The new track from grapevine features glossy 80s production combined with great pop songwriting to create a catchy piece of alternative pop.
Produced by local talent Jamie Donnelly, the song is drenched in the sonic palettes of the 1980s, as well as much of the pop landscape from recent years, particularly echoing the sound of artists like The Weeknd.
That is immediately evident from the intro, which begins with a driving drum machine beat that persists throughout the track.
A diverse sound has been crafted with an attention to detail, with a number of different synths being deployed to enrich the overall production, ensuring a varied sound.
At the heart of all of this is an incredibly strong and well put together pop song that takes a classic subject matter and explores it in new and interesting ways.
The chorus, which repeats the title of the track, pairs incredibly with the melody to provide an earworm, which will burrow into your mind for weeks to come.
If you enjoy artists like The Weeknd or your pop music with a catchy yet inventive edge, make sure to check out this latest single
Friday night saw The Ship Isis in Sunderland play host to a great night of live music as post-punk band House Proud and gothic group The Black Rain took to stage to showcase the genre at its very best.
The gorgeous venue was a perfect choice for the evening, offering a selection of great craft beers and a warm, friendly environment. I’d never been before, but I’d definitely return if I’m ever in Sunderland.
The night was opened by House Proud, who hail from all across the North East. Their blend of post punk and noise rock was excellent and really got the night started in the right way.
Their sound carried influences from post-punk groups like The Chats, Squid, and Shame, with angular riffs and an energetic tempo driving their performance. Each track stood out with careful composition, crafted from an array of different guitar pedals that brought a near studio-quality sound.
Their third song, Farmers Village, soon to be released as a single, had shades of post-punk titans IDLES to it and was a particular treat. Recent single Rescue Dog finished the set off in the right way, sounding a bit like South London’s Shame, but with an even heavier emphasis on riffs and gloriously loud noise.
House Proud – Live at The Ship Isis, Sunderland
I particularly enjoyed Perfect Body, which was more melodic in its approach while still delivering the massive, bombastic sound that dominated their set.
Overall, their performance was amazing, and they will definitely be a band which I will be keeping an eye on going forward.
I also wanted to leave a link to Wearside Women In Need, a domestic violence service the group were raising funds for on the night. They have recently lost their funding, so it’s a worthy cause if you can support it!
Next were The Black Rain, who I previously covered back in March at their gig at the Bunker, where they really impressed me with their gothic post-punk.
Friday was no different with the group putting in yet another excellent performance of starkly dark tracks. The group have been hard at work since March and that could be seen in their performance with various new songs in the set which continue to show why the band are so special.
Despite the stark nature of their sound, The Black Rain‘s set fizzed with energy, with the thumping drums and bass keeping the atmosphere lively.
The bass was particularly impressive, adding depth to the performance, while the guitar lines often served as beautifully intricate embellishments.
However, when the guitar did come to the fore, it was really impressive, often bringing an almost synth-like sound to certain tracks, which was a real treat. Shadows Cry showcased this best, amplifying the gothic feel, reminiscent of Joy Division’s Closer LP.
I also enjoyed the dark ’80s vibe of Regression, which really opens up in the chorus, creating a really nice feel. Glass Box brought a lot of energy leaning more on the side of punk rather than goth which I found really enjoyable.
Overall, both bands put in a fantastic performance, which led to a really enjoyable night showing the various different styles of post punk each performed at a really high standard. Make sure to check them both out!
Combining a range of New Wave and indie influences, Citizens of Yeah! have produced yet another great single in 3 Little Piggies.
From the intro alone, I can hear the influence of The Smiths and New Order, particularly in the the sound of the synth strings, which reminded me a lot of There Is A Light That Never Goes Out.
The string flourishes throughout give the track a strong New Wave feel, adding an extra edge to the overall production.
Paired with sharp guitars and intricately gorgeous bass lines, this is an absolute treat. I particularly enjoyed the guitars in the chorus which fizz with excitement, contributing to the multiple satisfying payoffs in the track.
Lyrically, the track is quite unique, using the concept of the three little piggies in Red Riding Hood as a metaphor for fear which I found inventive in just the right way.
