UK based ScreamLite Records is one of those labels which you just have to keep a close ear on. Their hunger for fresh and exciting new music is the match to that of a fan meaning attention for their releases is certainly a given here. This month sees the label release the new EP from Newcastle outfit Stolen Dead Music which ScreamLite announced was “the first band to really get our feet tapping in 2019” though what the rest of their bodies were up to we don’t know because the three tracks making up the Penny Drop EP just had us bouncing from head to toe.
Formed in 2017, Stolen Dead Music take the inspiration of bands such as Nirvana, Alice in Chains, Smashing Pumpkins, Weezer, Black Flag, Pixies, QOTSA, and NiN into a sound which stands distinctly aside of what expectations assume going by that list. It is a blend of alternative and noise rock with numerous other flavours involved sitting uniquely amongst the equally striking enterprise of bands like Japanese Fighting Fish, Houdini, Damn Vandals, and Max Raptor and providing so much to get excited over.
The EP opens up with its title track, Penny Drop initially stroking ears with fuzz loaded riffs before the same guitar begins deviously scything across the senses as the tones of vocalist/guitarist Jimi Trimmer break. Simultaneously the tenaciously strolling beats of drummer Aidan McGill erupt alongside the just as sturdy bassline of Lewis Patterson, guitarist Issak Patternson continuing to tease and tempt alongside the lures of Trimmer. Just as you think you have a handle on the song, it twists into a whole new channel of virulence to manipulate and seduce, never once taking its foot off its imagination and feverish enterprise.
It is an outstanding track and start to the release more than matched by next up Shunt. Rhythms straight away toy with ears and appetite, the guitars getting in on the act with their web of teasing melodic wires. Loaded with hooks and grooves, the band’s rock ‘n’ roll is a devious persuasion and in full lustfulness within the second song. There is a great Pere Ubu-esque whiff to the track at times too which only escalates its call on instincts and sure allegiance to its feral like energy and imagination.
Gallows Humour completes the release, the instrumental simply an irresistible shuffle of salacious melodic hooks and boisterous rhythms casting intimation and addiction with ease.
The Penny Drop EP is in many ways just a teaser to the Stolen Dead Music songbook, the three tracks picked out from their repertoire to mark their link up with ScreamLite Records but a wake up to all of us previously unaware of their potential and thrilling adventure. Anticipation for more is already drooling here.
Voracious in breath, bold in imagination, and a touch irritable in character the sound fuelling the debut EP from UK trio Neverlanded makes no concessions to expectations as they provide one of the more exciting and intriguing introductions heard over recent months. A feisty and uncompromising mix of grunge, alternative rock, and punk rock with an appetite for stoner hues, it is within the F.u.U EP, a striking confrontation as belligerent as it is brazenly adventurous.
Roaring out of North London, Neverlanded consists of vocalist/guitarist Pete Bloom, bassist/guitarist Niki Jester, and drummer Jaca Freer. Initially formed as an online project in 2017, the band has since released a trio of singles to stir up some attention which F.u.U, its full title being the Fluffy Unicorns United EP, can only forcibly escalate. Inspirations to the EP’s sound include the likes of Placebo, L7, Silverchair, Garbage, Nirvana, Cranberries, Pixies and Refused; a selection which gives you a good inkling of its breeding and heart if not its open individuality to those influences.
Neverlanded are giving the Margo Broom (Arrows of Love, Yassassin, Calva Louise) recorded EP available free to anyone who donates money to Mermaids UK, a charity the band eagerly and effortlessly supports in its work supporting children, young people, and their families to achieve a happier life in the face of great adversity including raising awareness about gender nonconformity in children and young people amongst the general public.
F.u.U pounces from the speakers with Brainsane first up, an initial melodic lure enough of a coaxing to set the senses in the face of a swift wall of noise though that too is a quick trespass as sonic calm and vocal prowess bridges another raw surge. Within it all Jester’s bass immediately proven manna to personal tastes but was as resourcefully matched by the biting swings of Freer and the fuzzy exploits of Bloom’s guitar. There is a definite Nirvana meets Pixies spicing to the song but that only added to its imposing magnetism and tempting snarl.
