HATE MOSS.

2 12 2019

HATEMOSS

 

There is so much that I love about Hate Moss that I have no idea where to begin. The name of the band alone should make you love them. This Brazilian/Italian duo are based in London, and I think if I still lived in London, they would be THAT band that I constantly go see. They have something about them that just makes you really want to invest in them. As far as duos go, they’re up there with the best of them. They take elements of bands I love and make something of their own which is beautifully dark and creepy.

I think the best time to listen to Hate Moss is, well, all the time! But aside from that, listening to them in the dark when nothing and no one is around is an ideal setting. I’ve got a few bands that I listen to like this, and there’s something so sacred about listening to music in this vulnerable setting. I guess in a way, it makes you really soak up everything that’s going on in a more heightened manner.

 

 

Hate Moss don’t make sounds for those wanting sickly delicate emotions and thoughts. They’re for those who aren’t afraid to stay on the edge of something that could probably terrify someone else. Their songs have this euphoric glow to them, and it is really brought to life on songs such as The Time Your Remake which is 8 minutes of sheer heaven. Their synth-based sounds remind me of the likes of Drab Majesty and my all-time love, Cold Cave. They give you this atmosphere that gets you right in the gut.

Hate Moss totally stop you in your tracks when you listen to them. You simply can’t do anything when you listen to them apart from just that- listen to them. The vocals will send shivers right through you, and the music alone will increase everything you could possibly feel when listening to them. Two people are doing this- just two people. The incredible thing is that they don’t have that many songs, but every song feels like this ethereal cloak of darkness that you want to constantly cover you. They are such a special band, and you can really hear where they want to go when you stop and listen to their music.

Songs like Evil and Honey were made for you to just play really, loud. They’re the kind of songs you can see yourself screaming back at the band. Sometimes you just find a band or a song that you absolutely cling to, and these songs because your everything for that specific moment in your life.

 

 

I could quite happily switch off from the world and listen to Hate Moss on a loop. I could also sleep for a few days because I am so tired. But anyway, Hate Moss have something about them that just makes you feel like their live shows are really something else. This duo really knows how to get the listener right in the gut, and with just a handful of songs- they have mastered this perfectly.





FONTAINES D.C. : O2 Ritz, Manchester 19th November 2019.

20 11 2019

 

fontainesdc

 

“A sell-out is someone who becomes a hypocrite in the name of money. An idiot is someone who lets their education do all of their thinking. A phony is someone who demands respect for the principles they effect. A dilettante is someone who can’t tell the difference between fashion and style. Charisma is exquisite manipulation, and money is a sandpit of the soul.”

 

Recently crowned by Rough Trade as being their record of the year, Dogrel by the mighty Fontaines D.C. is a record that you need to witness in a live setting. If like me, you’ve been playing it almost religiously since it came out this year you will know just how powerful this record is. It’s romantic, it’s brutal, it’s honest and it is powerful. There’s only one way to play it, and that’s loud. In a live setting, it becomes something else. I knew it was going to blow my mind, but my god it exceeded everything and anything I thought about this beautiful band.

Their set is basically Dogrel in full, and every song is performed with this ferocious energy that makes you believe in every single word that comes out of Grian’s mouth. He’s a poet yet he delivers the words in a way of a preacher, it’s absolutely hypnotising and such a great thing to witness. As I watch the band, I can’t help but feel that they have the same energy and presence that The Birthday Party had. Grian stalks the stage like a young Nick Cave; Carlos and Conor are like Rowland S. Howard and Mick Harvey/Blixa.

 

 

Fontaines D.C. are unapologetically loud, and they touch on subjects that most tend to shy away from. Their songs touch on the sexism in the workplace to dreaming of being big to black cab drivers. There is so much reality in their songs, and this reality is something that many would fear or try to shy away from. No one at the Ritz last night was shying away from any of this. Pints of beer were flying; middle aged men were screaming the songs at the top of their lungs and the kids at the front were no doubt soaking up everything Fontaines were giving us to create their own noise in the future. I sure hope they do.