I particularly enjoyed the breakdown at the end of the song, with a great back-and-forth between the backing vocals and the main vocal, which reminded me of early ’80s post punk especially when paired with stark guitar tones. Overall, I loved the track and can’t wait to see what Citizens of Yeah! come up with next.
Have you ever wondered what Lou Reed would sound like if he grew up in the North East of England?
Probably not, but if you have, then Simon Taylor’s new single is the perfect listen.
Combining influences such as Leonard Cohen and the aforementioned Lou Reed, Taylor has been building his reputation around the North East scene, and this latest record is sure to elevate it even further.
I can particularly hear the influence of Transformer-era Lou Reed within the track with its fun, funky guitar passages and tongue-in-cheek lyrics about working at a music venue.
The melodies are strong and stick with you for days, which is a testament to the great songwriting on display.
The North East, and Newcastle in particular, runs throughout the song, deepening the personal nature of the lyrics and bringing a unique voice to the track, crafting a great bit of Geordie funk.
Overall, this is a fantastic teaser track and a really fun listen. I can’t wait to see what Simon comes up with next.
J.P. Riggall’s new live EP showcases the folk singer’s powerful songwriting ability with a striking collection of atmospheric tracks.
The EP opens with Cold Cold Mountain, a song that sets the tone with its chilled production, placing the emphasis firmly on the performance.
Riggall’s North East accent pierces through the folk vibe of the track, providing authenticity to the passionate delivery of the track.
Overall, the track is a heartfelt tune, demonstrating Riggall’s talent as both a songwriter and a live performer. The stripped-back arrangement highlights his focus on emotion.
This theme continues We’ve Already Seen Him Dead, where stark acoustics and melodic leanings take centre stage. The slight echo provided by the venue adds nuance to Riggall’s voice, enhancing the powerful and beautiful performance.
Through this power, Riggall amplifies the already strong songwriting, squeezing every inch of emotion out of the song. The result is a moving performance of an outstanding track.
The EP closes with My Lovely Bones, a gorgeously touching tune. Once again, Riggall achieves a lot with a little – just an acoustic guitar and his voice, creating a captivating atmosphere. The emotion is palpable, bleeding through the soundwaves as Riggall delivers yet another great performance.
The track itself is wonderfully constructed, with a melodic core and a heart-wrenching chorus. It’s a beautiful way to conclude a stunning live EP.
Electric Circus’s new single goes hard. With its massive production and hard rock riffs, the single comes together as a thoroughly satisfying package.
From the outset, you’re greeted with a punch of distortion, with guitar lines layered on top of each other, each contributing to the cacophony of noise the band is creating.
These are joined in the mix by a thumping drum track, adding even more power to the track, building the hype before the vocals kick in.
Lyrically, the song addresses the current societal decline that the Western world is experiencing, with references to the Doomsday Clock amongst other pointed commentary the band makes.
This unfolds over an ever-steady blend of riffs that complement the track’s thematic focus.
The overall effect is reminiscent of rock titans like Queens of the Stone Age and Foo Fighters, with a nod to heavier groups such as Bring Me the Horizon.
The expertly executed breakdown towards the end of the track particularly brought to mind some of those heavier groups, sounding primed for a live setting.
Overall, this is a great rock track that skilfully combines a variety of influences. If you like your riffs hard, then you’ll love this single.
Big Romance’s latest single “Self Medicate” shows their ability to mix genres to excellent effect, blending shoegaze, indie and post-punk together in a rewarding mixing pot of gorgeous production and great songwriting.
Opening with a reverb-heavy 90s feeling introduction, I was immediately reminded of the Siamese Dream era Smashing Pumpkins with its dreamy production and vocals.
This is quickly interrupted by a laid back verse with a real slacker vibe, fitting well into the established vibe of the track.
The pre-chorus shifts gears as the distantly distorted guitar stalks the vocal melody with fuzzy distortion and precision.
Eventually, the tracks anticipation pays off, unveiling a twinkling guitar solo that reminded me of dream pop bands such as NewDad.
The spacious nature of the production throughout illustrates the band’s love of shoegaze whilst highlighting their focused songwriting.
The introspective lyrical approach that the track takes examines coping mechanisms and relationships with sharp lyrical quality.
When the chorus hits, it hits hard. I can hear the influence of Slowdive in the production through the heavenly feel brought by the backing vocals, and the swirling guitars drenched in distortion and reverb.
