Music News & Reviews from the Rock, Metal, Blues, Prog, Punk & Jazz Genres as well as stage and festival shows
It’s been four long years, but the American hard rock band from Las Vegas, Otherwise have returned with their sixth studio album, their second on Mascot records. With their previous album Defy being released in 2019. I won’t lie, I decided to listen to this […]
Album reviewsIt’s almost 50 years to the day that I last saw Man play live. That was at the Liverpool Stadium venue sometime in 1973 – I suspected the line-up had changed in between! Before Man hit the stage it’s Tri-City Fanfare, a band out of […]
Gig reviewsWatch video for ‘Party’ right here; https://youtu.be/NkcABUdHHvA Jubilee’s Billy Warren and Justine Wilson have a No 1 country album and two No 1 singles in the country chart to their name, so far . . . Dolly Parton’s musical director Kent Wells is a champion […]
NewsIt’s been four long years, but the American hard rock band from Las Vegas, Otherwise have returned with their sixth studio album, their second on Mascot records. With their previous album Defy being released in 2019. I won’t lie, I decided to listen to this […]
Album reviewsIt’s been four long years, but the American hard rock band from Las Vegas, Otherwise have returned with their sixth studio album, their second on Mascot records. With their previous album Defy being released in 2019.
I won’t lie, I decided to listen to this album for the first time in the gym during leg day as the ultimate hard rock test, can it get my blood pumping? Can it actually bring me the badass energy I need to get me through this leg day, when I listen to an album I want it to make me feel something and I want it to bring my imagination to life. Safe to say it did exactly what I wanted.
Full Disclosure is one hell of an opening track, blood starts to pump with the intro vocals and subtle countdown drum beats, the bass line bringing the tempo up with a slight pause, the breakdown hits, and you feel your entire body being brought to life in an instant. Straight away the vocals have a hard country rock vibe, with a tinge of edge that straight away tells you that this band is going to tell some people where to go. The rasp when it comes to breakdowns and hitting the high notes, is done beautifully, this is a badass leg day anthem. This is what you need as a motivational tool. 10/10
Exit Wound has a different vibe, the tempo is high. Perfect for your rest in between sets. Eyes closed as you listen to the deep felt lyrics, take a deep breath and take every single word in. The fast pace guitar riffs get your head shaking and your body moving, you still have that energy inside of you. When the guitars calm down and it’s just vocals, that’s the breather moment, that’s the moment when the memories flood in, it’s the positive weakness moments. You can hear the pain and motivation in the vocals but also the sheer amount of frustration. Everything is perfectly put together in this track, the frustration but the energy, you could mistake it for a positive song for a second before you realise the true meaning. 8/10
New Way To Hate is safe explanatory with the title really, immediately we’re hit with a hard breakdown. This is a huge f-you to the organisations, to the terrible parts of the world that exist. It’s at this point on the album that I get a country Fever 333 feel to everything and I won’t lie, having Jason Butler on an Otherwisetrack would be insane . . . but in the best way! Heavy vocals thrown in, adds to the meaning behind the song, it adds to the title. This is a track to play in a rage room, when you’re hitting your PR in the gym, or at any random point where you need to let out that lasting bit of frustration. 9/10
Failure – You know when someone higher up says something you hear a billion times every day and it just gets boring, and that saying becomes childish and annoying? The intro having children singing “Failure is not an option” just fit into the song so perfectly well. It’s like it has an ironic feel to it, but also having a form of true meaning behind it especially when we go into the mention of people sitting back and not doing anything to help make a change. You can feel the demand in the instrumental and the vocals, the need for people to not die for nothing and to stand up and take a stand for change, and not let evil win. An inspirational song, with the anger needed. I can see fists being in the air when this gets played live already, this is an anthem for sure. 9/10
Coffins – A different feel now, we have a smooth backing track, with a hint of rap being brought in, which is giving more Fever 333 now I’m hearing this one. One thing that’s becoming clear is that this album is a massive hate for the organisations that run America records, not something new from a hard rock band really. Everything is smooth and softer until you reach a bid way and are thrown into an insane breakdown, rough growly vocals back into energetic cleans. This is an inspirational song but is the weakest one on the album. 6/10
Hollywood Minute – We’re in the hip shaking track now, the beat with the guitars and bass line makes you want to shake your hips around, bop your head along with the metalhead chug face. The best way I can describe the feeling of this song, is you’re on top of a hill with your arms stretched out wide and you’re soaking everything in, with memories hitting of the struggling times when it hits into the hard breakdowns. I have this light-hearted feel to the song when it hits the chorus, everything just feels light and happy. 7/10
Gawdzillionaire – It’s the name of the album and for a quick second I thought my phone had switched to Come and Get It – I Prevailbased on the war sirens being played at the start of the track. But it’s very different from I Prevail. This being the first track on the album with a feature, this being Ekoh throwing in the rap verses, slowing down the song shortly before a heavy bass line is thrown in with a gang chant of GAWDZILLIONAIRE. 6/10
La Familia – No this isn’t a track from What We Do in The Shadows, but it’s bringing me back to mid-2000’s hard rock. It’s beautiful in terms of the vocals and how everything is mixed, it’s like this track has taken me back in time, and I can see the low budget green screen music video (just a suggestion that this should be the music video for this song), with slow motion montages. I have way too much energy listening to this despite how sad the lyrics are, it touches your heart deeply and makes you feel every emotion but at the same time you can’t help but move with the guitar riffs. 9/10
Paradise – With a feature from Heidi Shephard,this track has a lot of emotion coming from both vocalists, the bass line taking everything high to low in a gorgeous transition, adding a satisfying feel as the chorus hits. This is a mosh pit opener for sure, a fist pumper and a track many metalheads are going to be screaming from the top of their lungs. 8/10
Exorcism – Instantly you know what this song is about, drug use and poor treatments. This song is full of pain and a feeling of need and anger. The frustration of losing yourself or someone else losing themselves, witnessing this torture. Again, the metalhead chug face of appreciation comes with this track as well, and through most of this album. When the track slows down, it brings you into a Tim Burton kind of land, like your being led to a downward spiral by one of his characters, before being tossed into the spiral and watching life wither away as the addiction grows. 8/10
Camouflage – The final two tracks of the album, to wrap the entire experience up have the final upbeat feel, with a sense of euphoria thrown in parts of the tracks. Again, this is a hard rock album but it has aspects that make it a very dancy album too. You can headbang to it but best believe you’d see me doing some random dance moves to it, because it’s just easily done. 7/10
No Rain – It’s the final track of the album, it starts off slow with a backing track building the tension, just vocals needed to carry. Then we get thrown into what I can only describe as Pirate Metal, I felt like I had just gotten on board a pirate ship, which is the last thing I expected from any of this based on the previous tracks. This is the perfect “end of show” (before encore) song. Vocals are welcomed with the rest of the band joining in, from the sound of the song I can tell everyone loved making this song. It wouldn’t shock me if this is the band’s favourite track on the album, because it’s so different compared to the rest and they just sound like they’re loving life on it. 8/10
As an overall conclusion to this album, it’s a solid banger without a doubt. There is not one track on the album that’s bad in the slightest, yeah there’s some that are weaker than others but they’re not ‘weak songs’ in the slightest. Every single song had its own unique difference thrown in, shocking me at times. Overall, this is an incredible album, and will we hear this live? Who knows, but we need to have this done, I want to see if I was right on the predicted mosh pit songs.