Songs like Too Real, Sha Sha Sha and Liberty Belle see the venue absolutely erupt in euphoria. We all know that this is one of the greatest records of the year and beyond, but trust me it all changes when you see it live and when you are surrounded with people who love this record, and this band as much as you do. You feel at home and oddly secure. Chequeless Reckless was my highlight for sure, but I’m going to touch on the set closer Big shortly which was equally as powerful. So, Chequless Reckless goes beyond being a song; it is a vital piece of poetry that should be studied. I honestly wouldn’t be surprised if, in the future their lyrics find their way onto syllabuses in schools. Fontaines are no doubt our future and are showing us a side that we need to be exposed to. You can see their world anywhere, but so many chose to ignore it. Don’t. Just don’t. I love the way the band just play with this urgency and dedication to make these songs be heard. Grian’s vocals takeover the venue, but when you see the sheer devotion in the way Tom beats the living shit out of the drums and how Conor treats his bass like a machine gun not to forget how Carlos and Conor thrash their guitars about with this sheer Punk energy that would make even Johnny Ramone proud if he was here. If you were at this show last night, chances are that like me, your love and obsession for Fontaines has gone through the roof.

The band end with Dogrel’s opener, Big. In a way, this has become a bit of an anthem. All their songs have done this. Fontaines could easily sell out arenas there’s no denying that, and maybe this will now be the last time we get to see them in a venue this size but their songs and the way they perform them do create a sense of intimacy and sheer devotion between the band and the fans. Big is THAT song that will inspire many to get out of their current town and to make it elsewhere. Anyone can do it, and the self-belief that Fontaines have, and had got them where they are now. Big is the song you play to pump yourself up or to just give yourself reassurance that you can make something of yourself, even if your beginnings aren’t grand.

 

 

If you’re looking for a band that will blow your mind, burst your eardrums and leave you covered in other people’s drinks- then go to a Fontaines show. It was most certainly one of those shows that you know people will be talking about in decades from now; it was memorable for so many reasons, and as time goes on those reasons will evolve. People will start bands because of this show, people will create their own poetry because of this show, this band and Dogrel. There is no denying just how brilliant Fontaines are and of course, they deserve to be big. Last night’s show went beyond proving that. Definitely one of my favourite shows of the year.

 





FALSE HEADS.

5 11 2019

FH

 

It’s that wonderful time of year where we play, gun shot or firework. To drown out the exploding sounds (I really hate fireworks) I’m playing False Heads super loud. I can just about drown out the fireworks.

 When I lived in London, I heard of False Heads quite a few times, but I foolishly didn’t pay close attention. They probably played a shit ton of shows I could have gone to, but I can’t dwell on the past. Fast forward 3 years since they formed, and False Heads are most certainly one of the most exciting bands in the country and maybe one of London’s loudest bands. Their sound will get out all of your frustrations and disdain. There’s a slight Grunge like feel to their sound, but aside from that you can’t really lump them as anything but excellent.

 Their newest single, Fall Around come out on the 25th October. Initially I was going to write about the single, but they deserve way more than that. The new single is a heavy and raw song to really get stuck into, and to let False Heads suck you into this world they’ve created with their brutal sound that makes you feel like you’re in a pub brawl that’s spilled onto the street. I love the heaviness on Fall Around- that really heavy drum and guitar sound together is just divine, then you get the slick bass hitting you along with the vocals. It is such a perfect sounding song- if you listen to it after listening to previous songs you will massively hear how their sound has just continued to evolve and is still on this brilliant journey. They take you along for the ride, and it is such a joy to listen to.

 

 

Songs like Slease, Retina and Help Yourself were made to just lose your shit to. I’m annoyed at myself for never seeing them when I had the chance in London, but the thing with their music is that they make you feel you’re right in the midst of their live shows when you listen to them. I love Slease, and I think it’s one of the year’s most underrated gems. It’s got everything you’d want from a heavy sounding band. They have this captivating sound that just makes you want to turn it up a little louder, and to try see if you can actually make your ears bleed from the loudness. They’re that great, they’ll have you wanting to do dumb stuff.

Their debut record should be with us next year, and I reckon it’ll be something to truly treasure and pay very close attention to. False Heads have songs that are nothing short of anthems, and in a few years’ time they’ll be playing them to stadiums full of devoted fans. They have this glorious Post-Punk feel to their sound, but they give us something more. Something we may never have heard before; there is so much charm in their sound, and the lyrics are so easy to connect with. False Heads may only just be getting started, but they’ve won over a wealth of fans all over. You cannot deny just how great they are, and how a sound like this is so vital.

 

 

With new single Fall Around thrust into the wild now, there is really no telling how the debut record will sound like but I reckon it will consist of real heavy bruisers that will be destined to be played loud and screamed back at the band.

