Monday, January 18, 2021

Watch :: EUT release video for new track ‘Cool’

Dutch five-piece EUT have unveiled a video for their latest track ‘Cool’.

The track is taken from the Amsterdam-based band’s forthcoming second album ‘Party Time’, out on February 19.

"'Cool’ is about me being on the bus back home after another one of those god awful fights with a lover," vocalist Megan de Klerk reveals. "Funnily enough, the bus was literally going down a one way street, go figure. I slammed the door shut on that guy hoping he would come after me but, of course, he didn’t. I’m still waiting for him to show up.”

Watch below.

Track Of The Day :: Yard Act - Dark Days

Credit: James Brown

Words: Sam Geary 

Out now via their own Zen F.C. label, Yard Act make their onslaught on 2021 with the follow-up to last year's 'Peanuts'.

The post-punk quartet's 'Dark Days' sees the Leeds-based band once again hauling their distinctive sound to the fore; melding jagged, snaking riffs with the drawled vocal delivery of James Smith.

"With 'Dark Days' I wrote the first verse and chorus hook quite fast but then I didn’t know how to finish it," says frontman Smith. "The demo Ryan sent was ace, real sparse. The drums were really driven but the bassline felt like it was suspended mid air in the verses, like a dub bassline or something. It created the illusion that you have time to stop and look around amidst the ensuing chaos. It's like in war films when all the noise stops and you just hear the protagonist's heavy breathing whilst they survey their surroundings in slow motion. Then the chorus hit with this ‘Captain Caveman’ vibe, it reminded me of that stop-motion cartoon from the 90's ‘GOGS’ if anyone remembers that? I liked the juxtaposition of the bleak world with the cartoon bass line.

"Despite all the advances humanity has made, the threat of devolution feels increasingly possible in the modern world, and on my bad days when I’m spiralling I can’t help but get trapped in my own head envisioning this post apocalyptic future we’re seemingly headed toward, so fuck knows why I decided to watch Children of Men when I was feeling like that. If I’d fully remembered what happened in it, I don’t think I would've in the middle of a pandemic, but I did, and I actually came away feeling really uplifted by the ending. I saw hope in it, and it helped me finish the story.”

“‘Dark Days’ is the last of four singles before we start work on the album, of which none of those songs will be on," he adds.

Friday, January 15, 2021

Beach Bunny share video for 'Blame Game', along with new EP drop

Credit: Alexa Viscius 

Chicago outfit Beach Bunny recently capped a breakout 2020 with their debut LP 'Honeymoon'. Now the quartet have released their new EP 'Blame Game' via Mom+Pop, along with a confrontational video for its title track directed by Matt Gehl. 

Frontperson Lili Trifilio’s bold and confessional songwriting shines through on their latest release, which takes aim at toxic masculinity, sexism and the emotional labor of unreliable relationships.

'Blame Game' was written in quarantine and recorded in Chicago over a week in August. The four new original songs are produced by Joe Reinhart (Hop Along, Joyce Manor, Modern Baseball, Remo Drive).

Black Country New Road deliver new song, ‘Track X’, before debut album

Credit: Max Grainger 

Words: Sam Geary 

Building up to the release of their debut album ‘For the first time‘, which arrives on February 5 via Ninja Tune, London-based Black Country New Road drop new single, ‘Track X’.

The experimental alternative seven-piece layer angular, mellow sounds with a passionate vocal, plus a strings section, that adds nostalgia and emotion.

Frontman Isaac Wood says 'Track X' is a song they first worked on in 2018 but never made it to their live set.

“We decided to resurrect it during the recording of 'For the first time' and assemble it in the studio. The story is old but a good one and worth telling. We believe that people will enjoy singing along."

Listen :: Lizzie Reid - Been Thinking About You

Glasgow singer-songwriter Lizzie Reid precedes her forthcoming debut EP 'Cubicle' - out February 10 on Seven Four Seven Six - with a new single cut, ‘Been Thinking About You’. 

“This is almost an appreciation song for a friend of mine,” she says. “He was such a support for me at a time I wasn’t feeling my best. I was going through quite a confusing time and felt guilty that I couldn’t support him in the same way he supported me.” 

Listen below.

Album Review :: Shame - Drunk Tank Pink



Drunk Tank Pink

January 15 2021 (Dead Oceans)


Words: Ellie Ward 

Shame return to follow their first album, 'Songs of Praise', with 'Drunk Tank Pink', a less brash, more measured, textured work, named after the shade of paint vocalist Charlie Steen used on the walls of his home while making the record.

This second album shows no signs of having suffered the proverbial problems that can beset a follow-up, and there is certainly no dearth of reference points or memorable tracks. 'Drunk Tank Pink' sees the South London five-piece make a move from the riotous post-punk of their debut, to the sprawling adventurism laid out in this bolder James Ford-produced work.

From the blazing big opener 'Alphabet', with its driving bassline and stirring hooks, it is Steen's inimitable explosive vocal delivery that lends added gravitas. 'Nigel Hitter' is one of the big-hitters here. Steen's sombre opening soon moves into familiar menacing territory, carried by Charlie Forbes' formidable drumming, and the tense, post-punk guitar riffs which dig like ice picks, dictate the flow; while the biting, bleak 'Born in Luton' fuses a funky, off-kilter rhythm with a penetrating guitar backdrop, the lament is "I’ve been waiting outside for all of my life / And now I’ve got to the door there’s no one inside."

The refrain on the bouncy, muscular 'March Day' continues with the inward-looking jadedness: “In my room, in my womb is the only place I find peace," offset by the frenetically wound pace. Approaching seven minutes long, closer 'Station Wagon' is dark, sombre, chilling, as it rolls along for the first third, at a steady pace before Steen picks up briefly before giving way to an incongruous piano, and then as the drums take over it carries the whole song and album to a cathartic flourishing end.