Overall rating: 9/10
Album Review by: Lauren Allard
It’s almost 50 years to the day that I last saw Man play live. That was at the Liverpool Stadium venue sometime in 1973 – I suspected the line-up had changed in between! Before Man hit the stage it’s Tri-City Fanfare, a band out of […]
Gig reviewsIt’s almost 50 years to the day that I last saw Man play live. That was at the Liverpool Stadium venue sometime in 1973 – I suspected the line-up had changed in between!
Before Man hit the stage it’s Tri-City Fanfare, a band out of Cardiff headed by Shane Dixon and Martin Whittaker. Shane is down to be a busy chap tonight as he’s guitarist/vocalist for Tri-City Fanfare as well as drummer for Man!
The band describe themselves as playing ‘brutalist psychedelia’: Brutalism: a style with an emphasis on materials, textures and construction, producing highly expressive forms | Psychedelia: music, culture, or art based on the experiences produced by psychedelic drugs. English lesson over. OK, so this is a new one on me I have to admit (yeah, right) but after listening to them they have that late 1960’s, rather ethereal, sound to them. Nothing particularly heavy, or prog, but I can now understand where the psychedelia tag comes from. The band swing effortlessly between 60’s pop to noughties post-rock and having been around and seen both I know where my preferences lie!
The band kick off with Rewind, a track released a couple of years ago as a single, with a video to go with it, and this typifies the band’s psychedelia sound nicely, sitting firmly in 1960’s musical culture.
They followed Rewind with Desert and Paradise, more slices of 60’s pop before taking on what turned out to be my favourite tune of the night, Dreams. This was pure post-rock infused with some space rock infused with spoken word vocals typical of post-pock exponents Nordic Giants, the Winchester Club and Show me a Dinosaur. No keyboard player on stage tonight so the keys were supplied via a synth played by Martin and, for this tune in particular, that worked extremely well.
Time to sit back again for the gentle Whirlwind, played nothing like the title suggests, this one is fairly genteel!
The band finish their short set with a 3-song medley of Release my Mind, Mosquito Pt1 and Mosquito Pt2. I didn’t see very much of this mash-up but what I did hear reminded me of the late 70’s band Orange Juice, particularly the vocals which brought back visions of Edwyn Collins!
The band certainly jump between musical eras; a very interesting listen and one you should take up should the opportunity arise.
As I mentioned at the top of this review, I last saw Man almost 50 years ago and none of the current band members were there, most probably not even born! I missed seeing Martin Ace by a few months and he frequented the band in between other projects. The band have a history of extending songs ad-lib especially in the early days touring Germany. The band also had a habit of revisiting songs on different albums so the discography can a bit confusing, but bear with me!
Tonight there were 13 songs in 2 hours, so the extended song jams were well in evidence. The set gets underway with what is probably the most recent of the songs on the setlist; Stuck Behind the Popemobile! A sort of nonsensical song that makes mention of the Popemobile, a Snowmobile, the Batmobile and a Dormobile. A slice of Americana came next with The Ride & the View and this followed by We Know. A somewhat spacy opening for the next song, Spunk Rock, and much of the body of this reminded me a lot of Camel during their Snow Goose era, foot-tappingly musical, flowing nicely. This was one of the longer songs in the set and the band have been known to extend this beyond 20 minutes!. Possibly my favourite song of the night . . . apart from perhaps Sudden Life.
Next up we had Manillo and, compared to the songs earlier in the set, this was a little bit tame for me; that’s not to say that the audience as a whole didn’t love it– because they did!
Mad on Her, then C’mon were followed by Romain, a real oldie with more than a tinge of Southern Blues. Here we are, 90 minutes or so into the set and we reach the last number, Many are Called But Few Get Up, quite a mouthful for a song title. It starts with what I’ll call ‘twinkly’ guitars, sounding a bit like the Yes of old. This is another long one to close the set.
Throughout the set so far the interplay of the guitars played by James Beck and Martin Ace’s son Josh lead the way with Martin’s bass ever present without being overbearing. Nothing spectacular or particularly energetic going on at any stage, just some find 1970’s style rock music.