Iggy Pop and Danny Fields are fans of this trio, and if that isn’t enough to get your attention then I really don’t know what will.

*Photo by Neil McCarty





BAMBARA: Soup Kitchen, Manchester 22nd October 2019.

23 10 2019

Image result for bambara band

 

I went to this show as someone who casually listened to Bambara; I left as someone who is now obsessed and in awe of what I witnessed in a room that should have been packed.

I think the best way to describe a Bambara show is wonderfully loud and chaotic. As soon as they ripped into their set, I immediately felt like I was watching The Birthday Party for the first time. They have the same raucous sound that is all over the place in the best way possible. I don’t want my music to sound polished or perfect- I want it to be noisy, all over the place and powerful. I got all of that and more from Bambara’s set. They put their absolute everything into their performance, and honestly, Reid Bateh is quite possibly one of the best performers I’ve ever seen. He absolutely puts all he has into the songs, and in a live setting you can truly see just how much this means to him. It’s like he has to get THIS out. I don’t know what “THIS” is exactly, and maybe it’s something we all have in us, but he gets it out in a way that is beautifully enthralling and terrifying at the same time.

Bambara aren’t a band for those wanting roses and sunshine. They are a band for those seeking something to cling to. They’ve toured with two bands that own my heart- IDLES and METZ. Imagine seeing that! It’d be like witnessing something so sacred, and spiritual. I had a great spot at this show, and maybe it was because it wasn’t sold out. It should have been sold out by the way. I could see everything, and I was so fascinated with drummer, Blaze. His style reminded me so much of one of my favourite drummers- Alex Robins. I loved that Blaze’s stage attire was shorts and cowboy boots- if that doesn’t define cool, then I don’t know what does. His style of drumming is intense and captivating. He’s the kind of drummer that a kid would watch and think, “I want to do that.” He made a 32 year old feel that way (me, by the way.) I love how the band all have this sense of solidarity when they play. It feels like a brotherhood (obviously that’s the case with Reid and Blaze!) and this tight sound they have just makes you completely hooked on every sound they make, and every word that Reid sings.

 

 

Songs like José Tries to Leave, and brand new song Serafina (which I think they had only played once before maybe?) were just magnificent to watch. With this possibly being the second time they performed Serafina, they nailed it perfectly. I love how Reid thrashing the microphone wire like an out of control lion-tamer, and he definitely reminds you of a very young Nick Cave when he was in The Birthday Party. This was probably one of the loudest shows I’ve been to at the Soup Kitchen- it wasn’t as loud as the times I saw The Jesus And Mary Chain (I couldn’t hear properly for 2 days, but I was stood right by the speaker so…it was to be expected!) Although the venue wasn’t packed, but to be honest sometimes it doesn’t matter you know. Sometimes it can feel like the whole world is there, and Bambara definitely made you feel that way. At times it felt intrusive as you witnessed them leave their absolute everything on stage, but bands that do this just have my complete respect. To be that open on stage is something to really appreciate and admire for sure.

I love how bassist, William completely lets go on stage. Sometimes you see bass players who are holding back and seem to be teetering on letting go, but William is unafraid and just makes you wish you were as cool as him. Bryan and Sammy are INCREDIBLE guitarists; they could easily have blown the amps with how loud they were, and take that with how grand Blaze’s drumming is- then you get the general idea of how wild and loud this show was.

There was something about this show that at the end, I felt like I had got what I needed. I felt some kind of release. I’m not sure what of. I mean today is 2 months since my Grandma died and I’m ready to go back to bed and spend the day crying. But last night, that gig gave me that feeling that you get from your favourite band. It was truly special for so many reasons. I urge you to see Bambara whenever and wherever you can. It’s not just a show, it’s an experience. An experience that will stay on your mind until the next time. Over and over.

 

 

Their set ended on Monument, and it was such a high to end on. Of course you wanted more, and you just wanted them to carry on for an eternity but this was just one of the most mesmerising shows I’ve ever been to. Bambara have been around for some time now, and these New York heroes are a band to become majorly obsessed with.

This was my first time seeing the band, and I definitely hope it won’t be my last. Their new record, Stray will be out in February. It’s their fourth record and I reckon it might just be their heaviest to date. I cannot wait to hear it, and can probably call it as one of 2020’s finest records.





THE MURDER CAPITAL: YES (The Pink Room) Manchester. 18th October 2019.