The following MesS.O.S. bursts from the speakers with punk ferocity but soon bounced along with appetite gripping unpredictability and noise rock infused grunge bred self-appraisal. That initial punk causticity still persists though fuelling the track’s rousing antics and agitated frenzy; the result a brief and severely appetising slice of punk ‘n’ roll before This Friend of Mine soothed an inflamed spirit with its invitingly crawling melodic stroll. It is a track where you can see those Placebo and Pixies references seeded but again flavours embraced and mutated into Neverlanded’s own inimitable sonic concoction. A blend of the feral and seductive, the track simply added to the compelling persuasion of the EP.
Scream4icecream completes the quartet of incitements, a song from its first bass amidst crispy beats burrowing under the skin and increasing its slavery through vocal snares and sonic wiring. The track is superb as are all enticements within an EP which had us quickly hooked and greedy thereon in.
How Neverlanded evolve from this impressive moment we will see but anticipation of that adventure is as ripe as the enjoyment with F.u.U was rich; so go explore and remember you can support a great cause at the same time.
The outcome of a collision between the raw essences of crust lined garage punk and pop infused grunge accosted by noise baiting metal, All Love Is True Love is the fierce new album from LA based rockers The Primals. Though it bears hungry ferocity it is equally as infectious and catchy as it is invasive; it all making for one of the year’s most irresistible debuts.
The Primals is a trio made up of Darkest Hour vocalist/guitarist John Henry, former Dead To Fall member in bassist Chad Fjerstad, and drummer Andrew Black who previously was part of The Explosion, and Title Tracks. Exploits within those outfits has meant anticipation once The Primals’ first release was announced has been keen among a great many and we can say that though there have been a fair few introductions this year which have simply ignited attention and excitement with plaudits in close quarter, All Love Is True Love is ahead of most of the field.
Produced by John Reis (Rocket From The Crypt, Drive Like Jehu, Hot Snakes), All Love Is True Love immediately descends on ears with Hello Cruel World. Instantly a guitar gnaws on the senses, in turn triggering a caustic wave of noise as contagious as it is a visceral trespass. Even in its carnal insurgence there is an instant catchiness of pop sensibility which surges through the confrontation, vocals riding that temptation with a melodic snarl. Similarly soliciting is the predacious quality the band’s sound carries, one which permeates the whole album to compelling effect.
It is an outstanding rousing start as potently backed by the relatively gentler antics of Dead Predators. A web of noise fuelled clamour, earthy bass led swing, and sonic enterprise, the track quickly beguiles and tempts hips and imagination into an animated collusion before Another World To Call Your Own launches its own untamed will upon the listener. Across the three tracks alone there is no escaping a strong whiff of bands such as Nirvana and The Pixies, a breeze teasing throughout the release yet already there is a distinct character and presence which is all Primals as epitomised by their latest single which is next up.
Pity City saunters in on a rhythmic swing; flames of guitar crossing its lure as the melodic calm of vocals add infectious charm. The track simply becomes an insistent radiance spilling invitation where contrasting textures unite in imagination; a pop song in its rawest most accessible state before Fortune & Sons shares its punk ‘n’ roll animation with rapacious relish. It too has an inherent infectiousness which borders the viral and an equally belligerent breath which growls discontent as easily as it brews seduction.
Next up The Wayward Impaler is untamed pop rock which similarly melodically tempts as it shares sonic agitation while It’s Personal saunters in straight after with a heavy drawl and shadowed intentions before unveiling its own pop natured virulence within those persistent trespasses. Both tracks swiftly get under the skin, the latter especially laying a mighty hand on best track honours before Together Whatever has its say with its Sonics-esque, old school punk holler. Rhythms stomp and guitars abrase as the track incited body and the passion, another slice of quick addiction with a potent claim on the top dog title.
The album concludes with firstly the slow crawl of Save Me, Baby; a plaintively melancholic croon with rhythmic tempestuousness and lively pop rock animation, and through the rousing grunge punk ferocity of I’m Coming Home. The final track is pure threat and seduction, each in equal measure invading the senses in a “we are united, love you all and fuck the world” like declaration.