Time for an encore . . . or three. The iconic Sudden Life thrust its way on to the stage. Probably the earliest of the songs played tonight but the opening riff inspired so many other songs by so many other bands. This was followed by Long Holiday, a song that never appeared on any of the Man albums before the 2 hour program was brought to a close with some Bananas, possibly the most rock’n’roll (for ‘rock’n’roll’ you can read ‘mental’) number played tonight.
Wales has never really had the credit due to it for spawning bands such as Man and Budgie in the 1970’s (and, yes, I’ll say it again . . . I hired Budgie for twenty five quid to play at a school dance in Liverpool in the early 1970’s) but with modern day bands like Magenta, Funeral for a Friend, Bullet for my Valentine and Those Damn Crows that perception has changed significantly.
This was a brilliant night full of nostalgia (or is that, after more than 3 hours on my feet, neuralgia?) and one I hope can be done again next time Man come to town.
Words & images: Reg Richardson
Watch video for ‘Party’ right here; https://youtu.be/NkcABUdHHvA Jubilee’s Billy Warren and Justine Wilson have a No 1 country album and two No 1 singles in the country chart to their name, so far . . . Dolly Parton’s musical director Kent Wells is a champion […]
NewsWatch video for ‘Party’ right here; https://youtu.be/NkcABUdHHvA
Jubilee’s Billy Warren and Justine Wilson have a No 1 country album and two No 1 singles in the country chart to their name, so far . . .
Dolly Parton’s musical director Kent Wells is a champion of their heavenly harmonies. Audiences including a headline show at the prestigious Glasgow Royal are entranced by Jubilee’s bittersweet ballads, which often inject a dark undertow beneath Justine and Billy’s swooning vocal interplay.
But Jubilee have succeeded without any hype, a stature which has grown over word-of-mouth from the couple’s Facebook Live shows during lockdown, quickly mushrooming from 600 viewers for their first stream to achieving over 100,000 views for concerts from Billy and Justine’s living room.
If there’s any justice, Jubilee will be regulars on radio and streaming playlists. There’s an authenticity to Jubilee’s music that makes the duo simultaneously relatable and imbued with a rare magic.
Currently writing tracks for their forthcoming album in the studio in Ireland with writer/producer Billy Farrell of The Corrs fame, they’ll be heading back to Nashville in February for a week of major label showcases, having already impressed on their first trip in 2021 under Kent Wells’ patronage. “Nashville was the perfect songwriting environment,” enthuses Billy. “It was an incredible experience.”
Being championed by Dolly Parton’s MD was a result of those Facebook Live shows, as Wells was introduced to Jubilee by sax great Joe McGlohon, a veteran of playing with Reba McEntire and Etta James, who’d been tipped off that Jubilee’s home concerts were something special.
Moving debut album You And I and its heartrending single Don’t Make Me Look Into Your Eyes reaching No 1 in the country chart on independent label Vacancy cemented Jubilee’s organic success.
Jubilee’s welcoming community is set to gather pace once their new music is unveiled. They’ve been working with writers including Gary Miller, Luke Porter and Colin Preston. “I don’t know how Gary comes up with some of his lyrics,” smiles Justine. “He must put himself into a very dark room.”
Having recently filmed the video for their infectious single Party in Spain (“The heat was a challenge, it was just roasting,” laughs Justine), Jubilee are set for a wild celebration once people get to hear what’s next.
One listen and you’ll want to join Jubilee’s ‘Party’ too.
This is probably the first time where I can say I am in my element for a review. Bullet For My Valentine has been in my life for many years, and one thing I’m going to say before jumping into this review is that you […]
Gig reviewsThis is probably the first time where I can say I am in my element for a review. Bullet For My Valentine has been in my life for many years, and one thing I’m going to say before jumping into this review is that you need to see Bullet live at some point in your life if you haven’t already; for me this is my fourth time seeing them live.
For the guys this is a smaller tour than usual, playing smaller venues keeping the connection with their fans, and this time they’re in O2 Academy Leeds, supported by legends of the genre, Atreyu and Jinjer.
When I turned up tonight, the venue was packed from the outside and I knew getting in and getting through this crowd was going to be a struggle, and oh my god was it. It was very quickly packed out throughout the venue. Scheduled up first are American Metalcore band, Atreyu.
In my eyes these guys are legends of the metalcore scene, and for me there’s no debating it if you mention to any metalcore fan the name Atreyu they get flooded with happy memories listening to them in their bedrooms or even being at some of their first shows. This is a band that loves the cameras and loves interacting with the crowd, throughout their entire performance there was not one sign of not wanting to be there, every single one of them loved being on that stage and it honestly looked like they didn’t want to leave.
Shocking not only myself but also everyone in the crowd they kicked off the night with their most popular songs, Strange Powers of Prophecy, Becoming The Bull, The Time Is Now and Ex’s and Oh’s which I was expecting to hear last, but this got everyone moving and screaming along.
Brandon Saller showed every kind of appreciation for his band mates and also members of the crowd, when he jumped off stage to see the fans at the barrier. Lead guitarist, Dan Jacobs didn’t hold back for one second with every riff and solo being played perfectly the same can be said for Rhythm Guitarist, Travis Miguel and bassist Marc McKnight, all being completed by an insane performance by the most wholesale and happy drummer I’ve ever seen, Kyle Rosa. If this stage was bigger I guarantee they would’ve gone even more nuts on this stage. Having this moment and seeing legends of the genre still dominate a show like this brought joy to everyone in that room. They started the energy that kept the crowd going throughout the night. The guys love to interact like i said and It got even better when a member of the audience passed Brandon a flask of rum that had clearly been snuck in, to which Brandon says that Leeds is his favourite place on the tour and this fan just made it even better. I can see an Atreyu tour happening in the next couple of years and you know I’ll be there to enjoy every second of it, and I expect anyone who hasn’t caught one of their shows to do so.