18 10 2019

tmc

 

A very wise person once said, ‘The Murder Capital are one of the best bands you’ll ever see live.’ Not sure who it was, it was probably anyone who has ever been to their show.

Their debut record, When I Have Fears has been my crutch since my Gran died in August. It’s been that something I turn to when I have no idea what is going on and when I’m trying to get a hold of what I’m feeling. I never get hold of it; I never will. The show tonight meant the world to me for this reason, and I honestly don’t think I’m ever going to get over just how incredible it was.

 The Pink Room at YES tonight was completely rammed. It was full of people who were clinging to these songs. The Murder Capital are a band of the people, and my god they are a band to be utterly proud of. James’ is one of the most enthralling front men I’ve ever seen. He’s got the presence that will make him be likened to Nick Cave. The band are just the most captivating and passionate band you’ll see. During songs, James leans over to Damien, Gabriel and Cathal and plants gentle kisses on their heads- it is such a simple moment, but you just know how much it means.

 

 

When I Have Fears is one of the most hard-hitting records of the year. Before they play On Twisted Ground, James announces “This is for everyone who should be here.” I immediately think of my Gran and my friend who took her life in the summer this year. I cry. I cry for many reasons. Some obvious and some not. All reasons I try to grasp every day. I wish I could say this show was a form of healing, but I won’t heal, and I’ve accepted this. What I can say is that this was one of the most emotional, passionate and important shows I’ve ever been to. With just one record, The Murder Capital have created something we expect from bands who are playing huge venues and have numerous of records- but The Murder Capital are different.

 Watching the band, you simply cannot get over just how immense the experience is. The way Diarmuid annihilates his drumkit, and makes you feel like the stage is going to crumble because of the sheer weight of his playing, this merges so perfectly with James’ vocals which can be grand yet delicate. The band are exceptional at creating tender moments on their songs, and the bring it out so well in their live shows. I love when they all completely let go in their heavier songs like More Is Less and Feeling Fades and I love seeing the quieter moments where you can see them take everything in. You can really tell that this isn’t just a band to them, it isn’t just a job. It’s their life. And as a fan, that’s how you feel. They go beyond being just a band; they are just everything. Simple as really, yet it holds a lot.

 Everyone goes apeshite to More Is Less, Green and Blue and set closer, Feeling Fades (stage invasion from the Happy Couple was great, and James launched himself into the crowd!) And the tender moments in songs like Slowdance I and Slowdance II are just so perfect. For Everything is belted out by the band and is also sung back to the band by the crowd even louder. These are the moments that make you realise that you have seen something truly special; this will probably be the last time we see them in such small spaces. They’ve just announced a tour for early next year, and it’s only a matter of time before they start selling shows out in seconds. They are such an important band, and they aren’t afraid to vocalise the issues many want to shy away from.

 Don’t Cling To Live reads as a poem, but when you see this live it becomes an anthem. It is one of those songs that regardless of where you hear it (live or in your room) it changes you. It becomes part of you; it has something that makes it such a gorgeous composition. Seeing it live is truly something else. Seeing The Murder Capital live is truly something else. Once you see them, that’s it. It takes over you. In an ideal world I could be at their shows every single night. They hold so much power in their music; it can break you, then heal you, then break you again. It’s an emotional rollercoaster for sure, and I wouldn’t have it any other way.

 

 

Aside from being way too close to people who thought talking all the way through the show was appropriate, I can safely say that this was one of the most personal and captivating shows I’ve ever been to. It’s hard to put into words just how exceptional the show was, and I think anyone who has seen them or even just loves the band knows what I mean. There are some bands that just love beyond words, and The Murder Capital are exactly that. There are no words good enough to describe this band and all they mean to me. It was such an intense experience, and although it was over all too quickly it has left a lasting impression that is permanently etched upon my heart.

 Tickets for their tour next year are now on sale. Buy them and go sing your heart out.

*Photo by JustGrayce





DIE WÄRME.

15 10 2019

 

DW

 

With a drop-in temperature and the sun setting earlier, it is time for music that fits this season and the mood it brings. I don’t mind this at all. The only thing that bothers me is having to wear a coat- however, I am adamant that it isn’t cold enough to wear a coat yet here in Manchester. That will catch up with me, it usually does.

