New single Fuck You! You’re A Racist is taken from the upcoming EP by Manchester’s punk rockers Without Andrew. It’s not hard to decipher the meaning of the song through it’s lyrics, but just in case you’re in any doubt you can look to the video’s cover art – artwork rejected by major online video sharing websites for being too controversial. +50 anarchist points.
When asked about what specifically inspired them to write the song, the band state:
“The inspiration really is how racism is still institutionalised within our country and others around the world. And how the idiotic ramblings of political figures, social media stars and even people in our own towns are poisoning the youth of today, ruining the world we have and driving society back in time. Yet no-one seems to give a shit. People still to this day feel it’s okay to be causally racist because they think no one is listening. We want to stand up against that and say ‘Fuck you.’ because that is not the world we should be living in.”
Musically, the track keeps to Without Andrew’s classic 90s/00s punk sound, following in the footsteps of bands such as Green Day with their political yet fun songs. The upbeat, catchy chorus will get you accidentally singing ‘Fuck you! You’re a racist!’ in the most inappropriate of circumstances.
If you like what you hear you can catch Without Andrew on tour from 25th – 30th July across the UK.
This One’s for You is the debut single from North London’s alt-rock 4-piece Elswhere. Despite only forming at the beginning of 2017, the band have already signed to a record label and played numerous shows and festivals. During this time they have been vocal advocates of mental health awareness. They emphasise that this first single is intended to hold a message of support for those going through a tough time:
“This One’s for You is dedicated to every person in the world who is in need of a friend. It’s about being there for not just the ones you love, but anyone who is in need of help. Whatever it is that anybody in this world is going through, there will always be help there. Whether it’s from family, a friend or a professional. We hope this song can contribute to helping reassure that there is a light at the end of the tunnel. Nobody is alone no matter what.”
This genuine sentiment shines through the lyrics. Coupled with the powerful choruses this could almost be described as a ballad, but heavier underlying influences gradually come to the fore as the song goes on, allowing it to build into something more substantial. Have a listen below.
Southampton’s melodic metalcore outfit Our Hollow, Our Home have been steadily making a name for themselves within the music scene over the past few years. New single Speak of Sorrow is the first to be released from their upcoming second album, and if this song is anything to go by it will be a behemoth of a record.
From the off we’re bombarded with brutal vocals, erupting from the darkness and crashing around us, each explosion more ferocious than the last. The clean choruses do not let up in intensity, continuing to pulse with force and dynamism. Underlining the brutal nature of the song is the music video’s destructive atmosphere – storm clouds, lightning, a downpour; all emphasise the sense of desolation already present in the track. Lyrically, the song focuses on the aftermath of losing someone, and the raw pain felt during this time. This song is powerful not only musically but emotionally too.
Watch the video for Speak of Sorrow below.
Grumble Bee are quite literally a one-man-band, comprised solely of singer-songwriter Jack Bennett. Latest release Everything Between was unveiled on June 15th, around 2 years after debut EP Disconnect. Fans who have been waiting all that time for more new material will not be disappointed with this latest offering. Comprised of 8 songs, it is a 50/50 mixture of fully produced songs and acoustic versions of previously released tracks.
Grumble Bee manages to tread the delicate balance between rock music and easy listening, not heading too far in either direction to put off fans of either genre. Each line is full of emotion, the gravelly vocals adding a distinctive quality to the clean melodies, like the crisp sand under your feet keeping you grounded in a rainstorm. The passion in the songs never lets up, but it manifests itself in diverse ways. It ventures into its heaviest territory in Heron, with raw vocals embellishing a persistent beat and spirited melody. Luna Blue takes us to a more chilled place with its mesmeric chorus and steady rhythm – while Red and Bravest Soul occupy a space somewhere in-between. The acoustic songs provide a much more stripped-back atmosphere, something you could almost imagine relaxing to in a coffee shop. The piano version of Heron particularly stands out for its wholly different sound compared to the full version – just in case we needed a reminder of Grumble Bee’s manifold musical talent.