No one knows insane vocals better than Jinjer, I discovered the band through a Facebook video years ago of one of their festival performances, I got tickets after binge listening to them and they got an upgrade after their set at Download 2019 and rightfully so. That point still stands today with them. Coming from The Ukraine they’re ready to show this crowd how badass a woman can look with these kinds of vocals.
I have said this since discovering this band, but Tatiana Shmayluk is one of the best female metal vocalists around today by far for her age. Tonight she walks on the stage in a glow in the dark, green neon jumpsuit with makeup to match, you will not for one second be able to take your eyes off her and she makes that known.
Kicking off the set with one of their most popular songs, Who is Gonna Be The One this start shocked me but also made me insanely happy because if you’re going to show the power of those vocals as she screams out every lyric, but slows it down to a siren like beat to entrance you; this is going to be the song. This is also the song that caught my attention all those years ago in the first place.
With the lights and the jumpsuit, it did make it harder to catch an eye at any of the other members of the band, but nonetheless the entire performance was incredible, and its always amusing as someone who is a fan of Jinjer, to see the reactions of those who are new to their music when Tatiana’s vocals change so fast and so clean. The look of them being entranced like she’s a siren bringing them in. Obviously with them being a band from The Ukraine with the current issues going on that part of the world, they make a full dedication to their home and a declaration to end the hate and have their home back.
At this point in time Jinjer has exited the stage after their performance of Call Me a Symbol and with that the adrenaline has fully hit me like a tonne of bricks. The crowd has their fists in the air and are chanting for BULLET!
The lights go down and one by one the guys take to the stage. The intro kicks off, with it being the original version of their song Knives which has sections of the band’s songs throughout their career.
First being Jason Bowld the drummer, Bassist; Jamie Mathias, lead guitarist Padge and frontman Matt Tuck. Screams are through the roof as the intro comes to an end and Knives are thrown right in!
Bullet are like any metalcore band, they’ve changed their sound quite a few times over the years, but with the latest self-titled album it’s like they have jumped right back to their old roots.
Before going into Over It and Piece of Me from their more recent albums, but this is a smaller gig than usual which means we’re bound to get some special appearances from songs they haven’t done in a while. Shocking everyone in the crowd, Matt announces it was time to play a song they never do live, and they haven’t really performed it in years, when I mentioned this into my one of my group chat I got a lot of envious replies, Hearts Burst Into Fire begins and everyone knows that intro riff like the back of their hand, they can spot it from the first note. Emotions are high in O2 Academy Leeds, I’m pretty sure I can see some tears and I know you could practically hear hearts leaping at the sound of that first note. Matt’s vocals were incredible as per usual, and his stage presence has never needed much the aura of the man just radiates you, Jamie being the not as new anymore member of the band being on backing vocals, was just perfect and he nailed every scream for their older tracks, when there was more rougher vocals, he also has a solid scream face (Check the images). Padge being one of the founding members of Bullet strutted around the stage, pointing into the crowd and making sure he was watching everyone from that stage, as he gave as per usual a solid performance, I won’t lie the man looks a bit exhausted at times but this is a none stop tour that’s coming to an end, so that’s expected but the performance never faltered nonetheless.
Jason is without a doubt the perfect drummer for this band, he plays incredibly for every single song and there isn’t a dip during any of the songs. Honestly this was a solid show, it felt more personal than previous Bullet shows I’ve been too at places like Alexandra Palace in London and Victoria Warehouse in Manchester, it felt like the connection with the band and the fans was stronger than it ever has been.
Hearing songs from The Poisonalbum which is reaching close to its 20th anniversary in a couple of years, never gets old that’s an album i could hear live a billion times and never get bored of hearing it, after being reminded of how amazing it is to hear 4 Words (to choke upon) and All These Things I hate (revolve around me) again, I pray we get an anniversary tour for the 20th.
This setlist was without a doubt perfect, it had the perfect blend of old and new tracks from their career giving you some nostalgia and also reminding you how incredible the new songs can be. A lot of people can agree to disagree on the bands newer work, but I would recommend listening to the latest self-titled album. With songs about depression and heartbreak you can feel the frustration when it’s performed as if everything is being re-lived, but with a hint of happiness thrown in there as well when you see the joy on everyone’s faces and the joy on the guys faces too.. You go to a Bullet show or you even listen to them, you get all of that pent up anger and frustration out of your system as you belt out every single lyric back to them.
A Bullet For My Valentine show wouldn’t be the same if we didn’t have these final three tracks played in the encore. Ending the evening on a high we’re back to our edgy emo days, we all think our long dyed black hair is back, as we watch Your Betrayal, Tears Don’t Fall and Waking The Demon finish off the night. When that first riff begins for Tears Don’t Fall we all have a satisfied feeling inside of us, and the final bit of energy has to go on a huge mosh pit for Waking The Demon, I remember when I saw this performed at Ally Pally with four mosh pits open at the same time, here we can fit the one but it fills almost the entire standing area.
A solid night for Bullet For My Valentine, Jinjer and Atreyu. I’ll be back for another Bullet show when they next perform in the UK without a doubt, you can never miss a show because their performances never let you down.
Set List:
Words & images: Lauren Allard
Watch the video here (https://youtu.be/2_FiL67VaIg) The new album ‘Relentless’ set for March 31st release via Kscope Preorder the album here (https://empyre.lnk.to/Relentless ) After unveiling, ‘Relentless’, ‘Parasites’ and the Classic Rock ‘Tracks of The Week’ runaway winner that was ‘Hit & Run’, Empyre continue their trajectory into the stratosphere with a […]
NewsWatch the video here (https://youtu.be/2_FiL67VaIg)
The new album ‘Relentless’ set for March 31st release via Kscope
Preorder the album here (https://empyre.lnk.to/Relentless )
After unveiling, ‘Relentless’, ‘Parasites’ and the Classic Rock ‘Tracks of The Week’ runaway winner that was ‘Hit & Run’, Empyre continue their trajectory into the stratosphere with a brand new single ‘Waking Light’.
