Last Case Scenario’s latest single is an energetic ode to youth, combining pop punk riffs with singalong choruses to great effect.
The Newcastle group combines a number of different influences on the track, from the riotous energy of bands like Green Day to the pop punk delivery of groups like Sum 41.
Altogether, this leads to a song that yearns for the good times and spontaneity, something reflected in the energetic nature of the track.
Opening with a distorted guitar riff, the track immediately hits you with a party vibe, something reflected in the lyrics celebrating having a good time with friends.
This is all powered by in your face drums and a punchy bassline that propels the track forward. The singalong nature of the chorus reminded me of Green Day and very much puts the “pop” in their pop punk sound.
The give and take between those two influences is further emphasised by the gorgeous guitar solo, which is played with precision and energy, adding a touch of rock energy to the already raucous track.
New elements are regularly added to the mix to draw the audience in, with the use of repetitive guitar lines adding a different flavour.
Overall, the track is a great pop punk track, which will delight fans of bands such as Blink 182 and Paramore.
Joyland brings the summer vibes with their slick new single, Leaving Tonight. Combining a number of different influences, the track’s shiny production hides a set of yearning lovesick lyrics.
Hailing from Newcastle, the five-piece has slowly gathered momentum over a number of years, something evident in their latest single.
Over three sun-kissed minutes, the group cultivates a catchy yet sophisticated vibe, drawing from various influences in the indie and pop genres.
The piano opening of the track echoes The 1975‘s If You’re Too Shy (Let Me Know), with its stark, reverberated keyboard intro. This gives away to a guitar line washed in distortion and reverb straight out of the Sam Fender playbook.
The piano leads the track front and centre of the mix, alongside the amazing vocals, which are delivered with emotion and are well integrated into the track’s aesthetic.
As the buildup to the chorus begins, you can feel the band’s songwriting ability shining through as they expertly weave their way through the song, demonstrating their knack for producing a catchy indie pop melody.
The track’s strengths lie in its ebbs and flows, with various breakdowns building tension that is effortlessly released by the time of the chorus.
This gives way to a gorgeous guitar solo that sounds effortless. This is all enhanced by the excellent production, which boosts the track’s already strong songwriting.
This all leads to a really catchy, strong single from Joyland, perfect for the hazy weekends of festival season. The group are definitely ones to watch, and this is a bandwagon worth jumping on as they continue to head in one direction.
The latest single from That Clare is a gorgeous tapestry of sound and positivity, confronting toxic attitudes while delving into the personal and emotive issues that have shaped her.
The trans singer-songwriter combines a number of different influences on the track to amazing effect, boldly confronting toxic influences within her deeply personal lyrics.
That Clare In Concert – Photo by Andi Christ – @andichrist19
The track begins with a beautifully worked synth, reminiscent of the work of artists such as Mitski. The synth bed sets a dreamy vibe of the track, further enhanced by a lovely arpeggio guitar line building on the instrumentation. Combined, the instrumentation echoes of post-nineties Radiohead with its atmospheric tone.
The musical landscape of the first half of the track is stark and ominous, reflecting the lyrics which reference feeling lost.
The production by Lisa Murphy does an excellent job of building the atmosphere and growing the momentum of the track.
This momentum pays off around the halfway point of the track, where the song goes up a gear, upping the tempo and bringing a fullness to the instrumentation that matches the defiant nature of the lyrics.
Self love is very much the message from this point on, with That Clare shutting the door on negative influence and embracing herself. “You can do it without them” is the overriding message and acts as a powerful, empowering declaration.
Consciousness does an excellent job of weaving a number of diverse influences together to create something unique and personal. The defiant message of the song will resonate with many and illustrates the Teesside singer’s bold voice, which is endlessly captivating.
Memento Vivere sees Social Youth Cult set out their stall with 14 minutes of distorted gothic post punk.
Across five tracks, the group impresses with tight and well-thought-out songs, which have allowed them to build their name within the North East music scene. Opener Temporary Love sets the scene nicely, highlighting vocalist Shaun Greer’s baritone vocals, which combine nicely with the chorus laden guitar lines. By the time the song hits the chorus, Greer’s vocals hit full croon over a bed of beautifully distorted guitars.
The amazing resonant vocal style is something that continues across the EP, with Greer’s vocals, sounding like a twisted mix of Joy Division’s Ian Curtis and Morrissey (without the problematic connotations). This helps immediately set the dark and moody tone of the record.
You Do It To You has an almost wall-of-sound approach at times with guitars, drums, and bass forming a dark, ominous wall in the chorus. Leaving no decibel untouched, the track shows the band’s diversity and ability to set various different atmospheres with their instrumentation. The guitar solo on the track had echos of Joy Division with its starkness within the mix.
This gives way to Moonlight’s driving bass and guitar lines with verses that feel inspired by groups such as The Killing Joke. The track also features a gorgeous guitar solo illustrating the playing abilities of guitarist Holly Moore and adding a beautiful touch to Moonlight.