It is a stirring and tremendous finale to an album which has all the elements and deeds to re-invigorate already hungry or alternatively any stale appetites for rock music. It is a gem, simple as.
If the celestial angels took a night off from enchanting the skies with some spacey rock ‘n’ roll fuelled by earthbound fire and brimstone, the debut EP from Hypnosister would be the perfect centre piece of temptation. The six track offering craftily seduces as it boldly roars, enticingly caresses as it dramatically trespasses the senses. Simply put it is a real treat for ears and imagination
Hypnosister is the solo project of former Allusondrugs guitarist/songwriter Damian Hughes which the British artist unveiled mid-2017. Describing it as space pop, Hughes weaves an immediately individual and virulent sound inspired by the likes of My Bloody Valentine, Nirvana, and Neutral Milk Hotel. Early singles and live shows soon grabbed attention of fans and the likes of XFM’s John Kennedy, Punktastic and Upset Magazine; support and plaudits sure to be escalating through his first EP.
With no other hand but Hughes involved from writing and playing to recording and producing, the EP opens up with the truly irresistible Poorly Boy. The track rises up with drama and attractive tension in its tone, bringing its thick hues together to burst into an instantly rousing and infectious affair led by the potent voice of Hughes. Though under control, there is tempestuousness to the track which emerges in twists and an unpredictable enterprise that just gripped attention and a quickly forming appetite for the Hypnosister adventure. There is a touch of The Horrors to the song in certain moments too but merely one of the alluring hues in its individuality.
The following Bother emerges on cosmic currents, sauntering in on a slow but catchy swing as waves of infectiousness court its magnetic lures. Hughes’ guitar has something of Lester Square of The Monochrome Set to its character; hooks and melodies springing like tentacles upon the imagination within another gorgeous encounter before Breath injects an earthier presence to the EP’s spatial climate. A post punk lilt to the guitar is contrasted by Hughes’ harmonic but again slightly grainy vocals; the almost funereal gait of the song equally at complementary odds with the natural catchiness of the inescapable temptation.
Next up Ghost serenades ears with harmonic radiance but soon reveals its own wiry enterprise and muscular drama within the ethereal shimmer. Again creative tension just lifted track and the passions alike, giving an edge to its melodic seduction and spirit rousing roar while I’m Going To Die ventures into emotional shadows and dark hues without negating the organic contagiousness Hughes’ songs just seem to breed with ease. With a touch of sixties garage pop to its fuzzy glow and a bold brooding to its rhythmic enticement, the track brings yet another individual aspect to the EP and sound of Hypnosister.
The release concludes with new single Scribbles, a song with angst and psychosis to its emotions, words, and tone but unsurprisingly also has infectiousness which just gets under the skin with guile and a deceitful touch, manipulating and enslaving almost secretively by the second. Bookended with distorted carnival-esque intimation, the track is a mesmeric end to one ridiculously compelling encounter.
With distortion, almost discord infesting the craft of the guitars and fuzz coating its melodic and spatial beauty, the Hypnosister sound borders on creative alchemy, certainly offers undiluted temptation making the first EP an essential piece of space rock ‘n’ pop adventure.
With the debut album from Hot Sauce Pony prowling anticipation, the UK outfit unleash its first lure in the shape of the carnally seductive Burnt Ends. The track is a ravenous teaser of that forthcoming self-titled offering, a song which has calm, beauty, and ruin colluding for a frustratingly but imperiously short one minute plus.
Formed in 201, the London band consists of vocalist Caroline Gilchrist, guitarist Ross Davies, bassist Stephen Gilchrist, and drummer Anna Dodridge. Their sound is a unique fusion of noise and punk rock with grunge, post punk, and hardcore hues. They call it Avant Hard; we call it in regards to the new single feral sensuality. The track and the upcoming Steve Albini (Pixies, Nirvana, PJ Harvey) album follow a first single in Fenced In which aroused rich attention and intrigue. Burnt Ends more than builds on its ear grabbing success and thick potency with a moment where extremes unite to devour the senses with beauty and ruin.
