’ New Music Podcast – Episode 49 – Rituals
YONAKA follow up their stunning 2021 Mixtape with new EP, ‘Welcome To My House’ continuing to see them spread their wings and reach for the stars!
The band have set a very high standard with their previous releases and remarkably there appears to be no end in sight with this new collection maintaining their majesty and power.
Lyrically this is a personal record as singer Theresa Jarvis literally seeks to welcome us into her house, sharing analytic insights in to a range of her feelings.
Across the seven tracks, YONAKA again sonically push their boundaries as their unique blend of heavy rock, electronic and pop music synchronises into an energetic identity which sets them apart from the pack.
Each of the tracks on this EP bring something different to the party and over the course of just north of twenty minutes the group once again showcase their immense talent. ‘Welcome To My House’ continues a journey that will surely see the band taking over the world!
If one thing is for sure with As December Falls it’s that the band isn’t afraid of hard graft. Recent years have seen the band play every stage willing to host them and new album, ‘Join the Club’, represents their third studio album in less than five years!
But then what is the old saying? “Find a job you love, and you will never have to work a day in your life”. Given their chosen style of music is joyous pop punk, it’s no stretch to imagine that the band feel this way.
‘Join the Club’ is an instantly fun-filled romp through the genre which doesn’t let up throughout its thirty-two minute runtime. If you are a pop punk fan then this album is a perfect example of everything good about the oft maligned music.
At its core ‘Join the Club’ is simply an enjoyable collection of songs which just flies by when listening, which is always a good sign. Deeper down its an expansion of the groups previous two efforts with the band sounding more assured and ready to take over the world.
Hard work sadly doesn’t always pay off in life and certainly not in the music industry, but everything does seem to be falling into place for As December Falls to climb the echelons of this tricky business. ‘Join the Club’ is exactly the album they need to capitalise on their current momentum, so it will be exciting to see where they go next!
The rise of Saint Agnes to this point has been slow and steady, but post pandemic the band have certainly been growing their cult following and making an indent on the masses. If you’ve been following their development then it’s obvious that ‘Bloodsuckers’ is an important release for the band as it could smash down a considerable amount of barriers.
The pre-release singles such as the title-track and ‘Animal’ undoubtedly set the stall perfectly for the band to catapult themselves into the rock mainstream, and as soon as you hit play on ‘Bloodsuckers’ you have to sit back and admire a band taking things to the next level!
The record begins with a ferocious defiance interwoven between the gothic aesthetic and modern nu-metalesque sonic exploration. Lyrically this is an angry yet stubborn start with singer Kitty Austen full of hatred but offering hope such as “…never feel afraid to be the outsider, I promise you’re never alone, because what the fuck do they know…” on the biting ‘Outsider’.
As the album develops you begin to hear a more diverse palate of musical and lyrical delivery with the likes of ‘This Is Not The End’ and ‘At War With Myself’ and ‘Forever and Ever’ making this more of a well rounded record.
There is still plenty of rage on the second half of the album however with the double header of ‘Middle Finger’ and the Mimi Barks featuring ‘Body Bag’ offering a tonne of controlled fury to maintain the fierce pace.
If this album needed to be big and bold to continue the rise of Saint Agnes, then the band has delivered exactly the record that was called for.
It’s seems almost impossible for anyone to review anything that Greta Van Fleet do either on stage or in the studio without comparing them to a certain mythical classic rock band. Our aim is to not use their name because ultimately, no matter the obvious sonic resemblance, Greta Van Fleet have forged their path through their own talents.
Every release thus far has been exceptional and as they release their third studio album, ‘Starcatcher’, the pre-release singles have again evidenced a band of enormous musical capability. There is an ethereal raw power in their song-writing and this materialises in the most visceral of fashions.
Thematically ambitious, whilst sticking to a tried and tested formula, ‘Starcatcher’ is a continuation of its predecessor ‘The Battle at Garden’s Gate’ and will instantly gratify fans of the band.
There are a plethora of songs which sound like they were born for the live setting and as the band continue to mature and grow their audience that’s a vital element. Lead single ‘Meeting the Master’ teased listeners into the experience that this album presents and arriving at the back end of the record ensures that the album finishes as strongly as it begins.
With this release, Greta Van Fleet continue to prove that they are no mere flash in the pan and no cheap imitation. Yes, rather than another band stuck in the past, this group are literally the future of rock music!
‘The Ballad of Darren’ marks the first new Blur album in eight years and only their second in the past twenty years. That other release was 2015 effort ‘The Magic Whip’, which was missing completely from the bands setlists at Wembley Stadium this month.
That point is made because upon listening to this release, ‘The Ballad of Darren’, equally sounds like an album set to be lost to this moment in time. Musically this is of course another solid record from the band, and not many would have expected anything different.
Ultimately though the record lacks anything truly memorable. When selecting their setlists for those historic Wembley gigs, there would have been certain songs that it would be unthinkable for them not to play. If in ten years the band make a return again for more huge shows, you don’t feel that any of these songs will be in that conversation.
If you are a dedicated Blur fan then this record is an unexpected new addition to your collection. You will listen to it solidly for the coming weeks and months. Thereafter it may fall back behind the classics but will certainly continue hold its own.
