Posts Tagged ‘Nottingham’

31st May 2024

Christopher Nosnibor

There seems to be a proliferation of alternative rock acts emerging of late, many with female vocalists, which can only be a good thing. As the ‘Lips Can Kill’ tour, which saw Tokyo Taboo, Yur Mum, Pollypikpoketz, and Healthy Junkies team up to offer a package deal demonstrated, women can – and do – rock every bit as hard as men. Not that this should even be a topic in 2024. But it is, and since – despite Taylor Swift achieving true world dominance beyond even Madonna – women remain criminally underrepresented, especially in the rock and alternative fields, it’s a topic that should be tackled head-on, but not in a patronising, tokenistic way.

With ‘Maybe’, the last track from their debut EP, which they’ve been drip-feeding over the last eleven months, Nottingham quartet Octavia Wakes stand on their own merits. It’s a cracking tune, with bold, overdriven guitars stacked up-front as the vehicle for a strong, melodic and hooky vocal.

As is the case with so many great songs, it reminds me of something, but I can’t quite place it, and as such, ‘Maybe’ achieves that joyous blend of freshness and familiarity.

The bassline and guitarline at the start is reminiscent of Editors’ ‘Bullets’, but played at double speed, and the song positively fizzes with energy: it’s busy, urgent, grabbing, punky and catchy without being punk-pop. While lyrically, it’s pretty raw and feels personal, telling as it does, ‘the story of a male friend reacting poorly to being spurned, making the protagonist question their own decisions and how those choices make others see them… Along with the idea of being made out to be the bad guy whichever way the scenario plays out.’

Sometimes, you just can’t win. Unless, of course, you consider channelling that situation into something artistically strong. With ‘Maybe’, Octavia Wakes emerge triumphant – and maybe they’re ones to watch for more of.

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The press email landed with the leader: ‘UK based, anti-facist black metallers Underdark have announced details on their debut album  Our Bodies Burned Bright on Re-Entry which is set for release on 30th July via Surviving Sounds (UK), Through Love Records (EU) and Tridroid Records (US/CAN).’

In a  time where the outgoing US president identified antifa as ‘the enemy’, we here at Aural Aggro are proud to back and provide coverage to any act with an expressly anti-fascist agenda – although it does also help if they produce good noise, and Underdark most definitely do.

After forming in 2015, Nottingham based black metallers Underdark are finally ready to present their debut album to the world. Following their recent ‘Plainsong​/With Bruised & Bloodied Feet’ single release in 2020, ‘Our Bodies Burned Bright on Re-Entry’ is the sound of a new chapter of Underdark, set for release on 30th July via Surviving Sounds (UK), Through Love Records (EU) and Tridroid Records (US/CAN).

While still utilising a dreamlike and heavy mixture of black-metal, post-metal and shoegaze, Underdark’s debut album also packs a renewed punch alongside a ferocity and intensity matched only by the innovative and engaging song structures.

Recorded & mixed with Misha Herring at Holy Mountain Studio (40 Watt Sun, Inhuman Nature, Idles, Spiritualised, Puppy) & mastered by Adam Gonsalves at Telegraph Mastering (Emma Ruth Rundle, Southern Lord Records, Power Trip, Mizmor), the album captures five tracks of intense & emotional progressive compositions, not limited by genre to create a tidal wave of sound; that shift in emotions, drowning you between sections of crushing blast beats and ear splitting vocals to blissful, atmospheric soundscapes that engulf you within them.

On first single ‘Coyotes’ vocalist Abi comments,

“THE ALBUM IS READY. You thought we were dead. At times, we thought we might be too, but we’re here, we’re (mostly) alive, and this is  COYOTES. It’s one of the first songs I wrote in Underdark and it’s about the ongoing humanitarian crisis at the Mexico/US border. Hope you’re as stoked on it as we are.”

Listen to ‘Coyotes’ here:

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