Truly, the latest single from Zand is the sonic embodiment the self-proclaimed ugly pop star’s modus operandi; it’s weird, larger than life, and the words of Zand themselves, “unhinged, orgasmic and an obnoxious proclamation of self lust.” The first track to be taken from the upcoming Sewerstar EP – released July 20th – ‘DTF’ is a stomping celebration of lust and the embracement of the animalistic desires that are impossible to control. It’s filthy, pounding, pulsating – and just like Zand themselves – unapologetically and brilliantly individualist. – Dan Hillier
One of British metal’s most consistent and underrated acts, Sylosis are back with a vengeance ahead of their sixth record, A Sign of Things to Come with new single ‘Poison for the Lost’. It’s everything that makes the band great distilled into one movement. Guitarist and vocalist Josh Middleton sounds the best he has in years, his screams filled with anger and bile. The instrumental work is, as usual, impeccable and it sounds massive, particularly the furious solos and guitar squeals. The progressive elements the band is known for are ever present, with sprinkling of atmospheric electronics adding to the track, which also boasts one of the biggest choruses the band have had for years. With the recent departure of Josh from Architects, it’s time for people to realise what the man is truly capable of in the riff department, and come September, it’s a solid bet that we’ll have an AOTY contender on our hands. – Chris Earl
Announcing their third album Make (Less) Babies, Belgian alt-rock band The Guru Guru release the lead single ‘Lotta Tension’ which recently had a run out at their well-received set at Portals Festival. Taking on the whole process of recording live, producing and mixing themselves for their third full length they have already managed to capture their synergy and energy. Their arty fusion of styles with angular guitars and off-kilter beats, yet also creating catchy hooks with the chorus lines are truly enticing. The performance pressure that creates the tension mentioned is not only in the lyrical content but as the band build to a crescendo at the tail end of the track. An explosion of energy before a sudden ending, it’s The Guru Guru at their theatrical best. – Adam Vallely
HAWXX‘s ascension to the top of scene continues with their hot new tune ‘Soulbreaking Machines’. Blending odd time signatures with their signature heavy guitar riffs and soaring vocals, the band continue to prove themselves as worthy of respect. Hard hitting riffs slam into you from the moment you press play, before subsiding to allow soft guitars and technical drum grooves to lull you before the song rears up again in full force. The production is great as usual, allowing every instrument to be heard clearly, especially the rumbling bass which provides a thick undertone to the song. ‘Soulbreaking Machines’ is yet another catchy, well-written metal monster that serves to further push HAWXX to stardom. – Jude Bennett
Teasing a full length record in the best way possible, by releasing an absolute knee slapper of a single complete with a spectacular music video, Guilt Trip are certainly getting tongues wagging as of late. ‘Sweet Dreams’, featuring some guest vocals from French metalcore heavyweights Landmvrks‘ Florent Salfati, this track is an absolute rabble rouser from the opening chords. There’s some disgusting panic chords mixed with a fight riff about twenty seconds in, guaranteed to open pits wherever it lands. A much more hardcore focused proposition than their contemporaries, the band are not short of crushing beats and riffs but know how to throw some memorable and catchy vocal lines into the mix. When the album does eventually drop, you can bet your ass that it’ll absolutely slap your teeth straight. – Chris Earl
Formed of Callum McAllister (Vocals, Guitars), Max Cole (Bass, Synth, Organ) and Dom Mosley (Percussion, Synths), Toodles & The Hectic Pity – or simply Toodles to their fans – are one of those rare bands that effortlessly radiate charm, substance, emotion and warmth. Yes, whilst many an artist can be crowned with such superlatives, what separates Toodles from their contemporaries is just how authentic they are. As heard within their brilliant two EPs thus far – 2017’s Call In Sick and 2020’s Ghosts, Guilt & Grandparents, both released via Specialist Subject Records – the band tenderly and intricately amalgamate the vulnerability of folk, the urgency of emo and the intricacy of modern emo to narrate tales of love, loss and the pains of growing up in a sociopolitical quagmire of a culture infested with injustice and hate.