There’s a band from Berlin called Die Wärme (The Warmth, I think?!) and I cannot find anything about them online. I respect any band that can sound this great yet are completely unknown on social media etc. They have a strong Post-Punk sound, and their first (I’m assuming) release is up on their Bandcamp page. It could be their 100th record, I don’t know but I’m going to talk about the one I’ve found online and do my best to write something that makes sense.

 

 

They have a sound that just makes you want to jump around and have a great time, and you don’t care for the fact that you know nothing about them nor can you understand what they are saying. Who cares when it sounds this good! I love this dark sound them have, but there’s something about the bass on this record that reminds me of early Joy Division and very early The Fall. It’s that distinctive sound that is found in a lot of bands since, and it’s by no means a bad thing. The Fall were, and always be the best band of all time. Mark E. Smith forever, and ever dear reader. Forever.

Die Wärme’s singer reminds me of Siouxsie so much, and of course I mean this with sincere love and admiration. Siouxsie is just the best isn’t she, and it is so good to hear new bands still being inspired by someone who truly changed everything. There’s that gorgeous Gothic mixed with Punk sound on this record, and it really does make you feel like Siouxsie has made a German record. That’d be pretty cool! The record only consists of 8 songs, and of course it leaves you begging for more. I can’t help but think that their live shows must be really intense and so energetic. With just 8 songs that blow you away, and they do it in a way that takes you back to the start of bands like The Cure, Siouxsie etc. It just has that sound that moves you, and makes you want to completely lose yourself in what you’re hearing. They’ve mastered the art of captivating the listener; it’s hard to not be moved by this record.

The intensity in the music is heightened by the vocals, and this kind of atmosphere makes you just want to delve deeper into what you’re hearing. It makes you want to go for a walk late at night and the cold air hits your face, and you don’t care for where you go- you just need to go where the music takes you.

At the moment I’m really into Aufzug and Gene from the record. I love the sound and how grand it sounds; this big sound they have is just flawless, and makes you want to fall into a world of bands that have this sound. It is the perfect sound for this time of year; the grey and intense mood they create is something to really treasure.

 

 

I wish I knew more about this band; I wish I knew if we were going to hear more from them but for now let’s just take these 8 songs and appreciate them to the fullest. It’s a remarkable record and is probably one of my favourite finds of the year.





GROSS NET: Gross Net Means Gross Net.

13 10 2019

GN

 

I’ve said countless times that music is a form of escapism for so many, but sometimes you need something to keep you right where you are- even if it is daunting, or terrible. I’ve always admired Gross Net (or Philip if you want to be proper) and how his mind works. He is one of the most expressive souls out there, and he takes you on this futuristic journey every single time. His newest record, Gross Net Means Gross Net is one of the most experimental records I’ve heard in a long time. It’s got this Scandinavian Noir feel to it; it could easily be played in some Thriller TV series as something truly gruesome and barbaric is about to happen. It is a creepy record, and it is nothing short of exceptional. I’m going to do my best to explain why this is one of the most out there records of the year.

There’s been a few years in between this record, and Philip’s last Gross Net record. This is a totally different sound, and as someone who is influenced by what they see- Philip has truly taken the state of the world (mainly the UK) and given us this tense breakdown of the shitshows that are occurring daily. Think a really political version of Einstürzende Neubauten with hints of Psychic TV. Basically, two of the greatest bands ever rolled in one. But, as we know, Philip is his own creation and a bloody genius. What this record gives you is something so eerie and captivating.

 

 

The best time to listen to this record is when it starts to get dark. This is not a daytime listen- this is dead of the night listen. I mean, it’s only 18:47 but it’s pretty dark out now so, and it works. You cannot help but be absolutely consumed by these songs and how remarkable the production is. It is, for me, the best produced record of the year. Shedding Skin is probably one of the most gloriously composed songs of the year. These aren’t just sounds, these are synth-based symphonies that will take over your soul in the most beautiful way. I love everything about Shedding Skin. It’s just over 6 minutes, and the lyrics are sure to hit you in the gut- they are explicit to the core (I mean in an exposing of the soul kind of way) and it isn’t hard to truly connect with this one. You can just imagine it being performed live in a basement bar, almost pitch black with a smoke machine creating this eerie mood, and a tense atmosphere crashing over.