Check out the music video for Red below, and let us know what you think!
Listen to: Red
The new single from London-based heavy quartet Leashes is an instant attention-grabber. Opening with driving guitars and harsh vocals, it quickly progresses through a variety of vocal styles and melodies which twist and contort through their own irregular narrative. Aggressive yet desolate. This is all held together by the sense of urgency and gravity behind the track.
The inspiration for the song came from the turbulent political situation in Britain following the Brexit referendum, as the band state:
“This song was inspired heavily from what Brexit referendum brought to this country and the world. All this toxicity, the painful realization that lies of the few could be so powerful and persuasive that they pushed many people down the path of hate – it’s still a pill hard to swallow, especially because most of us are immigrants in the UK. But this song is also about the destructive nature of human actions as a whole towards our planet and thus towards humankind itself. It bears this feeling of alienation on a very personal level, being lost in this thoughtless, greed-ridden, sick society that is gradually getting stripped of basic rights and freedoms without realizing it, not being able to read between the lines.”
The distortion of the music, accompanied by warped camera angles in the video, seemingly mimics the warped nature of society and emphasises the prevailing sense of unease felt by many.
Check out the video below!
Opening tonight’s show are Ward XVI, an enthusiastic theatrical/folk-metal bunch. Their lead singer braves the early crowd and manages to get a line of people dancing a jig mid-set, and one gets the feeling they’re here to enjoy themselves. Though their presence doesn’t quite fill the decent sized venue, they give a determined first performance.
Now we’re all in the swing of things, The Dead XIII stride onto the stage, bringing with them a foreboding air. Painted faces loom over us in the darkened room. Their selection of gloomy-yet-synthy horror metal tracks buzz through the venue, sepulchral vocals backed by menacing guitars. The room abounds with wild hair flying in all directions. They get the energy flowing and successfully achieve their self-proclaimed target of preparing everyone for tonight’s headliners.
Doyle are our grand finale tonight, but unfortunately they’re not quite as, well, grand as one would expect. There’s no denying that the band is made up of talented musicians who put energy into their performance, but considering they have been through various incarnations to get here they lack a definitive sound – instead they fluctuate from generic metal, to Rob Zombie, to Pantera-tribute-band. There isn’t even a coherent style to their appearance, sort of like they all turned up for a different party. The crowd manage a decent level of enthusiasm, though it could have been infinitely more had lead singer Alex Story not absent-mindedly mumbled the words “this is a love song, you can dance if you want to” before every single song. Despite this the set is an entertaining one, though probably not for all of the right reasons.
After a literally string-breaking warm-up, local band Elswhere embark upon an absorbing opening set, showcasing their very own brand of alternative-rock with flares of influences as diverse as metal, pop-punk and hip-hop. Vocals range from rapping, to melodic singing, to screaming; it seems there is nothing that this band won’t turn their hand to. Many would falter under such a wide-ranging repertoire but it works for them. They even produce a cover of Post Malone’s Rockstar and manage to make it sound like a half-decent song. They set the bar high for the rest of the bands; and certainly aren’t matched in terms of unique style.
Melodic metal follow-up Finding Kate take the stage to a large crowd, and please them with a fairly energetic set full of long, drawn-out, powerful vocal notes and heavy guitar/drum mixes. Their style does seem to be quite confined within their genre and some of the songs do have the unfortunate quality of blending into each other. However, they are certainly accomplished at what they do and their set is definitely entertaining.
Headliners Halflives bring a more pop-rock feel to the night; with the calming quality of singer Linda’s voice giving it a stand-out quality which it may otherwise have lacked. They instil the most life into the room, getting the crowd to clap, sing, jump along and call for an en-core. Two cover songs – MCR’s Welcome To The Black Parade and 30STM’s The Kill – fall flat, being frankly an odd choice considering that both songs are so well-loved that any attempt to cover them would not be adequate. Overall, an enjoyable set, but definitely better when they stick to their own songs.
Elswhere: 8/10. Finding Kate: 7/10. Halflives: 7.5/10.