From its first breath Burnt Ends had us licking lips, the charred growl of the bass a bestial temptation matched by the just as roasted snarl of the guitar. Swiftly the melodic siren tempting of Caroline’s vocals drew ears deeper into the cremated offering, the slow manipulative swing of Anna’s beats just as irresistible. Like a fusion of Horse Party, Morass Of Molasses, and Mudhoney with a whiff of Young Marble Giants yet firmly individual, the track just got under the skin and into the psyche as hips continued to sway to its primal groove.
Such the pleasure, it really does frustrate when the track stops suddenly and without warning barely a clutch of seconds past its first minute. It leaves nagging, teasing fingers though as its elements continued to echo in thoughts long after departure.
Leave them wanting more is the key to success some say, and without doubt the hunger for the band’s eponymous debut album is on the point of rabidity thanks to Burnt Ends.
Just under a year ago, British punks Valensole sparked intrigue and pleasure with their debut EP, Where We Should Be. It was a potential loaded, ear grabbing introduction to the Southampton trio suggesting a band with all the right attributes and imagination to make potent strides within the UK rock scene. Now that suggestion has been reinforced and given greater strength by Make Pace, a second EP of raw and rousing punk ‘n’ roll very easy to devour.
Embracing inspirations from the likes of Nirvana, Green Day, Sum 41, and early Foo Fighters, Valensole was formed in 2016. The threesome of vocalist/guitarist Elliott Jones, guitarist Nick Jones, and bassist Dave Parker certainly had ears and praise attentive with that first EP and such the fresh character and tone to its successor, we can only expect them to find much even greater attention upon the release of Make Pace.
With Kurt Philips providing drums throughout, the EP kicks off with Giving Up, its jumbled start instantly spawning a tasty guitar hook which soon leads into a tenacious stroll through ears. Simultaneously a new richer flavouring to the band’s punk sound begins tempting, the track merging its raw traits with infectious enterprise as it increasingly stomps around. Dave’s bass has a gorgeous dark steely tone, Elliot’s vocals matching its lure in earnest attitude as his and Nick’s guitars throw their sonic wares around. As with the first EP, we found flavouring more akin to the likes of Psychedelic Furs and The Vibrators than those earlier mentioned influences but more so the band’s own voice in sound and invention emerges this time around.
The potent start is soon matched by the following M.A.D, the track immediately getting under the skin with its opening spicy hook. Both guitars tease and tempt, uniting in a fiery lure backed by the stirring swings of drums and the grumbling stroll of the bass. There is a great vintage punk lining to the Valensole sound, one especially vocal in the rousing antics of the second song even as it slips into calmer, provocative waters. It all erupts again for a tenacious finale as physically bracing as it is catchy before So Bored moves in with its ear nagging endeavour. Carrying a whiff of Buzzcocks to its melodically scored trespass of a hook, the track soon revels in its caustic rock ‘n’ roll breeding but as its predecessor is a proposition which is unafraid to explore unpredictable twists and turns before lighting its riotous touch paper once again.
The EP ends with Don’t Let Go, a song again drawing those Richard Butler and co references while uncaging its own individuality. Equally there is a garage punk meets Generation X scent to the song, a thickly flavoursome hue adding to the unrelenting pleasure the track and indeed Make Pace overall sparks.
Valensole’s sound is on a journey, one still evolving and growing. The band’s first EP hinted at its promise, the second reveals new depth and adventure to add to that potential. When it will all come to full maturity time will tell but the ride on the way is undoubtedly going to be great fun with the anticipation of many more easily devoured treats like Make Pace.
If you ever have thoughts that real rock ‘n roll is on the wane a quick listen to the new album from British rockers The Sourheads will soon make you think again. Care Plan For The Soul is a nine-track debut full-length, a skilfully and passionately woven roar of classic and fresh rock diversity which snarls as it seduces, thrills as it trespasses ears and imagination. Through our friend Garry at SaN, we had the chance to dig deeper into The Sourheads with guitarist MIK CRONE, exploring the band’s origins, digging into the heart of Care Plan For The Soul, The Sourheads live and more….
Hi Mik and big thanks for taking time to chat with us.
Can you, for those yet to be invaded by your rock ‘n’ roll, first introduce the band?
Jake on vocals, Mik on Guitar, Ben on Bass and Lamb on Drums.