Blur are musically exceptional and this at its core is another stunning collection of songs. Those reviewing this album purely on quality will write words of praise and quite rightly so. However, to drive home the point, for anyone other than a diehard follower, this will also be an instantly forgettable collection of melancholic hymns.
When Yellowcard disbanded back in 2017, that was it, there were no plans for live shows let alone new music, it was the end of an era. Thankfully things changed when the group returned at last year’s Riot Fest.
Now the next step has arrived with the band offering new music in the shape of new EP, ‘Childhood Eyes’. The reflective record sees the band sonically embracing their 2007 album, ‘Paper Walls’, but ultimately capturing the essence of everything that made the band so loved.
The title-track of the five song EP is particularly heralding of a clichéd return to form and could be placed on any of their iconic releases and still hold its own. The other tracks will have you bouncing, they will tug on your heartstrings and will make you fall in love with the Yellowcard all over again!
‘Childhood Eyes’ is certainly Yellowcard at their finest and whets the appetite for what’s still to come.
It takes a lot of courage and self-belief to walk away from a band experiencing considerable success, but that’s exactly what James Joseph did. Switching from bass player in a well known band to guitar and vocals as the frontman of a completely unknown entity, Joseph teamed up with fellow James, James Biss, and the duo set about building a new legacy under the moniker James and the Cold Gun.
A handful of key support slots and a well received debut EP have led the now five-piece band to their all-important self-titled debut album!
Described as a “…no frills rock n roll ripper…” by Joseph, this fits the narrative from the original duo when we spoke to them in a year ago on our ‘Discover’ New Music Podcast. Joseph in particular was clear that his previous band had changed to the point of no longer aligning with his desired creative output, with Joseph wanting a back to basics approach.
From the opening riff of ‘Chewing Glass’, it’s abundantly clear that Joseph has accomplished his desire. This is good old fashioned rock n roll and this album does exactly what it promises, repeatedly punching you in the face with another dirty riff, another bouncing chorus and all round gloriously effortless rock.
This is a well-rounded debut album, which shows that the band have plenty to offer other than just noise. The songs are well crafted and have an accessible enough sound that they should cut across in bigger venues just as well as they will in tiny clubs.
The likes of ‘Something to Say’, ‘Bittersweet’ and ‘My Silhouette’ may lead the pack but whilst it may be cliché, there really isn’t a bad track on what the band can be proud of as a memorable debut album.
In thirty-eight minutes of pure rock n roll adrenaline, James and the Cold Gun ensure that the bravery and confidence talked of in our opening sentence was well placed and fully justified!
JIM LOCKEY AND THE SOLEMN SUN – COLOUR – ALBUM REVIEW
It’s over a decade ago now that Jim Lockey and the Solemn Sun released their two stunning albums, ‘Atlases’ and ‘Death’. At the time the band seemed to be on the cusp of much bigger things following a series of big support slots and important festival appearances.
Then in 2014 the group rebranded simply as Solemn Sun and tweaked their musical output for a new EP. When this change was met with apathy from their fans though the band soon disappeared into the ether and it appeared to be the end of a group that had shown so much promise.
A hero’s return under the full Jim Lockey and the Solemn Sun name occurred at 2000trees in 2019 but then the pandemic hit! Now the band make their full-scale return with their third album, ‘Colour’, following another huge set at this year’s 2000trees.
The album starts with fantastic recent single, ‘Reno’ and quickly gathers pace with the euphoric ‘Medicine’ and ‘Conditional Love’ following. It’s soon evident that their sound has evolved greatly from both their first two albums and their 2014 EP.
This may be Jim Lockey and the Solemn Sun but this is a splendid new version that takes the best elements of their past and combines them with a gloriously pop-tinged new sonic palate.
As the album progress through its ten tracks, it becomes very clear that the band are operating on a level way above anything they’ve done before, and given the quality of those early albums that is quite astonishing!
‘Colour’ is a truly remarkable return for a band that always felt like it had unfinished business. Well, the ten year wait has been more than worth it because this masterpiece of an album deserves to take the band to highest echelons of the industry. Simply magnificent!
The last few years have proven to be a highly transitional time for PVRIS. Pandemic navigating releases, line-up changes, record label moves and expansions of their sound have all compounded a period of tumultuous change.
Throughout all of this Lynn Gunn has steered the ship through stormy waters and PVRIS remain on a steady course towards delivering on their enormous early promise. Now with the release of their fourth studio album, ‘EVERGREEN’, it feels like PVRIS are ready to show the truest form of themselves.
This candid and refreshing record is a stunning journey of sonic exploration across eleven tracks, all of which add something significant to the album as a whole. That said, it’s worth noting that this may be the most cohesive collection from the band yet.
Whether delivering heavy rock hooks, serenading us with delicate moments of melancholy or exploring recent EDM influences, ‘EVERGREEN’ sees Gunn at her creative peak. Gunn has always shown great ambition musically and that shines through intensely on this album.
Having caught PVRIS live at Slam Dunk Festival this summer, we can attest that the likes of ‘ANIMAL’ and ‘GODDESS’ sound absolutely huge live and you feel listening to this album that plenty of other tracks will also excel in the live setting.
After a period of upheaval, ‘EVERGREEN’ is the perfect statement needed from Gunn that the project remains not just viable but also striving for greatness!
