Archive for the ‘Singles and EPs’ Category

Gleaming – We Dissolve EP

Posted: 21 February 2023 in Singles and EPs
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20th February 2023

Christopher Nosnibor

Hailing from Austin, Texas, electronic act Gleaming are deeply rooted in 80s synth pop, and while there are hints of gothic grooves and whatnot, the more obvious touchstone is mid- to late-80s Depeche Mode. But if opener ‘Rat Me Out’ is a clear access point with a strong hook, the first single, ‘Run Faster’ is starker, harder, more industrial, a thudding kick drum welded to a relentless bassline that nags away at your brain while calling to mind DAF. It’s a tense affair, and with lines like “the phone, the ego, the friends, the future, the body I’m in – all telling me to run”, we get an insight into the EP’s themes. The band describe the EP as ‘an ode to one’s former self and depression, habits, partners, family, friends, etc.,’ adding ‘It’s an attempt to bring closure to a darker past and to celebrate life in a more positive and meaningful sense.’

Closure, catharsis, celebration: it feels like all three to an extent. ‘Ashes’ is propelled by a busy beat and throbbing bass, and ‘The Voyager’ follows its path but ventures more toward Depeche Mode c84 crossed with Pretty Hate Machine era Nine Inch Nails – it’s dark, it’s synthy, but also accessible and feels light and perhaps less menacing than intended, in the way that early Ministry wanted to be harder than it was. The glitchy autotuned vocals don’t help: the never help anything, unless perhaps you’re Cher. It’s not a bad tune – there isn’t a bad tune on the EP – but the execution, if done differently, may have had more impact.

The seven-and-a quarter-minute title track is a low-tempo, slow-burning synth-led brooder, heavy with reflection and emotion and a sense of closure.

Showcasing a certain range within the stylistic confined of their genre of choice, Gleaming are an interesting proposition, with a sound that’s familiar and illusory, but not specifically derivative – and that’s an achievement.

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JW Paris – Wicked Game

Posted: 16 February 2023 in Singles and EPs
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14th February 2023

Christopher Nosnibor

The prospect of another cover of ‘Wicked Game’ did, I’ll admit, give cause for an eye roll. It’s a great song – a seriously song – that arguably can’t be improved upon, and yet countless have tried, or at least felt compelled to pay homage, to the point that it’s been done to death.

Even the PR point out that ‘Wicked Game’ has been released over 800 times in different versions – 800! Imagine! Although HIM’s version is perhaps one of the best known, it’s always irritated me because it simply felt so obvious. The same can’t really be said of JW Paris’ rendition – after all, as they also point out, ‘nobody ever attempted to turn it into a sleazy Brit pop/indie anthem!’ adding ‘There is more Iggy Pop than Roy Orbison in it!’.

And I can only agree. JW Paris, who last graced our pages about a year ago, have packed some punk attitude into this effort. It’s certainly a lot less dark, a lot less broody than the original, and driven by a chunky bass, and the verse builds nicely into a rip-roaring rendition of the chorus that’s strong on energy, but succeeds in preserving the essence of the original – albeit with the kind of twisted anguish you’d associate with Kurt Cobain. ‘Fiery’ isn’t an adjective one would commonly associate with the song, but that’s exactly what this version is, and it comes as a pleasant surprise. Kudos.

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Pic: c24photography

Johnathan|Christian – Strip Me EP

Posted: 11 February 2023 in Singles and EPs
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31st January 2023

Christopher Nosnibor

It might sound daft now, but seeing Depeche Mode perform ‘Stripped’ on Top of the Pops in 1986 felt like something risqué. It was a family show, after all, and I was ten years old. It wasn’t your average pop subject matter, and even at that age, I was aware that this was a bit dark and sleazy. It’s not just that I’m now forty-seven years of age, but times have most definitely changed. It isn’t that sex is necessarily more mainstream now – as a kid I’d see my grandad’s copy of The Sun whenever I visited, and Page 3 calendars were commonplace décor in offices and places – but the slant is different. Whereas Duran Duran’s ‘Girls on Film’ video was simply something you wouldn’t see, but Cardi B’s ‘WAP’ wasn’t the only song to have gone stratospheric in recent years which was hyper-explicit on every level.