Every song on this record serves the sole purpose to ignite the listener, and to get them to a place where no other piece of music could. The music alone on this record is so spooky and is comforting at the same time. Although there’s a song on the record named after a terrible person (Theresa May) it is actually one of the most gorgeous pieces of music you’ll hear. There is no need for words on this one, you can create your own story to this beautiful instrumental. In a way on this one, you get a glimpse into how Philip’s mind works- you can hear the care and feel the thought in this piece so much. Then it slides into Gentrification which almost feels like it could be played at a rave at 4am somewhere. He can make you flitter between several emotions on this record, and that just makes me admire him even more. He’s easily one of my favourite musicians around (and I think he knows this!)

 I love how the songs can touch on subjects you don’t really hear in modern music (how we’re all prone to consuming too much and not being aware of the consequence, thus turning a blind eye to our future) which can really be felt on Of Late Capitalism. Gentrification leads into Of Late Capitalism in such a succinct way, again it is another moment on the record where you can really pick up on the thought and care that has gone into this perfect record. Philip has massively pushed himself on this record, when you listen to his previous records you can hear something on this record that you haven’t quite heard him do before. It’s a cross between very early Scott Walker meets Suicide (the best duo ever), with hints of the future. It’s such a stunning record to lose yourself in. Dust To Dust is heart-breaking but my god it is the most beautiful song that Philip has ever done. To date, this song is the best thing he has done. Obviously, that’s just my personal view, and maybe I’ll change my mind but lyrically and the composure of this song is nothing short of mind-blowing. It just shows us how much of a genius he is, and how unafraid he is in his approach to creating such powerful music.

 

 

Gross Net Is Gross Net is one of the most thought-provoking records of the year. Sure, Philip will take you to a different world with the sounds, but the lyrics will bring you right back to Earth. This record is made up of 10 songs to truly hit you in the soul. One person, just one person has made this absolutely vital record. It doesn’t tell a story; it tells the truth. It is a truth to really, really listen to.





THE BATTERY FARM.

11 10 2019

 

TBF

 

Manchester, Manchester. The greatest city in the world. A city that feels like home; it’s just the best. There are so many bands to have come from this beautiful city that I get to call home, and there a wealth of new bands emerging that, in time, will be regarded as highly as those before them.

 A band that most certainly demand your attention are The Battery Farm. They have a new single out in a couple of weeks, and this single’s subject matter is mental health. It is about lead singer, Ben’s struggle with his own mental health issues and this stigma that surrounds masculinity and speaking up about mental health. More than ever, we are embracing opening up- bands like IDLES are so encouraging with regards to speaking up. Then again, what kind of dickhead would want someone to shut up about it? Yesterday was World Mental Health Day, but that doesn’t mean that we stop talking or stop checking up on friends. We all have our own struggles; I’m open about mine but of course, hypocritically, I wish I wasn’t. I’m doing my best to write more about music, so I don’t have to “deal” with the two deaths I experienced so close to each other. One I can handle, but losing my Gran? I’ll never get a grip on that. Anyway, personal rant aside- let’s talk about music.

The Battery Farm consist of two brothers and two pals (the brothers are pals too obviously!) These 4 lads are making the kind of noisy Punk that makes you want to do something positive as well as trashing your room. They are a band to be hugely proud of, and not just because they are talking about things we tend to shy away from. They’ve been getting a fair bit of exposure, and I’ll post tour dates at the end. But what we need to discuss is their style and how they are such a bold, and vital band.

 

 

 Their debut single, 97/91 came out a couple of months ago. It’s got that beautiful heavy sound that is in bands like IDLES, The Murder Capital and Fontaines D.C. They aren’t afraid to have this openness and darkness in their sound, and I love it. I absolutely love this song. I love how you can feel every ounce of passion in Ben’s voice, and how the band just play with this infectious fury that just spurs you on. You cannot help but feel every single word- some people sing from their heart, some sing from their gut. Ben definitely sings from his gut, and that’s where this urgency is coming from. There is so much weight to their sound, and I love the dark tones and how they really are a fearless band. Their songs could easily be in some creepy Thriller film, or it could come to you in your dreams. It is frantic in the best way possible. I’d say I cannot praise this band enough, but I probably can. And will.

 Their songs are perfect for venues like our beloved Soup Kitchen, The Castle etc. but they could so very easily be blasted out in stadiums with every single person screaming along. Imagine that? Imagine everyone yelling the words to 97/91. It is such a powerful song, and although I know I should be going back to their new one, I Am A Man; this song has a ferocious grip on my ears. In fact, both songs do. So, let’s move on.