But, what make’s Toodles’ sound so authentic is how there’s no chemical genre fusions or calculated experimentation to be found within their sound; just authentic and deliciously home-cooked musical adventures plucked straight from the heart warmed with the love and kinship the members have for one another. With the band originally coming together to perform a one-off covers set for a secondary school event, Toodles’ output is infused with the kind of love that only a decades long friendship can provide. Whilst the two EPs play witness to this brilliantly, it’s their live show where such a connection becomes physical. Having recently performed alongside acts such as Pkew Pkew Pkew, Fresh, Johnny Foreigner, Spanish Love Songs and Martha – all bands that sit in that aforementioned oeuvre – these shows have seen Toodles emit the sense of love and charm that binds their craft in a fashion that’s positively tangible, ultimately allowing them become the collective physical embodiment of the community and musical intricacy that’s synonymous with their local Bristolian scene.
Now with their name firmly etched within the annuals of the South West musical scene, the band are now about to enter their next arc with their debut LP Hold Onto Happiness With Both Hands. Released June 23rd via Specialist Subject once more, the record is an instantly lovable collection of the traits that make this band so incredibly special. And with that in mind and the record’s release fast approaching, we got in touch with Callum to discuss the band, their sound, the record and why they’re hosting the album release show in an honest to God crypt.
We caught up with the band, formed of twin brothers Dan (guitar) and Tom (drums) Thould and Chris Simpson (bass), on the release day for their debut album Dawn Chorus.
Chris: “We used to describe ourselves as “for fans of Meshuggah and McFly which still mostly applies but there are bands that I think do that better now like Superlove. I guess now we’d say we’ve got heavy riffs but we’re also super poppy.”
Dan: “And harmonies, harmonies are key, we’re like a boy band with riffs.”
Tom: “Mine is probably ‘Surrender’, it was supposed to be an interlude but we liked the vibes so much that we kept it going!”
Chris: “That one’s so different from what we normally do, we’re usually very verse, chorus, verse, chorus, riff but Surrender is just one long sausage of poppy goodness.”
Dan: “I like ‘Surrender’ as well but to say something different I’ll say Give Up because it’s the only time I’ve written a song front to back.”
Chris: “The strongest song for me is probably ‘Flawless’, it’s a slightly deeper cut but it was such a no brainer for the opener. It has everything that we try and do as part of our sound in one song, it’s got these weird riffs but it’s also accessible and poppy with a big chorus.”
Tom: “We were jamming in the womb! Even as kids we used to pretend to play together.”
Dan: We’d jump around with pretend guitars to Busted or McFly DVDs and then as soon as we got real drums and guitars at 10 years old we’d play together. Chris came in when we were about 15.”
Chris: “They were playing in a band before me and I was always jealous, we all liked the same music but were in different friend groups. Their bass player at the time didn’t seem too fussed and we’d had a few jam sessions playing Iron Maiden and Avenged Sevenfold songs.”
Tom: “Dan tried to teach our old bassist a song and he just couldn’t do it, we showed it to Chris and he got it immediately, the rest is history!”
