Birmingham based 4 piece blues-infused alternative rock outfit
Danny Core (vocals/rhythm guitar) -
Luke Davis - (vocals/bass) -
James Tranter (vocals/lead guitar) -
Anthony Byrne (drums)
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| Debut EP release: 'This Town Belongs To Me' (release Dec. 20th 2013) |
Cautiously deployed, ambient and misty riffage introduces the listener to 'All Worn Out' - the blithe instrumental opening though grows rapidly stronger when dashing, ponderous drum beats and a sonorously cracking bass line are installed, is deepened in sound by complemental guitar layers which oscillate in an ardent and pacy manner. Raucous and cocky vocals, crowned by a bold and rough timbral finish, temporarily adapt a whimsical and blurry colour, whilst being framed by a forceful instrumental setting. Within the distantly echoing vocal episode the song languishes, is indeed 'all worn out' in tonal tinge, smoulders with intensity still ... - to finally flare up in a thrilling stream of sound, as impetuous and hazy riffage, electrifying drum beats clash and swirl, as a grungy, brash vocal glimmer irrupts, if only briefly, but with vehemence.
A light breeze of instrumentation swirls as the first chords of 'Call Out The Sun' sound, it's one densely ringing and vibrantly sparkling: both spirited, sunny riffage and sweeping drum beats hail the listener with buoyant melodic bliss, enriched by sharply roaring, sassy vocals and a more solid-grounded bass signature. Deploying a placid ray of sound, the composition gleams in a brisk but apollonian tonal light, when a mildly echoing, clashing percussion crescendo segues into a smooth still edgy vocal episode backed by a concinnity of chary yet bright cymbal and silky nonetheless breezy guitar blend. Ensuing from this mellow melodic concord, the track picks up pace and sonority - Danny's voice rises with bluesy vehemence and is encompassed by keen guitar riffs and dynamic drumming whilst the song calls out with summery and glowing vibe, however, doesn't cloud its regretful lyrical vein.
'Nowhere Train' opens intensely dynamic and daringly fluttering: forceful and shaky riffage sets the tone, its fiery burst is enhanced by an imbuing, suspenseful bass backing and vivacious drum beats. Harsh and bluesy vocals complement the established virulent and vibrant vortex of sound, the listener is inevitably engulfed in the very same, is drawn to both eventful instrumental accentuation and alternation: as grungy and sharp vocals tingle one's ear canals, the guitar-governed instrumentation adopts an elusively swirling and atmospherically blazing sound that is highlighted by fervid and hazy chords and soon segues into a more swift, vehement and action-packed instrumental episode which is additionally deepened by a dim and low-pitched bass undercurrent. The shifting musical emphasis conveys intensity, the already colourful melodic theme of 'Nowhere Train' is further brisked up when frail and absorbing backing vocals sound and add to a rousing tonal picture. For the finish, both guitar and drums revolt and rein back, echo fuzzily, clash in a hollow and orotund manner, to eventually fade out in a smooth nonetheless exciting fashion.
A gust of impetuous and fiery riffage, of sonorous and clashing drum beats edges on forward, backed by a deep-toned, darkly shaded bass line, when rough and grungy vocals set in - and with it, the bluesy and tensely fluttering feel of 'Only I' becomes apparent early on. Hereafter a suspenseful and atmospheric shift of instrumental accents is on the march, whilst Danny's voice sticks to its trenchant and cocky charm: although slowed down and rather smooth in sound, both rhythm and lead guitar ring incisively, are accompanied by an accentuated liaison of both soft but vibrant drumming, which quickly claims a more staggering beat, is fraught with tension, and fierce and fuzzy guitar licks. The stage is set for a fulminant, impulsive finish then - drum strokes run dynamically, guitars scream out diffusely, sharply still, the vocal accompaniment whispers urgently but in a calm spirit. A thrilling closure for a shamelessy bold and tingly composition.
Listen & reach out to Broken Witt Rebels on ...
... soundcloud ..
... the band's official website ..
... twitter ..
... facebook ..