I Am A Man is a totally different sound to 97/91, and it works so well. Their new single as mentioned, is about Ben’s own struggles. It is so easy to relate to these lyrics; “I wanna talk but I don’t know how” is such a simple line, but it holds so much. It’s the way it is chanted by the band, and how it just completely sums up the whole stigma around mental health. Many do want to talk, and they have no idea where to start or even where to go. With just 2 songs, The Battery Farm have made a vital impact- and with I Am A Man the beautiful Mancunian snarl just nails it. The sheer honesty and openness in this aren’t fragile at all- it is brave. I’m aware that calling someone brave can sometimes be condescending but it is said here with the utmost respect. They just make you connect with them in ways bands that have been around for decades haven’t done yet. The words are sheer poetry, and they are merged with the most brutal drums, bass and guitar imaginable. It works so well and you cannot help but smack repeat on it. The lyrics become a mantra- we need more bands like this.

 

 

 

 

The Battery Farm have described their sound as, “frantic, visceral and violent.” It’s a pretty spot on description- but don’t let the violent part put you off. In this instance, that violent sound comes from daily frustrations and just wanting to change something, anything. It’s the vital force of their sound that makes you feel like you are pushing yourself through a wall of people to be heard. It’s a struggle, but you’ll get there.

 As someone who is obsessed with lyrics, I really love how The Battery Farm are so open to sharing their thoughts and what they see. They are showing us their world, their reality and the thing is- it’s like a lot of ours. Their songs are relatable, and if the lyrics make you feel uncomfortable- then they are doing it right, they are getting through. Their passion and dedication is something to truly admire, and with just 2 songs they have left me in awe. I really cannot praise them highly enough. Not just for touching on delicate subjects, but for being unafraid in doing so and for creating such a beautiful, and heavy sound. Hopefully they will be a band that, in the future, others are citing as them as their influence. 

 Here are some of their upcoming shows:

8th November 2019 – The Peer Hat, Manchester for Abattoir Blues Records

21st November 2019 – Werkhaus, London

1st December 2019 – Fab Café (acoustic)

7th December 2019 – Eagle Inn, Salford

28th December 2019 – Sound, Liverpool

22nd February 2020 – The Peer Hat, Manchester for Deco Records

18th April 2020 – Ulltra Festival, Hull

I Am A Man is released on 24th October.

*Photo by Gemma Corry

 





HEAVY LUNGS: Measure.

10 10 2019

Image result for heavy lungs measure

 

 

Behold! The most astonishing EP from a band from Bristol that you will hear all year! Heavy Lungs have released today, Measure; a 5 track EP with songs to completely shatter your eardrums in the most pleasing way imaginable.

We all know that Danny Nedelko is one of the most charismatic front-men around, and that Heavy Lungs are just one of the most exciting bands around. But what have they done with Measure? How exciting is it? How loud is it? How does it feel to listen to this work of art? Well, I will do my best to ramble gently about this glorious masterpiece.

Ready?

Measure opens with Half Full- it has this exceptionally haunting feel to it. Danny’s voice has this trembling tone to it. You can hear every emotion possible in this, and it just makes you become so enthralled by it. You want to scream along with him, but you can’t. You cannot mimic such a voice. This morning I blasted out Self Worth a LOT. I love how it instantly smacks you in the face. Self worth as a concept is criminally underrated, and to hear a song like this just makes you sort of keep yourself in check. You know things are shit, but somehow you’ll find a way to carry on. I have no idea how I get out of bed most days, but songs like this show the ugly and good side of having emotions. I love this song SO much, and it is definitely got the strongest sound both musically and vocally. If you didn’t know where to start with Heavy Lungs- play this one really loud. You’ll get it. Keep on playing it. Let it hit you in the gut. Let the brutal honesty make you feel sick because you can relate so much. There’s so much power in this song, and even more power in this band. They’re just the best.

T.O.T.B is another face-smacker. Sometimes you just need something to hit you and wake you up. I was playing this at 7am this morning on the way to work, and it really woke me up. It’s such a big record- even if it is only 5 songs. But these 5 songs are the most important songs you’re going to hear all year. This year we’ve had Fontaines D.C. and The Murder Capital give us the most vulnerable and heaviest records- you can definitely put Measure there. It’s everything you’d want from your favourite band. I had a ticket to see their last Manchester show, but I had to bail last minute because my mind decided it was time for a panic attack. I’m trying to fight them off and go to gigs, it’s tough but these things happen. You can’t beat yourself up forever.