‘Strip Me’, the lead song from the latest EP from Johnathan|Christian harks back to the mid 80s, both sonically and in terms of how it feels simply ‘a bit naughty’ and ‘a shade raunchy’ rather than full on porny – and besides, it’s more of a metaphor here than anything literal or kinky. It’s a cracking tune, a mid-tempo string-soaked slow-burner that’s as much Kylie’s ‘Confide in Me’ as it is anything by Depeche Mode, and it’s a quality dark pop song.

‘Sway Back’ brings some swing, and ‘This Too’ crunches Disintegration era Cure with Depeche Mode circa 86 to create a slick and expansive song that conveys an emotional depth beyond mere words.

Strip Me is an EP of two halves, with a remix of each of the three tracks following on. And if you’re going to do the remix thing, it probably pays to get some notable names on the mixes – and Johnathan|Christian achieve that with Ministry’s John Bechdel, EBM legend Leæther Strip, and Steven Archer (Stone Burner/Ego Likeness) all pitching in.

Of the three, ‘Strip Me’ still stands as the standout, but the other two are nicely done, with Leæther Strip delivering a dark disco stomper. Solid stuff all round.

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Honeybadger – Cold Wind

Posted: 30 January 2023 in Singles and EPs
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28th January 2023

James Wells

Honeybadger’s bio describes the Brighton trio as ‘spiky’ purveyors of ‘gutter psychedelia/grunge’, and ‘Cold Wind’ certainly delivers on that. Fast and gritty, lo-fi and fuzzed out, the guitars are all the grunge – but then the break brings a full-on tremelo-happy wig-out that’s out of this world!

But if the song is carried by an energy that invites comparisons with early Arctic Monkeys, the bassline runs away in a completely different direction, with one of those wild grooves that runs here, there, and everywhere: Luca – age just twenty-one – is possessed of magic fingers. Or perhaps he’s just possessed. Either way, these guys pack in so much dynamic and raw talent into three-and-a-half minutes that it’s dizzying, and it’s a proper rush.

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Honeybadger Artwork

Bedsit – Dead Bands

Posted: 28 January 2023 in Singles and EPs
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26th January 2023

Christopher Nosnibor

The Hull scene has been simmering nicely for some time, and it’s a great advertisement for deprivation and off-the-track locations being melting posts for dark underground creativity.

We may have bid farewell to Chambers and Cannibal Animal, but Hull continues to throw up a wealth of dark and noisy bands, and while Low Hummer have been making some serious headway, along with BDRMM, there’s no shortage of acts emerging behind them, with Besdit making rapid progress recently.

The name is a fair summary. Anyone who as ever endured bedsit living will relate to the claustrophobic sensation of confined living. Bedsits -appropriately – carry connotations of meagreness, of low-budget gloom, and Bedsit really do convey that sense of claustrophobia.

The four-piece’s latest offering, ‘Dead Bands’, is the lead and title track from their upcoming EP, which follows up on 2020’s Pocket Toy EP. It’s a step up from the lo-fi grunge metal production of its predecessor, and sees the band consolidated on that blueprint, leaping from rough diamonds ready for development to something lean and mean, and dense and taut and truly outstanding.

It’s not just the production: the composition, the playing, the vocals, the lot – they’ve not sold out and gone super-slick by any means, but ‘Dead Bands’ is a dark, dense amalgamation of post-punk and grunge, and while it may be a celebration of bands gone before, it sounds pretty bleak in its mid-tempo, bass-driven way, paired with baritone vocals that border on the gothic. It’s a combination of the sound of 1985 and the sound of 1993 and it’s dark and its heavy, but it’s magnificently realised with some killer riffage and some blistering, blustery guitars squall and scream their way to the end.

There’s no joy to be found here, but it’s a glorious exercise in dark nihilism that has to be my single of the year so far.