Next chance to see Broken Witt Rebels live: July 26th at Wagon & Horses, Birmingham (7pm, £5). It's gonna be the launch of the band's second EP 'Howlin''. For more information, check on the facebook-event-page.
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Listen to and watch the music video for 'Howlin's lead single 'Shake Me Down' already:
Dover based 4 piece alternative rock outfit
Thom Cakebread (lead vocals/rhythm guitar) -
James Keeler (lead guitar/vocals) -
Sam Moore (bass guitar/vocals) -
Tom Hollands (drums)
'Creature Of Habit' release:
May 9th 2014
Rough and fiery riffage electrifies, heavy and piercing, accentuated drum beats rush in and create a tense tonal atmosphere from the very beginning. Frisky and fierce guitar layers are belatedly added, the extended intstrumental intro is closed by pacy drumming and thrilling chords which eventually herald in and henceforth support atmospheric and cocky vocals. Glowing and sharp polyphonic sparks break through the primarily dahsing concept of sound every now and then, it's the vivid and ponderous interaction between guitar and percussion though that leaves a lasting impression on the audience when listening to 'This Is War'.
A vibrant conglomeration of gripping cymbal serenades and droning yet powerful drum beats, intertwined with a dark, blues-infused bass line, establish the instrumental setting for a trenchant and expressive vocal performance to rise. Rapidly evolving and staggering riffage triggers a harmonically progressive and vividly oscillating sound, whilst rebellious and harsh vocals echo fiercely. Seemingly cohesive and consitently floating at first, the song increasingly reveals its adventurous and impetuous nature: atmospheric and rousing backing vocals dawn, ardent (later on elusively resonating) guitar riffs dash, followed by torrential drumming, then gloomy bass glory paired with a whimsical nonetheless haunting polyphonic episode draws the curtain.
'Charmer' certainly charms with both its urging melodic might and its surprising therefore all the more incisive compositional (r)evolution, moreover catches the audience's attention with straightforward and pushy lyrical content.
As mighty drum beats roll, as clamorous riffage roars, a dim and clangorous but controlled volley of percussion strokes launches confident and defined, trenchant and husky vocals. Tenebrous and diffusely flaring riffage lingers in a low-key manner now, whilst haunting and engrossing vocal whisper broadens the rather breathy yet sharply edged performance of Thom. A forceful and suspensefully dazzling composition unfolds, vocals rise impulsively, frantically, the instrumentation rushes vehemently forward, reverberates in a fluttery fashion - 'Sunshine' sets the pace lucidly and with an energetic, sparkling buoyancy that is subtly tamed by occasionally interspersed elusive and dusky vocal rays. Explosive melodic radiance awaits the listener here.
With a vigorous and fiercely flaming guitar sequence as lead-in and a firmly reverberating drum interplay as ponderous addendum 'We Can't Go On (As Just Friends)' kicks off strong and heavy. The song's chanting character is soon revealed when an eager and brisk, inciting vocal shove sounds short time, being the proem for the lyrical narration to begin: shadowy but fervent vocals tell of how erstwhile lovers seperately find their own 'truth' and identity again, how they face the 'ghost', the remembrance of their history together by themselves, still try to find a way though to decently deal with one another as it's hard to fully let go. Whereas strong and characteristic vocals are the centerpiece of the album's closing track, infectious and acutely piercing, rapidly thrusting riffage and rhythmically staving, powerfully pushing drum beats embody its upbeat and urgent tonal frame, which is further stirred up by grave yet thrilling vocal murmur and clangorous, crisp cymbal clashes.
Next chance to see Common Outlaw live:
Since the band called it a day, there is no upcoming gig left for you to attend. But don't you fear, two 'Outlawers', Tom and Sam, have formed a new band under the name of 'Liberation Of Man'. Check on the three piece alternative rock outfit here and watch out for new music to come.
