Social Youth Cult deliver their most confident and assured set of singles with their new double A-side offering.
The EP begins with Black Lipstick, which introduces the running voicemail intro that connects both tracks together nicely on the double single.
Care has been taken to give the track a unique production. I particularly enjoyed the drum track, which sounded distant in the mix, giving the song a distinct feel.
Gothic guitars surround this in the mix, drenched in heavy reverb that echoes the early work of The Cure. Decorating all of this are the gorgeous vocals, which bring gravitas to the track and a haunting energy.
Overall, the track emphasises the gothic edge of the group’s music, with dark lyrics and a stark vibe reminiscent of groups like Siouxsie and the Banshees.
The second track, Different Language, buzzes with energy and an almost live style of production, bringing immediacy to the track.
It’s clear that across the two tracks, effort has been made to make the production stand out among their contemporaries. With its sparse yet raw feel, the group succeeds in crafting an intriguing sonic palette to complement their songwriting.
The strong vocal delivery continues in this track, with a touch of Nick Cave in the delivery, especially in the first verse. Lyrically, the track alludes to love turning sour, twisting this theme into a dark and moody vibe.
The guitar work on the track is incredible with a more aggressive approach which complements the overall feel well.
Overall, these latest two tracks from Social Youth Cult find the band continuing to mature and grow to excellent effect.
Northern Hospitality’s latest single Break Free, sees the group snarl their way through a punk-inspired energetic track. From minute one, you are greeted by aggressive and snarling riffs, perfect for getting the mosh pit started. This is before the drums fade in, creating a full frontal assault on your ear drums.
Frontman Gaz Price snarls over this terrific backbeat, which never lets up, venting his inner turmoils and frustration at life.
Each verse is interrupted by another expertly crafted riff, which matches well with the thunderous drum beat.
From listening to the track, it is clear why the band is starting to pick up attention, having played alongside the like of Pete Doherty, Kaiser Chiefs and Feeder, building a name for themselves within the region.
If you’re a fan of punky melodies that are as catchy as they are aggressive, then you should definitely check out the track.
The latest single from Alastair James combines the very best of Rock and Americana to produce a delightful foot stomping anthem.
Taking influence from the likes of Tom Petty and Bruce Springsteen, the Middlesbrough singer-songwriter blends genres and ideas on the track to excellent effect as he continues his comeback after time away from music.
James addresses his personal struggles in the lyrics, singing about the vertigo he suffered as a result of surgery on his hand and leg, and the mental strength it took to get him back to doing what he loves.
Both musically and lyrically, the track is defiant, opening with a distorted guitar intro that is guaranteed to get your foot tapping. This driving guitar line perfectly complements the lyrics about moving on, triumphantly gliding through the track.
The influence of heroes such as Springsteen and the Kinks is evident by the time the song reaches the soaring anthemic chorus.
The overall effect makes you feel as though you could be on a road trip down Route 66, with a real uplifting heartlands feel.
A beautifully played guitar solo adds to the tracks positivity and builds anticipation for an amazing climax.
Overall, this song radiates positivity and heart, with James defiantly moving on from his struggles and, with music as good as this, into a bright future.
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.
Saturday, May 18th, 2024 saw Marrapalooza return to a sun drenched Ouseburn as five familiar haunts played host to a day of DIY music.
The festival, which started in 2023, is a celebration of DIY music, with a range of alternative bands from across the country descending on Ouseburn for a day of live music.
My day started at Cobalt Studios, where I saw Thursday Club, kicking off a great day of live music with a great performance. Combining post punk and hardcore influences, the group raced through an excellent set, which got people on side straight away, setting the tone for the day.
Thursday Club performing at Cobalt Studios
After taking some time out to enjoy the sunshine, I made my way up the hill to Little Buildings to catch local lads, The Hollows. Clad in immaculate suits, the group somehow managed to deliver an energetic punk set in the stifling heat.
The heavy distortion on the bass on some of the tracks was a nice change of pace, bringing a different flavour to the gig, which allowed them to stand out.
The Hollows performing at Little Buildings
Next to The Cluny, where Straight Girl provided another electrifying set of riotous dance music. I first saw Straight Girl when they supported Dream Wife on their 2022 tour and was treated to one of the best shows I’ve seen from a support artist. It meant that expectations were high and they did not disappoint, showing once again that they are a natural born performer, dragging the audience along with them.
Despite only having a laptop and a few vocal pedals, Straight Girl lit up the stage, bringing a chaotic and charming energy which was infectious. Their set, backed by dark and distorted dance beats, included a few new tracks that sounded great and illustrated that they have evolved even further during their time away. If you get the chance, make sure to check them out.
Next up were Mumbles from Manchester at Little Buildings again. Before seeing them, I didn’t know much about the band. However, they completely won me around with a sensational set of sprawling songs.
The amount of talent which the group possesses is scary, with colourful guitar parts which were absolutely ludicrous at times. These decorated lavish and grand arrangements, which demonstrated the group’s talent for songwriting.
They are very much Manchester’s answer to London’s Windmill scene with creativity oozing out of every line they write.
I then took a walk down the winding stream and under the bridge to Tyne Bar to catch Model Village which provided a completely different vibe in the cleared out beer garden of the famous pub.
With a set of infectious indie pop cuts, powered by synth lines, they got the crowd up and dancing, and provided a soundtrack to the hundred or so nights out, unfolding under the arch.
Other Half performing at The Cumberland Arms
I then took a hike up to The Cumberland Arms perched atop of Ouseburn’s highest reaches for Norwich’s Other Half. This is the second time I’ve caught the group at this venue with both occasions showing the group in fine form.
Fresh from flooding their Travelodge room, the group provided fun, laughs and most importantly an amazing performance with enough distortion to blow your eardrums back down the hill.
Marrapalooza and events like these are incredibly important, with a packed bill of DIY bands powering a DIY festival, which is run for a love of music, rather than a love of profit. They’re always well worth your time, and I had an amazing day out parading around Ouseburn in the sunshine, seeing amazing bands many of which I hadn’t heard before.
Whilst providing culture to the region, events like this are so important to providing a platform for up and coming musicians. The organisers of the event even took a hit to provide Ouseburn with a top class day of music, with the festival ending the day with a £2,000 deficit due to the organisers trying to keep costs down for festival goers.
That’s why it’s so important to support live music events such as this. There is currently a GoFundMe to try and make this a trilogy of events in 2025, which I will leave a link to here and if you get the chance to support an event such as this, make sure you do, you won’t regret it.
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.
Humbug North East 