Known for their DIY ethics, Empyre have long been creating their own artwork and videos but when it came to their new single ‘Waking Light’, Empyre have gone one step further as they decided to create both the video and single cover entirely from scratch. Well not quite entirely…
A highly debated topic in the world at large there are arguments for and against the use of AI, particularly in the field of the arts. Whereas some believe that AI threatens creativity with programmable sequencing already reaching the ability to craft entire songs and map out artwork, Empyre instead wanted to show that we should embrace this advancement of technology. The video aims to open the conversation as to where do we stand with the use of AI.
The band comment “Why go through the pain of dealing with a slow and expensive human artist when I can get mind-blowing, free results in 30 seconds from an algorithm? That being said, there are some things that machine’s simply can’t do but if the option is there, then why shouldn’t we take it?!”
Specifically with ‘Waking Light’ the band wanted to see just how both artist and technology can coexist to create something truly unique. The artwork for the video was created using AI technologies such as Midjourney and Open AI’s Dall-E to make over 1000 individual AI generated images manipulated by the band into several infinite zoom sequences. A perfect combination of man and machine working together.
You can also see lead singer Henrik elaborate a little more on the process of how they put another, also AI generated cover for ‘Parasites’, whilst giving more context around the new single.
The conversation has begun, but where do you stand?
EMPYRE LIVE IN THE UK
Empyre are quickly growing in stature on the UK live scene, their first two events of 2023 are SOLD OUT including a headline show in their hometown of Northampton. With more headline shows to be announced for the first half of this year they are looking to make a big impact before reaching the summer festivals.
Shows announced:
April 22nd – KK’s Steel Mill, Wolverhampton (The Album Party)
April 30th – Station 18 Festival, Swansea
May 20th – Kettering Arts Centre (Acoustic)
June 2nd – LoveRocks Festival, Bournemouth
July 30th – Steelhouse Festival, Wales
September 3rd – Nene Valley Rock Festival, Nene Park, Peterborough
September 30th – The Patriot, Crumlin, Wales
Tickets are available from: https://www.empyre.co.uk/
Relentless will be released on 31st March via Kscope on the following formats, with additional bundles and items available exclusively through the Eyesore Merch band store – all are available to pre-order here – https://empyre.lnk.to/Relentless
· Limited edition digipack CD version with an alternative cover, featuring 4 bonus tracks
· Limited edition red coloured vinyl LP
· CD
· LP
· Digitally
All pre-orders via the Eyesore Merch band store will receive a hand-signed photo and an exclusive free download of Empyre’s unreleased cover of the David Guetta & Sia track Titanium.
What the press have said about Empyre:
“Empyre are formidable giant killers” – Classic Rock
“Empyre have become masters at taking the formula for British atmospheric rock and infusing it with their arena-ready signature sound” – Guitar World
“Slick, vast and like the music was written with the help of an architectural blueprint for an arena” – Kerrang
Empyre are:
Henrik Steenholdt: Vocals and guitar
Did Coles: Lead guitar
Grant Hockley: Bass
Elliot Bale: Drums
Follow Empyre:
Facebook: https://www.facebook.com/EMPYRE/
Twitter: https://twitter.com/EmpyreRock
Instagram: https://www.instagram.com/empyrerock/
Youtube: https://www.youtube.com/channel/UCZX8Cp9zqFuRyRCdybGwKfg
Spotify: https://open.spotify.com/artist/5QeMbHunpR4zPKLDEL4i7O
Kscope: www.kscopemusic.com/artists/empyre
For hi-res images / logos etc: www.kscopemusic.com/media/empyre
Becko Announces 90s Inspired Album PRESENT DAY // PRESENT TIME Is Now Available For Pre-Order For Fans of Linkin Park, Prodigy, Asking Alexandria. Purchase/Stream: https://link.fixtmusic.com/PD_PT Becko has announced the release of his ‘90s inspired album PRESENT DAY // PRESENT TIME, releasing on April 21, 2023 is now available […]
NewsBecko Announces 90s Inspired Album PRESENT DAY // PRESENT TIME Is Now Available For Pre-Order For Fans of Linkin Park, Prodigy, Asking Alexandria.
Purchase/Stream: https://link.fixtmusic.com/PD_PT
Becko has announced the release of his ‘90s inspired album PRESENT DAY // PRESENT TIME, releasing on April 21, 2023 is now available for pre-order from FiXT.
PRESENT DAY // PRESENT TIME is chaos refined as the album follows the story of a young man living in a dark futuristic society with the added caveat of having Dissociative Identity Disorder. The entire concept of the song and the album harkens back to late 90’s music and gaming when the internet was first getting traction, and anime like Iain, Evangelion, and Trigun, were exploring very dark and deep concepts.
Musically the album covers the gamut of genres from Alternative Rock, Grunge, and Emo to IDM, Trance, Breakbeat, and Trap. Each release peels back another layer of the dark story as you follow the white rabbit down the dark hole. Featuring contributions from the defiant Hoshikuma Minami of DEATHNYANN, post-hardcore artist Tired Violence, and SubTrailss. PRESENT DAY // PRESENT TIME also features the unique vocals of a digital character known as A.I.KA00 who sings alongside Becko throughout the track. “HYPNOTIZED” (feat. A.I.KA00).
Dropping with the pre-order announcement is “LOSTBOI” an alternative, IDM, Trance fused single. Heavy rhythms oscillate with Becko’s signature screaming vocals for an ominous soundscape in the next chapter of the PRESENT DAY // PRESENT TIME story.