We are The Sourheads and we come from Wakefield West Yorkshire. We are a rock band who take influence from the greats and add our own twist. We like to think of ourselves of somewhat multi-genre and we don’t want to be seen as just one specific style of music. A career band like The Stones or The Who dip into different things but still stay true to who they are…So yea we are a rock band who give it our all live.
The band is said to have emerged in 2016 but does its seeds go further back?
The version of The Sourheads now is the result of many years building. Like Oasis the original version was Jake [Coxon]our singer and his brother Sid who played guitar. They had a string of musicians throughout a short period of time. I first came into the picture as a producer for the band. I had been working with various bands and the early version of the band struck me as a very different but awesome set of musicians. I felt with direction the band could be massive. Around this time I was asked to join as a second guitarist and a month later Sid left. So at this point we upped our game and decided to focus on a solid tight band and work on the debut album. The Sourheads you see now emerged in 2016.
Is The Sourheads your first ventures in a band or do you all bring various previous experiences and explored styles of music to the mix?
Everyone in The Sourheads has been in other bands before and we are all have different musical influences. This has proved a major asset in creating the sound and style of The Sourheads.. I had a small amount of success with a metal band I was in. Lamb [Chris Lambert] our drummer was in a relatively successful Indi band. Ben [Taylor] has a more Pearl Jam grunge influence and has played bass forever and grew up jamming with his brother Simon (Inme) and Jake has always been a creative person singing and painting and as I, is more 70s inspired through bands such as The Doors, Alice Cooper, Deep Purple. The combination of these different influences creates the originality of our band. We are what we are.
What inspired the band name?
A Sourhead can be interpreted a number of ways. Bitter and twisted, hungover. There is no deep meaning behind the name.
Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?
As a band we feel that it is easy to be stereotyped into a genre. We don’t necessarily want that as we are all influenced by different styles of music. What we want to do is wear our hearts on our sleeves and be 100% true to what we are. Our image and sound isn’t contrived, it is pure. Our front man is a character and is like that 24/7.
As a band we have evolved over time and we are now as sharp as a razor. In the last few months we have really tweaked everything so that it is the best we can offer. Little things like changing guitar sounds or what bass amp we use. We are always trying to give the best live performances we can. Through time you learn how to fine tune every aspect of the band.
Since your early days, how would you say your sound has evolved?
Before I joined the band the sound was more indie influenced. When I joined we rocked it up considerably. The band used to jam and have beers and chill out more. Since we started writing the debut album and got the record deal we became more focused. It is important to be professional at rehearsals. As a result we worked on emphasising certain parts of songs, making them tighter and adding dynamics.
Has it been more of an organic movement of sound or more the band deliberately wanting to try new things?
We have always tried different styles of music when we write. Some songs sound like the Rolling Stones others sound like Black Sabbath. It depends on who comes up with the first ideas, riffs etc at some point we will bring the Synths and organ back out. Everything we do usually comes from a groove, guitar riff etc
You have just released your debut album, Care Plan For The Soul. From its first breath it shares a multi-flavoured, refreshingly dirty and just a little salacious roar of sound and intent; a mix which suggests a varied range of inspirations to the band and individual members. Who particularly stands out as having an impact on your approach to making music?
We take our inspiration from different places. Jake is a massive Doors fan, Lamb is into his classic British Indi music; Ben is also a fan of different styles of music. I look up to any band that has strong songs. Stone Temple Pilots are a massive influence for me. Deftones, Queens of the Stone Age, The Cult, Shed Seven, Oasis, Clutch. We use many colours to create our art.
How would you describe your sound to newcomers?
Iggy and the Stooges mixed with the Sex Pistols thrown into a blender with The Stereophonics and Nirvana.
Classic Rock with an edge.
It feels like it just follows its nose, always prepared to embrace fresh and unpredictable flavours. Is this something you deliberately set out to purposefully develop or a sound and direction which just grew and evolved organically?