The opening of Hollow sees the guitar crash in over the bass line like a wave against a pier upping the energy of the EP. As the chorus hits, Greer bellows, “hollow me vacant you,” continuing the melachonic, heavy tone of the song.
Gone With The Beast concludes the EP by reflecting upon toxic masculinity. Greer’s vocals are almost chant-like in the chorus and continue to gain intensity as the track continues, bringing the EP to a passionate conclusion.
Overall, this debut EP from Social Youth Cult shows promising signs for the future, giving the listener all they could possibly want from a goth group with some excellent post-punk tinged tracks. It is clear why the group is gaining attention in the North East music scene and are very much ones to watch as they continue their musical journey.
The debut LP from The Spy From Balzan sees the musical project finally complete its first chapter to wonderful effect.
Combining the dreamy and reverb-heavy production that has blessed their previous singles, The Spy From Balzan features seven excellent tracks influenced by various genres and moods.
Opener “This Way Up” begins with a Spanish-esque guitar opening that runs through the track like a scenic river through a gorgeous valley. These then collide into a trap-style beat, which opens up the track, allowing the vocals to take centre stage.
This is followed by the single “Without Warning” which I have previously reviewed (you can read here). In the context of the album, the track is only strengthened, adding to the LP’s sonic palette.
Next is “Cheese Dreams” which opens with a dreamy guitar line washed in reverb. The track allows you to sink into its production, especially when it reaches its chorus, which drags you further into its sonic landscape. The instrumental on the track shimmers and also features a lovely guitar solo that cuts through the dreamlike atmosphere to excellent effect.
“Guillotine” features a melodic chorus that adds a different element to the LP, with verses laden with guitar solos and intricate synth beds. This continues to build upon the consistent instrumentation and production that weaves the album together into its own unique world.
“Imagine That” adds to the sunny atmosphere. Opening with a catchy guitar line, the song revolves around this line, bringing a catchy indie vibe. The vocals reminded me a lot of The Voidz with their heavily autotuned and trippy effect, bringing that extra layer to the track.
This leads to the LP’s magnum opus, “Northern Rail,” which sounds like The Drums run through a psychedelic filter. The effect is excellent, showcasing the range of different influences injected into this project. The indie pop sensibilities are clear to see, with a gorgeous upbeat and catchy chorus, which I adored.
The LP ends with “Only Been Me” featuring Slobo, the track gently winds down the album with an RnB-influenced finale and gorgeous synth bass work. The chilled production naturally concludes the sonic journey which the LP takes you on.
Overall, The Spy From Balan has merged various influences together to excellent effect, producing a cohesive album with a thoughtfully curated sonic palette that takes the listener on a journey through its luscious instrumentation and personal lyrics.
Newcastle’s Goodsprings return with ‘Horrors’, a track that fuses the raw energy of punk with the rhythmic soul of ska, delivering a powerful political message.
The track bubbles with anger, starting with an opening guitar line immediately hitting you with high energy. This raucous guitar line is over a bed of ska inspired organ reminiscent of bands like The Specials.
However, those expecting a traditional ska track in the style of Madness will be surprised. While the influence from ska bands is present, the group also draws from various other genres such as classic rock and punk, featuring complex, heavy guitar lines and political spoken lyrics, which see the band confronting apathy, racism and austerity and the impact it has had on Britain.
The driving drum beat powers the track, maintaining the punk energy and moving away from traditional ska beats, resulting in a song filled with power and intensity.
The track also features an excellent brass section with the group welcoming in new collaborators with Lucy McCartan on trumpet and Natalie Ziklova on keys which brings the traditional fun of a ska track.
Overall, the track injects a variety of different influences into the ska genre to good effect. You can check out Horrors on 8th June on SoundCloud and follow the band on Instagram here.
Black Surf’s “Make Friends With Hell” is a fun, surf rock tinged EP. Taking influence from the likes of Weezer, this four track EP takes gorgeous melodies and drenches them in distortion to amazing results.
The EP explodes into life with “Lights Out” with its Weezeresic intro and power pop leanings. The riffs on the track rival the Burj Khalifa for size, towering over the track and leaving no decibel behind. This wall of sound approach is consistent throughout the EP, with the band wearing their 90’s rock influences as a badge of pride.
The vocals add a touch of emo angst to the opener, matching the emotive nature of the guitars which lay below them.
“Lights Out” gives away to “Vultures” with its heavily distorted intro. The track keeps the high energy up with its driving drum track, with them especially taking a beating on the chorus, creating a beautiful cacophony of noise.
“Oh, Poor Me” begins with a huge wall of guitars, very much reminiscent of bands such as Joyce Manor.
The track appears to take influence from various groups, with the quiet loud nature of the verses and choruses reminiscent of groups such as Nirvana and Pixies, and vocals on the chorus channelling Billy Corgan with their grungey quality.
