Archive for the ‘Singles and EPs’ Category

Beige Palace / Cassels – Waterloo Sublet / About Not Writing

Posted: 13 April 2023 in Singles and EPs
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Human Worth / God Unknown – 28th June 2023

Christopher Nosnibor

The release date may be a long way off, but I wanted to get in early with a review and put word out before it’s sold out – not least of all because I’ve been following Beige Palace from the very start, catching their live debut at now defunct DIY rehearsal-space-cum-venue CHUNK in Leeds in 2016. And Christ, I miss that place. It wasn’t the most accessible of spaces, but still within walking distance of the train station, and they hosted some bloody great bands. And it was the place where …(something) ruined made its debut, meaning that on a personal level, it will always be remembered as a special place. Beige Palace impressed then (so much so they used a quote from my review on their website and in press releases), but there was no way of foreseeing that they’d go on to support both Mclusky and Shellac on their visits to Leeds in recent years, bringing their brand of minimal lo-fi indie to the main room at the legendary Brudenell. I’d like to claim I have an ear / eye for bands with unique qualities, and that my many long nights spent seeing unknown bands in tiny venues is not only indicative of a commitment to grass roots music and seeking out the next hot act, but something of a talent, but the truth is I simply enjoy these smaller shows.

The fact that Mclusky and Shellac chose to play the 450-capacity Brudenell suggests they are of the same mindset.

And so it is that the ever-brilliant and ever-dependable Human Worth have teamed up with Good Unknown for a split 7” featuring Beige Palace and Cassels – thus demonstrating the beauty of the split single, which more often tan not you tend to buy because you like one of the bands, and then discover another band in the process.

This split single is a corker.

The punningly-titled ‘Waterloo Sublet’ is a dingy, dungeon-crawling post-punk drone where a long intro of feedback and gut-quivering bass paves the way for a deranged up-and-down angular noise-rock workout that leaves you feeling punch-drink and dizzy. The dual vocals are more the voices of psychosis than a complimentary bounce back-and-forth, and the result is psychologically challenging. It’s not easy or accessible, but it is unhinged and big on impact. And once again, Beige Palace show that you don’t need extreme volume or big riffs or loads of distortion to make music that disturbs the comfortable flow in the best possible way.

Cassels also bring some spiky, jerky, jarring post-punk, and their crisp, cutty guitar work paired with half-sung narrative lyrics are reminiscent of Wire. And then, halfway through, the tempo quickens and it erupts into a guitar-driven frenzy and from out of nowhere, it goes flame-blastingly noisy. It pretty much articulates my own relationship with writing – and not writing, and channels a whole range of complex issues spanning the relationship between mental health and the creation of art. It’s a cracking tune, and one that says that for the unfamiliar, Cassels are a band worth exploring.

Split single – purpose fulfilled.

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The Twilight Sad – Live 2022 EP3

Posted: 10 April 2023 in Singles and EPs
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7th April 2023

Christoper Nosnibor

In their native Scotland, The Twilight Sad are fucking massive, capable of selling out two consecutive nights at 1,900 capacity Glasgow Barrowlands. South of the border, they have a deeply devoted fanbase, but are more of a niche act. It may be the fact that they are so overtly Scottish, with James Graham’s unapologetically strong accent sometimes rendering the lyrics rather hard to decipher, but the raw emotional impact of their songs transcends language.

This is something that’s long been recognised by Robert Smith, who recorded a cover of ‘There’s a Girl in the Corner’ in 2015, and first took them out on tour with The Cure the following year. There can be few higher compliments for a band whose love of The Cure is evident in their catalogue, and there have been several tours since.

Ahead of their most extensive US tour to date with The Cure which runs through May and June and into July, they’ve released a live EP via BandCamp, which was recorded across three nights at Wembley Arena during our tour with The Cure in December 2022, and as with all of their live EP’s this is a Bandcamp exclusive on a Pay What You Can basis.

They’re a band who excel live – their intensity is a rare thing indeed, James Graham is beyond compelling, and steps into a zone onstage while Andy MacFarlane whips up a maelstrom of sonic sculptures that push guitar playing in a direction not heard since Bauhaus’ Daniel Ash. Someone once left a one-word comment – ‘cunt’ – on a live review I posted of the band where I suggested that the experience was akin to how I expect it would have been to have seen Joy Division in their prime, but I stand by the comparison having first heard the debut album and thought it was ok, to being blown always by both the volume and intensity of a live performance.