 

 

The first single from this EP was (A Bit  of a) Birthday. If like me you’re not big on having attention thrown on you, and your idea of hell is people gawping at you whilst singing ‘Happy Birthday’ to you- then this song will really speak to you. It’s about the waiting for the day to be over so it’s back to normal, the shitty clowns that appear at kids parties, wanting the money instead of the card- it’s got this really snotty Punk sound to it. I love how obnoxious it is- you can imagine some spoilt brat singing this because he just wants everything to be over. I absolutely love it, and the band nail it perfectly. Danny’s vocals on this have so much diversity to it, and I love how he portrays this brilliant bratty attitude on it; the total opposite of him and the band. It’s fucking incredible. The guitar on this is probably my favourite on the EP, Oliver has excelled himself on this one for sure.

What I adore about Measure is that Oliver, Danny, George and James has pushed themselves, and this has caused them to just sound exceptional. Their unified sound just makes you fall in love with them even more on Measure. It is easy to become obsessed with Heavy Lungs- they’ve got everything you could possibly want from a band. The lyrics on this EP to the production is just perfect. George is an absolute monster on the drums and James just brings this soul to the band with his bass-playing. There’s no other band out there quite like them.

Measure is out right now via Balley Records. Buy it and play it until your ears bleed.





FONTAINES D.C. : Dogrel.

27 09 2019

Dogrel_album_cover

 

This is a record that I should have written about the day it was released, but I wanted the record to really sink in before I even got started on this. It’s a heavy record- in both sound and lyrically. It isn’t a record to casually listen to. It is a record to invest yourself in, and to completely focus on. The past few weeks or so, Dogrel has been a record I have constantly listened to. Over and over. I think I’m now ready to put my thoughts about it out there.

I’ve not read any opinions on this record, but I’m assuming it is loved by so many. How couldn’t it be? It is one of the most important records of our time, and is an astounding debut. For a band to have this much power so early on is something to really treasure, and to keep a close eye on. Fontaines D.C. aren’t a band that are going to just fade away with what they have done on Dogrel they are likely to keep on doing. They have made songs that will last a lifetime and more, they are a band to hold dear and lean on. How did we get this far without them?

 

 

Big opens the record; a song that sets the tone for the record and how Fontaines D.C. are surely going to take over. They give hope for those for may have been held down, told they can’t do something and made to feel like they can’t get out of their situation. It’s a song for lost souls who know there is something more out there for them. Grian pours his heart out on this and it something that is occurs throughout the whole record. Too Real and Television Screens are the songs that you know are chanted right back at the band at their shows. Every single song on this record has the feel of an anthem. You can imagine crowds singing this on the terraces, in the pub, on a walk home from a night out or just being at home and shouting them out like your life depends on it. These songs are made to be heard, but also screamed along with. Grian doesn’t scream, but his voice has the same power as if he is. You cannot help but soak up everything he sings. The band are lovers of poetry, and that is something that is apparent throughout this record. They aren’t just songs. They are poetic symphonies that have so much heart and passion. There’s a Beat Poet style about them, and I am completely in love with it. It’s a style of poetry that is just stunning, and they have their own take on it that’s beautifully portrayed in their songs.

There have been so many astounding records this year. Records from bands that we have been in dire need of, bands who are just getting started but make you feel like you’ve had their music in your collection for all your life. Bands that have this urgency in their sound that makes you feel like nothing can touch you. Dogrel is the kind of record you would use as a shield to protect yourself from the world. There is so much nostalgia in this record, but Dogrel also has hope for the future. This record is the future, Fontaines D.C. are the future. I can safely say that I have not become completely obsessed with just one song on this record. It has been every song that I have been in awe of. As soon as it ends, I start the record all over again. However, to mention Television Screens again- I just have to say that the vocals on this are my absolute favourite as well as the drums. I love the gentleness on this song, but how the lyrics are so hard-hitting and get you right in the gut.

Fontaines D.C. are a band that we are in dire need of. They aren’t afraid to be painfully honest to be so open in the topics they touch on. They talk about their city (Dublin) in a way that makes you connect it to your own hometown. You connect with the frustrations, the passions, the struggle of daily life. They give it to you in a way that makes you feel like it is your own story.

 

 

Dogrel is clearly one of, if not THE most fascinating records of the year. It is rowdy, poetic and brutal. It is a bold statement that oozes charm and bravery; something that we are so desperately in need of.