Southampton’s horror punks turned 80s goth merchants Creeper return with ‘Cry To Heaven’, the first offering from their forthcoming third studio album Sanguivore and with it comes more vampiric goodness. Creeper have always been a band that deal in theatricality and that very much remains the order of the day with the release of this most bombastic of singles which sees them expertly channeling 80s legends such as Billy Idol and Sisters of Mercy. Described as ‘the introduction to a new tragic story of love, loss and vampires’, the South Coast collective continue the decadent journey they have been on since the release of their last album Sex, Death & The Infinite Void and last year’s follow up EP American Noir. Packed with haunting croons, icy synths and a quite frankly ludicrous key change, Creeper remain unmatched in their craft and creativity. – Jordan Aldridge
Hot on the heels of the snarling ‘Anti-Fetish’, alt metallers Vexed have unveiled their newest single ‘X My Heart (Hope to Die)’, this time addressing the notion of losing faith, questioning what comes after death and making peace with the fact we’ll probably never know. Musically, it’s got all the furious groove and note bending in the guitars, while vocally there’s spoken word, guttural roars and paint-stripping shrieks. Vexed are no strangers to confrontational music, and both singles from upcoming second album Negative Energy show a band leveling up their sonic prowess as well as dealing with heavy topics that have affected them deeply. A white-hot, four-minute blast of metallic fury, ‘X My Heart (Hope to Die) should have you extremely excited for Negative Energy and the future of Vexed. – Will Marshall
Norwegian death-pop outfit Blood Command have unveiled the title track off their upcoming album World Domination and like their recent singles, it’s a total sonic curveball. Soft guitars, swelling synths and airy melodies form this self-proclaimed “loser anthem, that tells the sad story of never being good enough for the person of your dreams” as it drifts through electronic drums and rapped verses. If that all sounds like far cry from previous albums, you’re right – but it works. Blood Command have flipped any expectations firmly on their head, but reassure us that this album will still contain those raging dance punk anthems; they’ve just fully opened up their sonic horizons to see where they can push next, and it’s a resounding, emotional success. – Will Marshall
Despite being crowed with plaudits from not just post-rock pundits but established industry types alike, it may be interesting to know that Maebe only performed their very first show last year. However, when experiencing ‘Tautology’, it’s easy to see why this act are on receiving end of such acclaim. The brain child of one Michael Astley-Brown, Maebe effortlessly showcase their skill with with their latest track ‘Tautology’, a track that bares all the brilliant hallmarks of the genre whilst sounding unique. Taken from their upcoming debut Rebirth. Relive. Repeat. – released July 14th independently – the single represents the clinical and temporal nature of one’s mental psyche in thanks to it’s emotive and diverse instrumentalism. Truly, from this track alone it’s easy to see why this remarkably young project is already reaping accolades and acclaim from those far removed from their Bristol home, and with further shows forthcoming alongside the release of their aforementioned debut, it’s inevitable that Maebe will be one post-rock’s primary talking points in the second half of this year. – Dan Hillier
Are they catchy, emotionally charged hardcore? Hyper-aggressive pop? Punky alt-rock? Militarie Gun are as great as they are difficult to pin down., showing off their diverse range in the lead up to their studio debut Life Under The Gun, the LA based quintet show off their more tender side on new single ‘Will Logic’ while still wearing their hardcore influences on their sleeves. With chugging dual guitars, driving rhythm section and vocals that build from angst-driven cleans to snarling hardcore anger, ‘Will Logic’ sounds like the perfect middle ground between Foo Fighters and Fugazi. The heavier influences are certainly reflected in the songwriting but it’s refreshing to hear a hardcore band utilise melody and a more straightforward song structure to create something that both veterans and newcomers to the genre will love. – Tom Bruce
Consisting of Mae Carter, Jack Ames, Dan Godfrey and Harry Mitchell, whilst it would be easy and awfully convenient to describe SUDS as a band wonderfully bridging midwest emo, folk vulnerability and contemporary DIY UK indie-pop, it would be more fitting to interpret them as a series of dichotomies. Truly and simply, SUDS are a dichotomy between pleasantry and sadness, a dichotomy between modern and classical, a dichotomy between lost and found. An abstract description, possibly, but it’s this sense of inherent intricacy and substance has bequeathed SUDS with the spoils that can only grace a band with true promise.
Following their signing to the arbiters of contemporary indie that is Big Scary Monsters, SUDS have enjoyed more successes than most bands will receive in two years in just six months. This Spring saw the band take to the road in support of acts such as Pool Kids and Martha, and furthermore, this Summer wills see the band grace stages at the likes of 2000 Trees, Truck Festival and Are You Listening Festival. These achievements, lofty ones for a band that just formed in 2018, are the result of their brilliant and charming debut EP In The Undergrowth.