The light sprinkling of Moog-esic synthesisers on the track adds to that 90s rock vibe and adds a nice contrast to the guitars in a similar fashion to early Rentals songs. As time passes, the track sinks further and further into its sludgey sound to excellent effect, submerging the listener in its crunch.
Closing with “Baby Blue Washburn”, Black Surf takes 60s surf rock and sends it over a wave of distortion. The sweet melodies and bass-led verses smash into massive crunching choruses, which are joyful to the ears and bring the EP to a satisfying conclusion.
Overall, I really enjoyed this EP. The group’s talent for songwriting shines through these four tracks, which are both sweet and sour at the same time. If you’re a fan of groups like Weezer and Joyce Manor, you’ll love this EP. You can hear it here.
A really enjoyable track from producer Khabs blends a number of different ideas together to great results. The second single from the project takes you on a journey through an enchanting sonic landscape which unfurls as the track progresses.
Dreamy guitar riffs giveaway to a celestial chorus embellished with reverb heavy harmonies, which further allow you to sink back into the track.
All of this powered by a pulsating beat which pierce out from the rest of the song’s dreamy surroundings.
If you’re a fan of bands such as Gorillaz, this is definitely a track for you, bringing gorgeous dreamy production perfect for unwinding.
Overall, I really enjoyed the single and am looking forward to where this project goes in the future.
I know I’m over a month late to the party but it would be hard not to talk about this album with Sam Fender mania sweeping the North East.
The Limited Edition Picture Disk ft. bed
It’s been quite the month for Sam Fender, a number one album followed up by announcing huge gigs at the Utilita Arena here in Newcastle. There has even been talk of potential gigs at St. James’ Park it’s fair to say that Sam Fender is now amongst the biggest alternative artists in the country.
But is all the hype deserved: the short answer is definitely yes. The album starts with the title track, an arena ready song made to be performed live with smart socially relevant lyrics which perfectly combine. Despite this, one drawback is the ‘oh’ lines which feel forced in there to create a festival singalong which isn’t really needed when the song is so dramatic already.
‘The Borders’ and ‘White Privilege’ are both excellent painting Fender as modern day Geordie Springsteen, the catchy riff in ‘The Borders’ shows off the singer songwriter’s talent, immediately distancing himself from the array of acoustic guitar wielding artists, which are all over the radio like a plague of flesh eating locusts feasting on the corpse of originality.
‘White Privilege’ is lyrically the best on the album performed for the majority in one continual verse flowing like a rap or poem, confronting difficult social issues in an incredibly self aware way making this a great song for finding a unique spin on commentary.
The excellent social commentary continues on ‘Dead Boys’, which confronts male suicide in a heartfelt way whilst ‘You’re Not the Only One’ changes up the sound of the album adding in a drum machine creating the vibe of a sped up version of Iggy Pop’s ‘Nightclubbing’. Overall, this gives the song a welcome change to the rest of the album with it’s pulsating beat which sounds very different to the rest of the album of which, there is little variation from the core indie sound.
‘Play God’s looping guitars are effective in reflecting the dystopian narrative of the song lyrics and proving another excellent single showing off Fender’s talent of writing pop songs with an indie twist. This continues in ‘That Sound’ with a thunderous chorus and pounding guitar riffs forcing home the heaviest song on the album in triumphant fashion.
‘Saturday’ continues the anthemic nature of the album with yet another effective future singalong. This flows into ‘Will We Talk’, which is a far more bittersweet song with a beautiful underlying melancholy to the tune despite keeping an energetic outer shell of guitars and violins.
‘Two People’ is the most similar to an Ed Sheeran type song expected from most male singer songwriters having the vibe of ‘The A Team’ with an electric twist whilst delivering another amazing set of lyrics. The album takes a downwards turn on ‘Call Me Lover’, a very poppy song, that is not necessarily a bad thing but amongst this album stands out as cliche and repetitive.
However, the next song, ‘Leave Fast’ is the best song that Fender has released to date. It is hard to describe just how perfect this song is, the riff is beautiful and brims with emotion, which combines well with the perfect lyrics revolving around the monotonous struggle of living in a small town and the inability to separate yourself from it. The song is easily the best on the album.
‘Use – Live’ is a change up from the rest of the album if a little baffling described as being there to prove that he can perform well live which gives the impression of the album being more of a CV to the audience than an album of songs. Despite this, the song is a nice switch up from the formula of the album with the guitars ditched in favour of a piano and Fender providing a strong vocal performance to finish off the album.
Overall, I really like this album, it’s a really strong starting point highlighting Fender as an extremely good lyricist combining social commentary in an effective unpatronizing way. However, I do feel as though the lyrics are stronger than the music which is backing it up.
Whilst the music is good I feel like it is a little tame in some areas considering the content of the lyrics. This is mainly nitpicking however and overall this is a really solid debut backing up the hype of the North Shields artist.
Humbug North East 