As such, this EP is a well-timed and savvy promotional tool, as well as a nice stop-gap for fans home and away, since it’s evident they won’t be doing much recording of new material in the coming months.

It’s an interesting – but also representative – selection of songs, opening with ‘There’s a Girl in the Corner’. The guitar is right up front, mangled and messy, a mesh of treble and distortion over the sombre drums and spacious synths. Most live arena recordings sound a bit distant, a bit clinical, but this, this slays. It’s noisy, full-on. The guitar absolutely fucking shreds. And James’ vocals… he’s not holding back. He’s still living every line.

But consider this for a second: it’s a stop-gap live EP recorded live at fucking Wembley arena. How many bands get to do that?

There are two songs from the debut album which remain live staples and are undeniably absolute classics. ‘And She Would Darken the Memory’ is a monster swirl of the most anguish-laden shoegaze ever committed to tape, and the altered lyric which offers the reassurance that ‘the rabbit won’t die’ dies little to diminish the kitchen sink trauma or the impact of the squalling guitar racket that occupies the final three minutes, against a backdrop of relentless drumming. The other track from Fourteen Autumns & Fifteen Winters, ‘That Summer, At Home I Had Become the Invisible Boy’ remains untouchably strong. ‘The cunt sits at his desk, and he’s plotting away… the kids are on fire in the bedroom’ James sings to twelve and a half thousand people as that guitar tears in, twists, warps, melts.

‘Wrong Car’ is something of an outlier: released as a standalone single after the second album, it’s been in and out of the setlist and not always an easy fit on account of its near-seven-minute duration. But this EP captures a strong performance of an underrated song, and if the balance of the EP is geared toward earlier material, it’s perhaps the material they’re most confident with, but also suggests they’re keen to both give something to longstanding fans while connecting new converts with the early songs that made them.

They deserve world domination after this next tour.

AA

Tour dates

MAY 2023

10 NEW ORLEANS, LA SMOOTHIE KING CENTER

12 HOUSTON, TX TOYOTA CENTER

13 DALLAS, TX DOS EQUIS PAVILION

14 AUSTIN, TX MOODY CENTER

16 ALBUQUERQUE, NM ISLETA AMPHITHEATER

18 PHOENIX, AZ DESERT DIAMOND ARENA

20 SAN DIEGO, CA NICU AMPHITHEATRE

21 SAN DIEGO, CA NICU AMPHITHEATRE

23 LOS ANGELES, CA HOLLYWOOD BOWL

24 LOS ANGELES, CA HOLLYWOOD BOWL

25 LOS ANGELES, CA HOLLYWOOD BOWL

27 SAN FRANCISCO, CA SHORELINE AMPHITHEATRE

31 PORTLAND, OR MODA CENTER

JUNE 2023

01 SEATTLE, WA CLIMATE PLEDGE ARENA

02 VANCOUVER, BC ROGERS ARENA

04 SALT LAKE CITY, UT VIVINT SMART HOME ARENA

06 DENVER, CO FIDDLER’S GREEN AMPHITHEATRE

08 MINNEAPOLIS ST. PAUL, MN XCEL ENERGY CENTER

10 CHICAGO, IL UNITED CENTER

11 CLEVELAND, OH BLOSSOM MUSIC CENTER

13 DETROIT, MI PINE KNOB MUSIC THEATRE

14 TORONTO, ON BUDWEISER STAGE

16 MONTREAL, QC QC BELL CENTRE

17 MONTREAL, QC BELL CENTRE

18 BOSTON, MA XFINITY CENTER

20 NEW YORK, NY MADISON SQUARE GARDEN

21 NEW YORK, NY MADISON SQUARE GARDEN

22 NEW YORK, NY MADISON SQUARE GARDEN

24 PHILADELPHIA, PA WELLS FARGO CENTER

25 COLUMBIA, MD MERRIWEATHER POST PAVILION

27 ATLANTA, GA STATE FARM ARENA

28 ATLANTA, GA STATE FARM ARENA

29 TAMPA, FL AMALIE ARENA

JULY 2023

01 MIAMI, FL MIAMI-DADE ARENA

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Solcura – I Am Weak

Posted: 8 April 2023 in Singles and EPs
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24th March 2023

James Wells

One thing the Internet has definitely changed is the single format. Historically, songs were edited for radio play, and to fit on a 45rpm 7” single: for both, three to four minutes was optimal. Now, podcasts and lack of format-based restrictions mean that, at least outside of the mainstream, anything goes and has pretty much the same chance of getting aired at least by someone who digs it.