“This song is an EDM 90’s vibe song with a sad lyrics on it,” explains Becko. “The verses are hyper pop-ish metal.”
Releases from the album have already gained traction across multiple platforms with “EAT ME, DRINK ME!” landing on Spotify’s All New Metal and Rock The World, “Reb00t Myself” hitting Spotify’s Alternative Metal, All New Metal, and Misfits 2.0. “Home” landing both Spotify’s Rocktronic playlist and Yandex’s Just Rock It. Becko also created a well received remix of Mice & Men’s “Mosaic” which landed on Spotify’s All New Metal list.
Marco Calanca of post-hardcore band Hopes Die Last, created Becko as a solo project, uniting influences of EDM, Hip-Hop, Industrial, and Emo-Rock.
With previous releases under his belt with labels ranging from Warner Italy and Universal Italy, to Monstercat, Lowly Palace, and Smash the House since 2014, Becko found a new home in early 2020, signing a multi-album deal with the independent, artist-owned/operated USA-based electronic-rock label FiXT, founded by genre-pioneering artist & producer Klayton (Celldweller, Circle of Dust).
In 2020, Becko released the full-length album INNER SELF, as a triumphant fusion of trap & metal. In 2021 Becko released a flurry of singles including “Darkest Days” which was produced by Mike Shinoda all on the path leading up to the release of his second full-length trap-metal album with FiXT, You Are (Not) Alone, which dropped in early 2022. Becko introduced his latest 90s-inspired concept album PRESENT DAY // PRESENT TIME releasing on April 21, 2023.
“LOSTBOI” is out now from FiXT.
Links:
https://beckomusic.com
https://instagram.com/beckomusic
https://twitter.com/beckomusic
https://www.facebook.com/Becko666
Spotify
https://www.youtube.com/user/beckoofficial
https://fanlink.to/followbecko
FLOGGING MOLLY’S NEW EP, ‘TIL THE ANARCHY’S RESTORED, AVAILABLE NOW VIA RISE RECORDS LISTEN NOW WATCH THE NEW VIDEO FOR “DRUNKEN LULLABIES (LIVE FROM ELECTRICAL AUDIO)” HERE EP FEATURES PREVIOUSLY UNRELEASED TITLE TRACK AND LIVE PERFORMANCES FROM STEVE ALBINI’S ELECTRICAL AUDIO STUDIO Flogging Molly’s new, three-song, […]
NewsFLOGGING MOLLY’S NEW EP, ‘TIL THE ANARCHY’S RESTORED,
AVAILABLE NOW VIA RISE RECORDS
LISTEN NOW
WATCH THE NEW VIDEO FOR “DRUNKEN LULLABIES (LIVE FROM ELECTRICAL AUDIO)” HERE
EP FEATURES PREVIOUSLY UNRELEASED TITLE TRACK AND LIVE PERFORMANCES FROM STEVE ALBINI’S ELECTRICAL AUDIO STUDIO
Flogging Molly’s new, three-song, ‘Til The Anarchy’s Restored EP (Rise Records), featuring the previously unreleased title track and one-take performances of the band’s classic songs: “Drunken Lullabies” and “What’s Left of the Flag,” is available today via Rise Records.
“In a world that seems more divided than ever, this song feels more like a letter reaching out to a neighbor or a friend, and renewing relationships that might seem lost or gone,” said Dave King about the title track. “Maybe it’s time to say hello again.” A video for “’Drunken Lullabies (Live From Electrical Audio)” featuring footage from the band’s Summer shows in Manchester and Dublin, captures the rollicking atmosphere surrounding Flogging Molly’s live performances. The dates were part of the initial wave of shows surrounding the release of their seventh studio album, Anthem. A collection that saw the band reunite with Steve Albini (he worked with Flogging Molly on their first two albums: Swagger and Drunken Lullabies).
Currently back on the road, recent performances have seen the Celtic punk band playing historic locations including Nashville’s Ryman Auditorium, Austin City Limits Live at The Moody Theater, and the band’s forthcoming, annual St. Patrick’s Day outing at the Hollywood Palladium. They play this evening at the Voodoo Lounge (Harrah’s) in Kansas City.
Flogging Molly also recently announced a late Spring European trek, with several festival performances amidst the month-long tour, including outings at Rock Am Ring, Rock Im Park, Hellfest, and both Slam Dunk Festivals.
With five years between albums, expectations for Anthem were high, with the band delivering a quintessentially rollicking, and heartfelt, collection. Brooklyn Vegan said Anthem is “a ripper,” New Noise said Anthem “easily satisfies expectations the Celtic-inspired punks have built over a decades-long career,” and American Songwriter triumphantly declared, “Flogging Molly is back.” The band released four videos in support of Anthem, including the timely track and clip for “A Song of Liberty,” penned by King as a recounting of a dark period in Irish history but made all the more relevant with events in Ukraine. The Mad Twins, Ukrainian animators/filmmakers, created the stirring video (https://youtu.be/ccGKjOQsEp0).