We are what we are. People either get it or don’t. One review says we are original and have rewritten the rule book of what a rock band should be. The other will say they don’t get us. Why do we look like we do and why does the artwork not match the music. Well the answer is we are totally focussed and we are 100% us. Everything is totally focused and this is what we do, our sound and direction develop naturally. Luckily our label saw this and our friends like Red Spektor saw this. So it’s better to have a loyal friendship and business partnership and have loyal listeners than to be fake and try to jump on a scene.
How long was Care Plan For The Soul in the making?
We had a lot of time rehearsing and making sure we could play the songs. We could play without vocals, with vocals, without bass or without guitar and obviously all of us together…Probably 3 months of pre-production and a week to record.
It has an instinctive snarl to its air and open rawness to its energy; at times feeling like it may have been recorded live. How did you approach its creation in the studio?
We decided early on that the band has a live energy that needed to be captured so we decided to record live and then delete the guide vocal and do a main vocal later. I also overdubbed a second guitar rhythm track to fatten the overall mix. We also added congas and cello in the overdub stage.
Can you give us an insight into the trials and pleasing surprises you found when recording the album?
We worked with a wonderful producer called Matt Knee and we used an old 70’s BBC mixing desk, this gave us a warmth that we were pleasantly surprised by. We wanted initially to record full analogue but as we wanted to play live we decided it’s may be better to do it digitally but through old analogue gear. This was due to the fact that digital is instant and we knew we had to keep in budget for our business plan to be effective. We needed to make sure everyone was comfortable and the atmosphere was good. We had incense burning and lava lamps. Pretty laid back.
It was subsequently mastered by Pete Maher (The Rolling Stones, Depeche Mode, U2) and released through German Label Kozmik Artifactz. How did those link ups come about?
Pete Maher has worked with everyone and we liked the fact that he worked within multiple genres. Katy Perry, Pink Floyd, Linkin Park are a few of his varied clientele and he had just finished mastering the LA LA Land soundtrack. We knew that attracting a big name would gain us attention and Pete does great deals for up and coming bands. It seemed like a great idea and he did an amazing job. Around this time we became close friends with Red Spektor and their manager Simon. They were saying good things about us in interviews and we were starting to get noticed. I sent a private link of the album to a number of labels and pretty much instantly Kai at Kozmik Artifactz messaged back saying ‘We don’t usually release this style but we think you would fit our sister label Oak Island perfectly so we did the deal and we are honoured to be part of the Kozmik Artifactz Oak Island family. The label is having great success with bands like Church of the Cozmic Skull and of course our brothers Red Spektor.
Can you give us the inspiration for the album title and some of the themes within its body?
We felt that the title had to reflect the song content. Our drummer Lamb came up with it. The songs are pretty intense in parts and cover lots of topics such as Demonic Possession, Marriage Breakdowns, War veterans, soul stealing creatures. When you take this into consideration and then see the album cover is a lone figure stood in the middle of the beach with his dog it’s kind of like that is the care plan for his soul. He is escaping the turmoil.
Is there a particular songwriting process within the band?
Pretty much straight forward…Ben or me write a riff or two. Lamb plays a beat. We arrange the song, record it on a phone then Jake writes the lyrics.
Apart from obvious pride and satisfaction in Care Plan For The Soul is there a particular moment within it which gives you a specific personal flush of inner pleasure?
The whole thing is a major flush of inner pleasure. We set out with a goal and we achieved it on budget and we didn’t move away from our art and vision one bit. This is amazing to us. To have a vinyl copy of the album in my hands and look at the finished product gives me goosebumps. The fact that the digital streaming numbers are good too also feels good. We want to get out to as many people as possible. From the actual recording there are a few moments I like. I think some of the vocal delivery is the best Jake has ever been. The rush created when he shouts I am the Lotus! That’s a fan favourite moment.
Give us an insight into the live side of the band?
We are told we are extremely good live. Jake is a bare chested beast of a frontman, live truly something that has to be seen and heard. We are very tight and play as close to the album as we can get. I like the idea that we are four individual characters and that as a member of the audience you can get what you are looking for from us. We put a lot into it. I’m swinging my arm in the air and running around; Jake is in the crowd or rolling around on the floor. Ben is grooving away and lam is bashing the living daylights out of the kit. We are an old fashioned rock band. We put on a show.