And so, with ‘I Am Weak’, Solcura may well draw on some retro references – the obvious ones being Soundgarden and Tool, as they mine a hefty grunge / proto-nu-metal sound with some thick, heavyweight riffing – but clocking in at an epic six minutes, it’s very much a contemporary single.

There’s certainly nothing weak about it: the guitars are strong, as are the vocal melodies, and it’s one of those songs that starts gently – simply voice and bass guitar – and then the guitar starts up and the riff slams in and it really gets going, with everything meshing together, interweaving to create a richly-textured sonic cloth where grunge meets prog-metal with a delivery that’s hard to fault. For all its tunefulness, it’s a song brimming with anguish in the grunge tradition, but there’s something eternally affecting about that kind of introspective emotional rawness tinged with self-loathing.

They’ve already played Bloodstock and supported Pulled Apart by Horses, and with a new EP in the offing, 2023 is looking promising for these guys.

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Real Teeth – Drive By Argument

Posted: 3 April 2023 in Singles and EPs
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6th February 2023

Christopher Nosnibor

I miss 2005. It might sound crass or lame, but I really do. Sure, I miss being in my twenties, and I miss not having the responsibilities I have now and I miss still studying and I miss being as alert and edgy, but more than anything I miss the sense of life and future that 2005 offered. Musically, it was a good – exciting – time with a new wave of post-punk influenced bands coming through. Interpol dropped Antics in 2004 and Editors began to break in 2005, and there was a real groundswell of excitement around the new-wave renaissance as spearheaded by bands who really channelled a certain Joy Division-inspired darkness.

With ‘Drive By Argument’, Real Teeth capture that spring of excitement, but without sounding nostalgic. It may seem a contradiction, but then, that was how it was in 2005, too. The emerging bands drew on the past, but didn’t sound like they were trying to recreate it. And the same is true of Real Teeth.

The single is accompanied by ‘a collage video from short clips of dash-cam footage of London from 1999’, and that’s probably more nostalgia-laden than the song itself.

But, propelled by a rhythm that’s packed with stuttering fills, a groove-driven bass and choppy guitars, it’s got a lot going on, with nods to Radio 4 and Gang of Four thrust to the fore in what is a busy and multi-layered cut. With a vital energy and dynamism, not to mention some well-placed changes in tempo and tone, ‘Drive By Argument’ is straightforward on the surface but has more going on underneath, and is worth taking some time to chew on.

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TNL VZN – Night Terror

Posted: 31 March 2023 in Singles and EPs
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31st March 2023

Christopher Nosnibor

Birmingham quintet TNL VZN describe themselves as ‘the product when the aggression of 90’s alternative rock and grunge collides with melancholy and angst of 2000’s Emo.’ Certainly, what goes around comes around, and there does, almost invariably tend to be a twenty-to-thirty year cycle in music. It’s interesting to witness, not least of all because it seems less the case that the new generation rebels against the music of the one before, but instead recycles and recreates it. Formed in 2021, TNL VZN are dipping into the music from around the time they were being born, the music of their parents – but with heartfelt lyrics that speak to their own generation.

‘Night Terror’ builds from a simple verse that combines aching minor chords with a half-sung, half-mumbled vocal that feels remarkably intimate and soulful, before breaking onto a beefy riff-driven chorus and instant hook.

Their touchstones are Gilt, Paramore, Halestorm and The Pretty Reckless. I have to admit that while I’m not mad keen on the first three, I do have something of an appreciation for The Pretty Reckless, and would say that this is very much on a par, with some solid songwriting, a strong delivery and a tangible emotional quality that gives it that vital edge. When they say they’ll soon be ready to conquer the world, it’s hard to disagree.