Flogging Molly tour dates:
March 10 Kansas City, MO Harrah’s Kansas City – Voodoo Lounge
March 11 Omaha, NE The Admiral
March 12 Boulder, CO Boulder Theater
March 14 Tucson, AZ Rialto Theatre
March 16 Las Vegas, NV The Cosmopolitan of Las Vegas – Chelsea Theatre
March 17 Los Angeles, CA Hollywood Palladium
March 18 Riverside, CA Riverside Municipal Auditorium
March 19 Reno, NV Grand Sierra Resort
May 24 Glasgow, UK SWG3
May 26 Walton On Trent, UK Bearded Theory Festival
May 27 Hatfield, UK Slam Dunk Festival – South
May 28 Leeds, UK Slam Dunk Festival – North
May 31 Luxembourg, LU Den Atelier
June 2 Nürburg, DE Rock Am Ring
June 3 Linz, AT Sbäm Fest
June 4 Nürnberg, DE Rock Im Park
June 6 Lörrach, DE Burghof Lörrach GmbH
June 7 Crans-Près-Céligny, CH Caribana Festival
June 9 Zagreb, HR Tvornica Kulture
June 11 Novi Beograd, RS Institut Za Ispitivanje Materijala
June 12 Bucuresti, RO Quantic Club
June 16 Clisson, FR Hellfest
June 18 Strasbourg, FR Artefact La Laiterie
June 19 Magdeburg, DE Factory Event Center Dominion Club GbR
June 20 Rostock, DE M.A.U. Club/Zabrik E.V.
June 24 Ysselsteyn, NL Jer On Air Festival
June 25 Antwerp, BE Rivierenjof
June 26 Brussels, BE Ancienne Belgique
August 25 Palmer, AK Alaska State Fair
November 8 – 13 Miami, FL Salty Dog Cruise
Anti-Flag and Skinny Lister open on U.S. dates through March 19
About Flogging Molly: Flogging Molly is Dave King (lead vocals, acoustic guitar, bodhran), Bridget Regan (violin, tin whistle, vocals), Dennis Casey (guitar, vocals), Matt Hensley (accordion, concertina, vocals), Nathen Maxwell (bass guitar, vocals), Spencer Swain (mandolin, banjo, guitar, vocals), and Mike Alonso (drums, percussion). Starting out as the house band for Molly Malone’s in Los Angeles and building a loyal following through endless touring, Flogging Molly has become a staple in the punk scene over the past 20-plus years, kicking off with their riotous debut album, Swagger, and continuing through their six additional studio albums. With numerous late-night television appearances under their belt, an annual, sold out Salty Dog Cruise through the Caribbean, and a yearly St. Patrick’s Day Festival in Los Angeles, the band’s most recent release is Anthem, which arrived in September 2022 via Rise Records.
NEW ALBUM: ‘PROTAGONISTS’ – OUT 31 MARCH + UK TOUR DATES + IN-STORES THIS SPRING:TICKETS ON SALE HERE With their upcoming third album fast approaching, IST IST are pleased to unveil the latest track to be cut from the record: “Nothing More Nothing Less”. WATCH THE […]
NewsNEW ALBUM: ‘PROTAGONISTS’ – OUT 31 MARCH + UK TOUR DATES + IN-STORES THIS SPRING:
TICKETS ON SALE HERE
With their upcoming third album fast approaching, IST IST are pleased to unveil the latest track to be cut from the record: “Nothing More Nothing Less”.
WATCH THE VIDEO HERE || STREAM ON SPOTIFY HERE
Chiming with the overarching concept of ‘Protagonists’ (out 31 March, via Kind Violence), the Manchester band’s new single finds them stepping into the shoes of a character trapped in a complex relationship and at odds with her true feelings. As frontman Adam Houghton explains:
““Nothing More Nothing Less” is a simple love song really written from a woman’s perspective who isn’t exactly sure what she wants.”
Infusing atmospheric synthesisers and inspiriting backing vocals into their signature post-punk sound, “Nothing More Nothing Less” sees IST IST delivering one of their most cathartic and climactic singles to date.
“Nothing More Nothing Less” arrives as the next-in-line in a string of fascinating singles to have been released in recent months, with “Something Has To Give”, “Stamp You Out” and “Mary in The Black and White Room”, all leading the way to their upcoming ‘Protagonists’ LP later this month (31 March). A record all about new beginnings, the album will touch on the trials and tribulations of love, tricky family relationships, and the feeling of being trapped by the past. The title is inspired by songwriter Adam Houghton’s magpie-like method of writing, with its songs placing prominent characters, fictional and non-fictional, into dystopian worlds with new and uncertain outcomes. Recorded and mixed by Michael Whalley and IST IST at Milkshed Studios, the album was mastered by the legendary Greg Calbi and Steve Fallone at Sterling Sound (The National, Yeah Yeah Yeahs, Interpol) and as its precursory singles suggest it will see Ist Ist traversing a broader spectrum of genres and sounds than ever before.
Alongside the album, IST IST also delighted to confirm news of another exciting venture – a brand new community studio. Acting in response to the shock closure of the Brunswick Mill rehearsal spaces earlier this month, a facility used by IST IST since 2018 but also countless artists from across Manchester, the band quit their day-jobs and have decided to establish their own rehearsal rooms. Built with their own bare hands and located on the third floor at Nile Mill A in Oldham with just shy of 4,000 sq ft of space, KVR Studios aims to offer a safe space to all of the creatives in the city who have been evicted from Brunswick Mill and similar spaces blighted by gentrification. The studio will boast nine rehearsal rooms in total, a blackout photo studio big enough for photoshoots and videos, and lockable storage areas to store equipment. With 24 hour access to the facilities to accommodate all schedules and needs, rooms will be available to rent in four hour blocks or monthly, with multi-band sharing opportunities also available.
Opening its doors in early April 2023, Andy Keating of IST IST elaborates on the launch of KVR Studios and their motivations for the new project:
“This is the second time we’ve been in this situation, as I’m sure a lot of other bands have been. Instead of becoming a tenant elsewhere and potentially having to share a room with other bands which brings its own logistical headaches, we decided to establish KVR Studios, named after our label Kind Violence Records. We want our space to be somewhere where bands and artists want to hang out and for it to be an aspirational place to rehearse, write and create.”