Obviously the album is in its early days inviting attention but what is next on the horizon of The Sourheads?
We are hoping to tour throughout 2018 and play some festivals. Do a couple of music videos and keep writing. We have 3 songs written for the next album already. We have also experimented with slightly different sounds. Some old school style Stones vibe.
It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods?
The most important thing to do is gig swap with other bands throughout the country. There are so many bands who are hometown heroes. That’s all very good if it is a hobby but not so if you want to leave a lasting impression and have your legacy respected. What we have found is the more we play the small festivals, the more the promoters share the information. There is a really healthy underground rock scene in the UK at the moment and everybody seems to be looking out for everybody else.
How has the internet and social media impacted on the band to date; is a battle which has to be waged or a constant weapon for success?
Social media is great if the people already know about you. In the last few years the pay to get hits and advertise your band has really hurt the artist. The idea that you pay £50 to get 300 likes in Indonesia isn’t helping anybody. We have had musical instrument companies say you need so many likes on Facebook for us to consider you. This along with people not actually going on bands websites anymore means companies like Facebook and Instagram pretty much have the Monopoly on online presence. Bandcamp seems to work and I would encourage other bands to check it out if they haven’t already. Webzines like yours also help a great deal. I would say use social media but don’t let it be the basis of promoting your band.
Again many thanks for sharing your time; any last words you would like to add?
Thank you for showing interest in the band. We truly appreciate every website, magazine radio station that helps us spread our message and music. We are fans of music and do this because we love playing and creating our art. People like you keep the musical torch burning bright. There is a buzz and new found enthusiasm for rock music and we want to embrace this whole heartedly.
The EP opens up with its title track, Penny Drop initially stroking ears with fuzz loaded riffs before the same guitar begins deviously scything across the senses as the tones of vocalist/guitarist Jimi Trimmer break. Simultaneously the tenaciously strolling beats of drummer Aidan McGill erupt alongside the just as sturdy bassline of Lewis Patterson, guitarist Issak Patternson continuing to tease and tempt alongside the lures of Trimmer. Just as you think you have a handle on the song, it twists into a whole new channel of virulence to manipulate and seduce, never once taking its foot off its imagination and feverish enterprise.
It is an outstanding rousing start as potently backed by the relatively gentler antics of Dead Predators. A web of noise fuelled clamour, earthy bass led swing, and sonic enterprise, the track quickly beguiles and tempts hips and imagination into an animated collusion before Another World To Call Your Own launches its own untamed will upon the listener. Across the three tracks alone there is no escaping a strong whiff of bands such as Nirvana and The Pixies, a breeze teasing throughout the release yet already there is a distinct character and presence which is all Primals as epitomised by their latest single which is next up.
With no other hand but Hughes involved from writing and playing to recording and producing, the EP opens up with the truly irresistible Poorly Boy. The track rises up with drama and attractive tension in its tone, bringing its thick hues together to burst into an instantly rousing and infectious affair led by the potent voice of Hughes. Though under control, there is tempestuousness to the track which emerges in twists and an unpredictable enterprise that just gripped attention and a quickly forming appetite for the Hypnosister adventure. There is a touch of The Horrors to the song in certain moments too but merely one of the alluring hues in its individuality.
With Kurt Philips providing drums throughout, the EP kicks off with Giving Up, its jumbled start instantly spawning a tasty guitar hook which soon leads into a tenacious stroll through ears. Simultaneously a new richer flavouring to the band’s punk sound begins tempting, the track merging its raw traits with infectious enterprise as it increasingly stomps around. Dave’s bass has a gorgeous dark steely tone, Elliot’s vocals matching its lure in earnest attitude as his and Nick’s guitars throw their sonic wares around. As with the first EP, we found flavouring more akin to the likes of Psychedelic Furs and The Vibrators than those earlier mentioned influences but more so the band’s own voice in sound and invention emerges this time around.
You have just released your debut album, Care Plan For The Soul. From its first breath it shares a multi-flavoured, refreshingly dirty and just a little salacious roar of sound and intent; a mix which suggests a varied range of inspirations to the band and individual members. Who particularly stands out as having an impact on your approach to making music?
Give us an insight into the live side of the band?