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The Funeral March – Persephone

Posted: 29 March 2023 in Singles and EPs
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17th March 2023

Christopher Nosnibor

This new EP from the bleakly-monikered The Funeral March is described as offering five tracks which ‘whisper of dreams, murmur of despair, cry out in madness, and reflect on hope and loss’, inspired by the Greek queen of the Underworld, Persephone, reflecting on the ‘transition between death and rebirth’.

We’re deep into the realms of heavy concept here, and such weighty topics warrant weighty music. The Funeral March certainly do themselves and their subject matter justice here.

It begins with pounding percussion and heavily effects-laden bass and guitars. I’m instantly reminded of Pornography-era Cure. It’s dense, heavy, intense. Hell, the first time I heard that album I could hardly breathe. It’s liked having your ribs stood on. The first time I heard music so suffocating was on being passed a tape of The Sisters of Mercy’s First and Last and Always and I was still indifferent to The Cure. It was Pornography that really hit me.

It’s that seem that The Funeral March are mining here. With that tumultuous drumming paired with a thick, thunderous bass, and the dark, murky theatricality of early Christian Death – completed with a dark and dirty production that sits between early 80s goth demo and black metal dirt – it’s a compelling and intense listening experience, with ‘Two As One’ proving particularly hellish in its claustrophobic density and ‘Kiss Me’ channelling the synth drone of ‘A Strange Day’ and doomy atmospheric of ‘Siamese Twins’.

The atmospheric ‘Nite Nite’ brings synths to the fore over the trebly mesh of guitar, providing variety of tone and texture not to mention a classic 80s feel, and drenched in reverb, J. Whiteaker’s vocals sound lost as if trapped between two worlds.

The final track, ‘Wasted Moon’, is again driven by a supremely thick bass and trudging beat that echoes beneath the murk. Whiteaker sounds desperate and anguished and you feel the pangs of panic rising.

Listening to Persephone is like being wrapped in a carpet and tossed in a car boot to be buried – not that I have first-hand experience of this, but it’s how I imagine the experience – and that sense of panic and entrapment, of feeling lost and alone is palpable, is real. It leaves you feeling tense, and hollowed out, emotionally drained. Powerful music isn’t about making you feel good, it’s about making you feel. Persephone is powerful and drives straight to the heart.

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Eric Angelo Bessel – Kindly Rewind

Posted: 24 March 2023 in Singles and EPs
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23rd March 2023

Christopher Nosnibor

It’s been a while since I’ve seen it, but the title of Eric Angelo Bessel’s new single reminded me of the Jack Black ‘buddy comedy-drama’ (as Wikipedia would have it) from 2008, which reminds us that nostalgia for VHS and film rentals hit pretty swiftly after their demise, in real terms. In fact, here in the UK, Blockbuster creaked on with DVD rentals and secondhand sales into 2013. But as an article in The Independent in January 2013 reported, ‘While the North Finchley store had a poor selection of DVDs, the big surprise was that it was charging £5 to £8 for second-hand films to buy, so I bought brand new ones at HMV instead.’ As such, it was clear that times had changed and the world had moved on long before the last rental stores closed their doors.

But the idea of rewinding – something intrinsically connected to the age of the cassette, be it audio or video – is one which is an instant cut to nostalgia, and one which reminds us that thee one thing you can’t rewind is life: there is no rewind on time, and the past is past.

‘Kindly Rewind’ is a slow-swelling deep ambient piece that isn’t about nostalgia for the 80s or 90s, but instead drills deeper, venturing back to prehistoric oceans as its backward surges evoking images of slow evolution and microcosmic growth beneath the oceans. Sedate and supple, this is delicate and spacious and slightly disorientating. It’s also measured, musically articulate, and resonates unexpectedly. It’s a work of quality.

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Eric Angelo Bessel - Visitation

The Martyr – My Friends Look Funny

Posted: 23 March 2023 in Singles and EPs
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21st February 2023

There’s some debate as to whether or not they really ‘get’ ‘goth’ Stateside, favouring more vampire / horror cliché stylings to anything that defined the disparate ‘movement’ as it emerged from the bleak urban sprawls of England in the early 80s as a darker strand of post-punk. Admittedly, the fans were always the ones with the greater shared affinity rather than the first wave of bands, none of whom recognised the ‘goth’ tag and the ones still going still don’t to this day, but still, quite how or when it morphed into genre let alone a stereotype is unclear.