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Sleep Kicks – Words in Vain

Posted: 25 January 2023 in Singles and EPs
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3rd February 2023

Christopher Nosnibor

Aural Aggro regulars Sleep Kicks make a welcome return with their latest offering, ‘Words in Vain’. With a rumbling bassline and busy, effects-heavy guitars that soar tremulously, the opening bars of ‘Words in Vain’ smashes together The Fall’s take on ‘Jerusalem’ and Editors’ ‘Bullets’ – cathedrals of sound underpinned by an earthy thud, and this is one of those expansive, gut-pulling new-wave revival tunes in the vein of the early 2000s – think Interpol, Editors, White Lies – and it’s taut and evocative. There’s an emotional depth to the vocals, but there’s more than that: everything feels tightly packed and tense. And I can’t deny that I’m a sucker for that.

What is it about the post-punk template that endures? Why do these goth-tinged tunes have so much bite? It’s not simply nostalgia: hell, I was hardly born when this sound emerged in the late 70s and early 80s, and suspect that the turn of the millennium crop – the revivalists – were inspired by listening to their parents’ collections. And what goes around comes around, meaning the new bands emerging, in their twenties, have likely discovered the noughties revivalists via their own parents. But why do these cycles emerge?

I can’t help but suspect thee socio-political landscape has a fair bit to do with it. Rocketing inflation – not to mention strikes, droughts, and floods – mean parallels to the 70s are being drawn in the media, and for obvious and justified reasons. Social and economic troughs bring frustration, despondency, despair – and music which reflects that mood.

As troughs go, this is a deep one; we’re looking as escalating war and nuclear threat – same as in the early 80s – insane inflation and mass deprivation – with extreme climate, flooding, etc., etc, on top. People can’t afford to exist, let alone to live. And when things hit the bottom, art invariably rises to reflect the mood and present the voice of the zeitgeist.

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Death Pill – Miss Revolt

Posted: 20 January 2023 in Singles and EPs
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20th January 2023 – New Heavy Sounds

Christopher Nosnibor

Back in November, we showcased Death Pill’s ‘Расцарапаю Ебало’ – because it’s a killer tune. And now, ahead of the release of their eponymous debut album, out next month, the Ukrainian all-female trio have served up a second single, ‘Miss Revolt.’

There are three things which are particularly striking about it.

The first is context: the press release explains how ‘The band’s album was recorded before the war started but the majority of it was mixed while the invasion was going on and the band are also now all spread out with Mariana staying in Kyiv, while the other two are in Spain in Australia.’ This doesn’t just show a dogged determination on their part, but also highlights just how media coverage and representations of the war in Ukraine fail to convey so much of the reality of life – and how despite it all, life goes on. In the face of such adversity, and now geographical dispersement, it may seem to some that pressing on with releasing music is insane. But it makes perfect sense. Creativity for some is the only way to cling on to life and sanity. And the album is set for release on the 24th February 2023, perhaps fittingly a year to the day that Russia invaded Ukraine.

The second is content. Yes, it was recorded prior to the invasion, but ‘Miss Revolt’ is nevertheless an angry song about social rejection and the difficulties of peer groups and growing up. It’s real and it’s relatable and while I’m past that stage in my life – mostly now – thee pain of those formative years never truly leaves you, and as such, it speaks to adolescents present and past.

The third is that it’s a blistering guitar-driven punk racket absolutely popping with energy and ferocity. It’s loud, it’s abrasive, and it’s all over in under a minute and a half. It’s a raw-throated blast of roaring fury with churning guitars and drumming so fast as to cause whiplash. Hard and heavy, it’s fast, fiery, ferocious, and absolutely killer.

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Hammok – Jumping/Dancing/Fighting

Posted: 5 January 2023 in Singles and EPs
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Loyal Blood Records – 9th December 2022

Christopher Nosnibor

When the shit builds to a tsunami, your laptop’s fucked and all you want to do is curl into a ball and forget absolutely everything, noise is the answer. It’s not a cry for help or even a public moan as such, but sometimes it all gets a bit much. The little thing accumulate to the point where they’re a big thing. You feel weak for letting it escalate like that, but it’s sudden. One minute, everything is ok, and ticking along nicely, the next, you’re suddenly overwhelmed.