Released just last month and showcasing both their finesse and the dichotomies previously stated, In The Undergrowth see’s SUDS amalgamating musical movements removed by both time and distance in a fashion that’s sublime, soothing and charming. Equal parts indie and emo with the vulnerably and tenderness of authentic folk, the EP weaves tales on the importance of community and inclusivity amidst a cold society where such things have become forgotten. Truly, whilst it’s instantly agreeable on the surface, it’s a record host to hidden depths of narrative, nuance and creativity, one that warmly caresses one with it’s textures and one that easily showcases why SUDS are being presented with opportunities left, right and centre.
With In The Undergrowth out now via Big Scary Monsters and with the band gearing up for a Summer of festivals and shows, we got in touch with SUDS to get better acquainted.
Following on from their April single, ‘A Crooked Melody’, Holding Absence have announced their upcoming third album, The Noble Art Of Self-Destruction due for release August 25th. Alongside this, the band have treated us to a second single from the album, ‘False Dawn’, and what they have produced here feels like the most fully-realised the band have ever been. Lucas Woodland’s vocal talents shine throughout, with huge, soaring choruses accompanying gorgeous melodies in the verses; the sheer power that Woodland possesses has never been up for question, but on ‘False Dawn’ he showcases a real depth and presence that only serves to make the track intense in its emotional potency. On top of that, the instrumentation is more of the fantastic stadium-sized alternative rock that is expected of the band, with simple but effective riffs, and punchy percussion that makes the whole affair deeply infectious. – Ryan Ward
An almost eighties pop intro segueing into some of the most introspective, devastating lyrics of the year? Welcome back Spanish Love Songs, we’ve missed you. The first single from their upcoming album No Joy is here, and it’s depressingly lovely. Titled “Haunted”, it’s deeply harrowing lyrically, but Instrumentally it’s a great introduction to where the band’s sound may be heading. New-wave synths are present throughout, and it provides a stark background to vocalist Dylan Slocum reeling off lines such as “It’ll be this bleak forever, but it is a way to live” among others. While the band may cut too close to the bone for some, there’s comfort in knowing you’re not alone and that others have walked the same dark path as you. It’s never too late to talk, to text, to reach out. As the chorus states, “You’re not haunted, it’s just the devil in your skin”. Let this song and the others on the record be a means of exorcism, a cleansing. The tears may flow, but most importantly, if they do they won’t flow alone. – Chris Earl
Ten years ago, Philly’s finest The Wonder Years released The Greatest Generation, a record that didn’t just change the band’s career, but the pop-punk and emo scene as a whole. Now, after all this time, they’re both revisiting and reminiscing over the record with ‘GODDAMNITALL’, a track more than a decade in the making. Written during the The Greatest Generation sessions and getting a physical release with the 10th anniversary boxset of the record – released September 8th via Hopeless Records – ‘GODDAMNITALL’ bridges the decade that spans the ceremonial record in question and the The Wonder Years’ position and stature in 2023. “GODDAMNITALL is a song that almost was, and then, for a long time, categorically was not, and now is,” vocalist Dan Campbell says of the track. “When it came time to find bonus content for this box set, we went grave digging in old hard-drives to find the demos from TGG that didn’t get finished and then exhumed and reanimated this one. It was the closest to being done at the time. All of the music was there. The chorus had lyrics and melody but, for budget and time constraints it got abandoned before it had verses and a bridge. Now, a decade later, it’s finally finished. We asked Steve Evetts to produce it the same way he would have if it were on the original album and it now stands as a spiritual and somewhat literal b-side to The Greatest Generation.” – Dan Hillier
With a sound as bright, joyous and adventurous as their namesake, Brummie six-piece Sunshine Frisbee Laserbeam are back with ‘E.S.B’, a single that can only be aptly be deserved as a summer of bottled melancholy condensed into a single song. Offering a heady mix of punk orientated noise that flirts with a whole cacophony of genres without committing to any, the single see’s the band taking a jab at one’s own heartbreak in a way that’s darkly humorous and brightly fatalist. Those who have experienced this band in the past will surely have a great understanding of the ceaselessly catchy hooks that await within this single, but for those yet to be formally acquainted, ‘E.S’B’ is a brilliant and utterly undeniable introduction to a criminally undersung band who are impossible not to adore. – Dan Hillier