The Martyr’s sound is certainly rooted more in the UK post-punk sound than anything else – brittle guitars and a thudding drum machine call to mind Alien Sex Fiend, and all crunched into just two minutes and thirty-eight seconds – but at the same draws on dark electropop and dance elements – a dash of Depeche Mode, a hint of dark disco – to create something that’s both spiky and danceable.

Lyrically, it’s serious but at the same time isn’t too serious, and it’s certainly not corny or cliché, and if ‘My Friends Look Funny’ employs a number of common stylistic trappings of the hi—NRG dance end of contemporary goth, it’s different enough to be worth a listen.

for all the emptiness – used and violated EP

Posted: 22 March 2023 in Singles and EPs
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Infacted

Christopher Nosnibor

Released at the end of 2022, the latest set from for all the emptiness is only now getting a major push. As the title suggests, this five-tracker is thematically centred around themes of use, abuse, pain and pleasure.

for all the emptiness describe themselves as exponents of ‘futurepop’, which is filtered with a range of other genres like 90s industrial rock to glitchcore, ebm, and more.

Musically, the title tracks is very much in the vein of early Nine Inch Nails – which in turn took cues from Depeche Mode when they started to explore fetishism circa 86 – but the songwriting style is more akin to PIG, and mines the catchy slogan-style hook favoured by Raymond Watts. But for all of the sweat and sleaze, there’s something curiously proper about this – specifically the enunciation of the lyrics. It’s particularly curious because Jonathan Kaplan – who records as for all the emptiness – hails from Ontario, but sings with preppy received pronunciation English. And so – my brain being prone to presenting images in response to sounds – envisages a Victorian gentleman with a handlebar moustache in a wrestling leotard as he sings of being ‘restrained and dominated’. Well, it’s well-known that for all of their straight-laced appearances, the Victorians were kinky buggers, and equally, it’s the public school types who are more likely to be into ‘alternative’ sexual proclivities in modern society.

It’s by far the most immediate track of the set, as the EP veers sharply in a more industrial dance / cybergoth direction.

‘dead inside’ is overtly dance-orientated, exploiting all of the classic breakdowns and drops, and goes all-out for the euphoric anthem, which contrasts with the hook ‘please forgive me as I die, I’ve always been dead inside’. ‘sell the sins’ is a proper bass-led technoindustrial stomper, while the last track, ‘at the brink’ is more 80s electropop and reveals a more sensitive aspect: it’s the most nuanced and probably the strongest of the collection.

While it does exist very much within the domain of the genres from which it draws inspiration, there’s some interesting stuff happening here, and not just Victorian wrestling.

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Silktape – Sink or Swim

Posted: 19 March 2023 in Singles and EPs
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25th February 2023

Christopher Nosnibor

There aren’t many singles that grab you with the opening bars, but silktape succeed with a tune that’s deeply rooted in both nineties and turn of the millennium alternative, spidery tripwire guitars spiralling around math-rock motifs against a hammering bass and sturdy drumming. They present all the angles with some shouty vocals atop guitars that some in from this side and that, with hints of Fugazi, …Trail of Dead, and Jacob’s Mouse cutting in alongside more recent reference points to make for a busy but solid and breath-catching sound, and they’re coming to the chorus now, and….

The chorus – well, it sounds like it belongs to a different song altogether. When they pitch it as being ‘’anthemic’, they’re absolutely right, but it’s from that vein of emo that renders it rather anticlimactic following the tense dynamics of the verse. It’s very much a cliché terrace-chanty ‘woah-hoah’ effort that would be more effective if it didn’t sound so template-drawn, down to the ‘ok not to be ok’, message, which is positive but somewhat uninspired and uninspiring.

The midsection, where they drop everything right down is brilliantly realised, and the song’s structure, paired with the contrasting guitar sounds, is outstanding. It’s early days for these guys – ‘Sink or Swim’ is only their second single, and they clearly have the songwriting skills and musical skills which demonstrate huge potential – and no doubt they’ll go far and almost certainly swim rather than sink once they decide for certain which audience they’re going for.

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silktape by Will Fraser Creative

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