Touring their latest work, IST IST will be hitting the road for a run of UK headline shows in Glasgow, Newcastle, Nottingham, Birmingham, Bristol and London, plus sets at this year’s SXSW festival in Austin, TX and Whitby’s Tomorrow’s Ghosts Festival. There will also be an unmissable hometown launch of ‘Protagonists’ at the O2 Ritz in Manchester on 31 March. As a special gesture of support for NHS workers amidst this turbulent time, IST IST also announced recently that 100 FREE TICKETS had been reserved especially for music fans working in the service.
With new in-store shows also added for release week in Leeds and Kingston – all current UK live dates and details can be found below:
IST IST UK LIVE SHOWS
MARCH 2023
31 – Manchester Ritz
APRIL
4 – Leeds – Oporto (Crash Records Instore) ** New ** – Tickets/Details
5 – Kingston – Fighting Cocks (Banquet Records Instore) ** New ** – Tickets/Details
13 – Glasgow – King Tut’s
14 – Newcastle – The Cluny
15 – Nottingham – Bodega
20 – Birmingham – Hare and Hounds
21 – Bristol – Thekla
22 – London – Omeara
29 – Whitby – Tomorrow’s Ghosts Festival
Tickets will be on sale now here
NEW ALBUM: ‘PROTAGONISTS’ OUT 31 MARCH 2023, VIA KIND VIOLENCE RECORDS
FOR MORE INFORMATION:
All images by Haydn Wiltshire (Red Images)
GalleryWhat better thing to do on a Sunday than head off into the metropolis of Nottingham to see two bands who have been on my to see list for a while now. Rock City was heaving – so good to see the venue bringing in […]
Gig reviewsWhat better thing to do on a Sunday than head off into the metropolis of Nottingham to see two bands who have been on my to see list for a while now.
Rock City was heaving – so good to see the venue bringing in a big crowd and it was warming up nicely for openers SMASH INTO PIECES.The Swedish band have a solid and distinctive alternative pop rock sound with a career starting in 2008 , the band reached the semi-final of “Sweden’s got talent” in 2009 but dropped out of the competition to sign a record deal. Possibly the best thing they could have done.
Building on their reputation for energetic performances, the band show why they are so good with an explosive and solid set of songs to ramp the crowd up into an appreciative frenzy. Frontman Chris Adam Hedman Sörbye could give lessons to many a wannabe performer in how to deliver a first class vocal, engage the crowd and tear Nottingham a new one. Their sound is heavy at times, melodic and symphonic at others. A choreographed approach to give a real visual treat.
Opening with ‘Wake Up’, the heavy, melodic riffs from Benjamin and Per and frenetic drums from the masked Isak Snow , captured the crowd as they sing along wholeheartedly. It’s a way too short a set culminating with a room lit up by mobile phones with the bands encouragement for ‘Boomerang’. This band deserves way longer than 30 minutes, such an assault on the senses that needs to continue for longer. Check out the band’s music in the usual places, you will not be disappointed.
The white curtain was pulled into place as the stage was set for Starset. Starset aren’t just a band, they are a life choice, a fantasy world in which to immerse yourself, the music at the heart of it. In their fantasy backstory, Starset was formed as part of a public outreach initiative by The Starset Society. The Society’s aims were to alert the public about the contents of “the Message” the society obtained from a mysterious signal from space. This whole concept comes to life in the live performances or ‘demonstrations.’ A visual, audio sensory overload that captures your very being before releasing you, visually battered by the strobes but audibly treated.
The crowd erupts as the band come onto the stage. Silhouettes behind the curtain, lights bobbing around before the curtain drops and the music kicks in. Opening with ‘Carnivore’, Dustin Bates’s distinctive vocals sets the crowd alight, the flood of sound from keys, cello, violin, guitars, and drums splinter the air and bounce off the walls. The lights attached to their heads bobbing about through the haze which at times were the only things that indicated where the band members were the haze was so dense. Kicking the crowd up another level with ‘Manifest’ the crowd are instantly bouncing, fists in the air, a fabulous night here in Nottingham! ‘
Echo’ sees the melodic vocals and huge chorus continuing to add to the atmosphere at Rock City. but when the intro to ‘Trials’ begins, I swear I heard the air crack with excitement. A monumental anthem which brings the crowd participation to 11. If you have never heard Starset, this is one to check out. It has everything, storytelling lyrics, sing a long chorus which is an absolute earworm of a track. A set which had everything from the lighter tracks such as ‘Die For You’ where synths tangle with vocals to the heavier ‘Devolution’ with heavy basslines and a few shouty screams.
A Starset demonstration is a journey through space and time. An experience that engulfs you; the intros to the songs guide you through the journey and it is one to be repeated, an addiction fed by the American rockers. The setlist spans their 4 albums, the latest Horizons continuing the journey.
Listening to the songs live is a treat, a setlist building a story, a well-crafted demonstration of some of the best of Starset. Icarus, Ricochet, Infected, The Breach, all sounding splendid. After a manic hour and a half, the sweat running off the band and the crowd, so much bouncing about some will struggle to get moving tomorrow, the band closed out with the anthemic ‘My Demons’ with its orchestral opening and stunning vocal arrangements,. then they were gone; the end of the ’Demonstration’. I felt sad, it had been such a high, such a good night.
It’s hard to define a category to fit Starset into, prog, alternative, rock, electro pop rock, they could slot in anywhere but, they are themselves, Starset are their own genre and one of a kind. I haven’t been to a gig for a long time where the age of the gig goers was so mixed, teens to the more mature, it was a two year wait for this gig after the covid cancellations and reschedules but it was so worth the wait.
The only criticism of the night was that the journey at times was hardly visible, lights just too low and haze just too high or lights so brightly strobing and the haze just so thick you were dazzled and unable to see a thing, the first dozen rows at the barrier lost in the smoke too, I want to see a band, not just hear them.
Check out both Smash into Pieces and Starset on their socials and websites; two excellent bands who know how to put on a gig.
Words & images: Lindsay Smith