A crunching guitar solo fires through the crescendo of the track, adding an appropriate ending to the song, before its distortion blends into the mix, allowing the song to sail off into the sunset.
Overall, the song combines the best bits from various subsections of indie music, making it easy to get on board with production you can sink into and sharp songwriting.
Hannah Robertson returns with yet another gorgeously dark single, taking her dream pop sound in a more twisted direction.
Beginning in a realm of dreamy and hypnotic guitars, the track quickly awakens you with a rush of distortion and drums, bringing a gnarly edge to Robertson’s dream pop production.
The influence of groups such as NewDad and Slowdive is evident within the dreamy shoegaze-inspired production. However, an underlying darkness brings a nasty edge to the ethereal track, making it more dream rock than dream pop.
The anticipation built up through the verse explodes in the chorus, which musically acts as a dark counter balance to the airy intro.
Throughout the track, the performances and production are exceptional, helping build a dark, dreamy atmosphere with their crispness.
If you love groups like Wolf Alice and enjoy hypnotic, dreamy production, then this track is perfect for you!
Specky Cult’s sophomore album blends rock and folk together to craft a unique voice with a truly North East perspective.
The first track, Come Back Kid, immediately sets the scene for the record with a folky feel reminiscent of groups such as Fleetwood Mac. The acoustic guitar on the track immediately establishes this, as gorgeous piano lines drive the track forward, opening the LP in fine fashion.
Love Crap then takes the LP in a different direction, embracing more of an alt-rock sound while maintaining a folk edge. Just imagine a hard rock Lindsey Buckingham, and you are along the right lines. These are joined by synths in the mix, which enrich the listener’s palette.
The LP takes another twist on the third song Seriously, which begins in a manner which echoes About A Girl by Nirvana, before opening up into an interesting melodic flow and a refrain of “seriously” which imbues the chorus.
The group channels Bob Dylan with a lovely mouth organ beginning on Alibi, continuing the folky vibe of the record. The chorus of “I’m not your alibi” sends out a defiant message, hammering home the theme of the track.
Everything Is Awesome brings back the rock guitars, along with a beautiful MOOG synth line that mirrors the vocal line. The song’s lyrics are deeply personal in tone, with the chorus sending a hopeful message to the listener.
Lovely guitar swells adorn Hell Before Breakfast, building towards a great chorus. The track is then immediately followed by Anthems and Tantrums, which takes the folk vibes up to ten with its gorgeous production.
Pull The Plug bursts to life with dominating guitars, surrounded by lyrics that tackle the challenges of living in the internet age, injecting some sharp social commentary into the album.
The track that follows, Pie and Mash, continues along these lines, commenting on the mundanity of everyday life and stating that all singer Carol Stephen needs is “pie, mash and a pint of ale”.
Pie and Mash – Specky Cult
The title track, A Different Kind Of Difficult, begins with a heavy guitar riff, leaving behind the folk vibe that dominates the album for a classic rock feel filled with nice MOOG lines and gorgeously crafted riffs.
The album then comes to an end on Big Shop, which opens with a fake shop closing announcement that I thought was a nice touch. The track’s instrumentation is warm, contradicting the lyrics that complain about the mundanity of ageing, life, and doing the shopping on a Friday.
Overall, this album showcases the band’s strengths as well as the breadth of their musical influences. If you love classic rock and folk, then the band will almost certainly be for you.
The latest single from The Avelons illustrates the band’s confidence and ability to develop catchy anthems perfect for the summer (even one as depressing as this summer).
An intricate, reverb-drenched guitar opening immediately greets you, starting the track off on an etherial note. This is immediately interrupted by a cacophony of drums, which bring energy and focus to the track.
The overall production of the track is crisp and energetic, allowing the band and the track to shine. Its anthemic nature shines through the massive chorus, which feels tailor-made for festivals and arenas. Complementing this is a gorgeous guitar solo, which ploughs through the track like a wrecking ball.
As the song continues, it only builds momentum, leading to a singalong ending reminiscent of tracks like Seventeen Going Under.
If you like the vibe of groups like Arctic Monkeys, The Wombats, and Oasis, then you’ll love this track.
Humbug North East 