Manchester based 4 piece alternative rock outfit
Gary Nelson (vocals/guitar) -
Iain Brewster (backing vocals/guitar) -
Thom Bedford (backing vocals/bass) -
Ben Devenport (drums)
Ben Devenport (drums)
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The Reveur's EP artwork -
museful, moony&atmospheric
Eponymous EP release: April 25th 2014
Boisterous and keen riffage merges with jauntily erupting drum beats, thereby provides a gripping and fulminant intro for raspingly rough nonetheless emotional and warm vocals to charm. Supported by a cloudy and imbuing bass line, tonally lit up by a melodious combination of intensely clanging percussion sound and perky riffs, Gary's voice carries the listener along with bluesy and husky shades yet melts down with stirring sensitivity. Despite its concise serene and melodically repetitive moments, 'Control' continues to grow instrumentally with zealous excitement and verve, strikes a tonal spark with infectious guitar riffs, with multifarious mutualism between light, smoothly fainting backing vocals and Gary's fervently roaring lead, together bursting as a pushy and gritty culmination at last. Honest and reflective lyricism throughout the entire track brings in the icing on this glowing and edgy compostional cake.
Upbeat and blithe, breezy and fluttery - opened with refreshingly swinging guitar zappiness, however enriched by a sonorous and grave bass extension, 'Escapology' unveils its engrossing and tumultuous character early on. When the song's key element rises to the surface - literally as raspy and sharp vocals glow with vehemence, scream vigorously and are enhanced by haunting yet smooth harmonies - the composition perks up, rekindles its sweeping melodic ease, doesn't miss to accentuate the band's natural still refined vocal rawness though which is eventually both, a charmingly genuine and bracing feature.
With an atmospheric and suspensful instrumental formula, 'Shade Of Grey' sneaks in and lingers heavily: dramatically mounting, incisively brewing and adamantly shady guitar blurs gather, echo elusively and chime with insistent, hollow drum strokes - an impetuous and absorbing soundscape manifests itself, is crowned by a breath-takingly feisty and fuzzy guitar fury. Yet again it's the rock outfit's compact and fiery vocal concord though that thoroughly thrills: rasping and rebellious lead, breathy but acutely ringing backing vocals come together and build a memorable and rousing momentum. 'Shade of Grey' is probably the most sparkish and flaring composition on The Reveurs' debut EP.
... soundcloud ..
... their official website ..
... twitter ..
... facebook ..
Next chance to see them live: July 19th at Pop Up Festival (July 19-20th) in Manchester for free. Venue: The King's Ransome (main stage). Set time: TBA.
The band's eponymous debut EP is available as free download on their soundcloud.
Cheshire based 4 piece rock outfit
Darrell Tinsley (vocals) -
Richey Jones (guitar) -
Mike Jones (drums) -
Phil Mealing (bass)
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| Single release: 'Wishing Well' (June 2nd 2014) |
Tensely reverberative riffage, furious at core, therefore subtly revolting in sound, but controlled in temper and precisely executed, hails the listener with promptly poignant impetus. Dimly clashing yet solid drum beats as well as sentimental, expressive still imbuing vocals loom, deepen and suit the rather gloomy, melancholic atmosphere of 'Wishing Well'. The lyrical good-bye, the process of letting go off the past, of forcing oneself to move on as not being broken by now, consequently striving for more to accomplish, is then convincingly reflected in the song's compostional structure: the priorly ambient yet dark and grave instrumentation surges dashingly as the track proceeds, vehement riffage blares fuzzily, vocals, both backing and lead, accelerate ardently, dynamically. 'Wishing Well' embodies ponderous rock music with soul and sentiment presented in a gripping manner.
Listen & reach out to The Sonic Revolvers on ...
... soundcloud ..
... bandcamp ..
... the band's official website ..
... twitter ...
... facebook ..
Next chance to see The Sonic Revolvers live: July 19th at Frodsham Charity Music Festival 2014. Venue: Mersey View Frodsham, Cheshire. Set time (8 bands including The Sonic Revolvers): 2pm-10pm. Tickets are available for £1o from "Dandelion" Church St. Frodsham, Best Western Forest Hills Hotel reception and any member of the performing bands.
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