Having recently experienced a mammoth rush of excitement on discovering Mammock, I’m buzzing all over again having been introduced to another bunch of noisy fucks, namely Hammock. These guys really aren’t into slouching about, and their debut is tense, wired, and packs some furious energy.

The press release tells me that ‘They sound pissed, frustrated and rebellious, and play their instruments with a nasty intensity and nihilistic ferocity. Imagine a mix of Unsane, Chat Pile and Pissed Jeans and you’ll get a pretty good idea of how these youngsters sound like.’ Obviously, I’m sold before I hear a note, and have to say it’s a fair summary of their seven-song set (although the first and last, ‘Intro’ and ‘outro’ respectively are what their titles imply, bookending five back-to-back blasts of riotous racket, all of which clock in between two and a quarter and a fraction over three minutes. They really do keep it tight and punchy, and pack a lot of abrasive noise into those short sharp adrenaline shots.

The vocals are distorted, shouted, gritty, and are pithed against guitars that crash in from all angles – hefty slabs and thick chunks of distortion collide against scribbly, scratchy runs of broken math-rock noodles, while the bass snarls around and booms darkly and the drums roll like thunder, as exemplified on lead single ‘J.D.F.’

It’s jarring, fast-paced, and buzzes and roars, and it’s not just noise – there are some smart bits and pieces all bouncing about in the mix, often happening all at once. It is, at times, bewildering, but above all, it’s awe-inspiring.

There’s a moment around forty-five seconds into ‘Contrapoint’ where the bass and guitars both kick into a monster riff and it punches you right between the eyes as a ‘fucking yesssss!!’ moment that absolutely seals the EP as a bona fide belter.

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genCAB – Everything You See Is Mine EP

Posted: 3 January 2023 in Singles and EPs
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18th November, 2022

James Wells

Perhaps I’m sensitive. Perhaps I’m just aware, attuned. But certain phrases trip me. And on reading ‘Everything You See Is Mine’ I feel my skin crawl a little. Something about it says power trip, something about it says control, something about it says manipulation, something about it says shades of wrong. It’s not something that explicitly makes its way through the music, but then, who do you trust?

This gnarly four-tracker is a furious frenzy of high-octane, uptempo industrial that draws many cues from early NIN with snarling electronica driving things hard from the get-go, with first song, ‘Soft’ being anything but as driving electronica slams home with the kind of abrasion that blasts the chest. It’s a strong start to a release that tapers off rather after that initial blast.

‘Wasp Factory’ – which I like to think tips a nod to Ian Banks’ debut – goes a bit emo and hints a bit awkwardly at Linkin Park and then the last song, ‘Only Skin’ brings a satisfying trudging crunch but also an unexpectedly accessible vibe, as it drives the EP home to its conclusion.

It’s not as dark or hard as all that and perhaps isn’t the dominant sneer the title suggests, but Everything You See Is Mine is certainly not an entirely accessible attack either. One to explore.

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Marc Todd – I Got Life

Posted: 29 December 2022 in Singles and EPs
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6th January 2023

James Wells

In my youth, I considered the likes of The Wonder Stuff and The Levellers to be ‘Indie Folk’, being, y’know, bands that were equal parts indie and folk, but apparently, I was mistaken, as the ever-reliable Wikipedia informs me that the former were al alternative rock band and the latter are folk rock. You live and learn, eh?

Indie folk, then, is Eliot Smith, Kristin Hersh, The Magnetic Fields, and Marc Todd. It’s a good job I did my research before making any judgement of Marc Todd, and I suppose there are hints of Magnetic Fields about ‘I Got Life’. It is, at least to my ear, more psychedelic than folk, but it’s an easy-going little tune, an easy-strumming, rolling melody with positive lyrics. There’s nothing demanding about it, but then, I guess for many, life’s demanding enough.

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Marc Todd Artwork

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