EP Review: No Insight – ‘Chasing Memories’

London based pop-punkers No Insight, consisting of Gian Astacaan (Guitar/Vocals), Joe Papworth (Bass/Vocals) and Rich Alexander (Drums/Vocals) have been gigging around the south-coast since forming in early 2016. Having shared the stage with bands including Better Than Never and Fierce Morgan. The band are currently gearing up for the release of their debut EP ‘Chasing Memories’ which is set to be released on March 30^th through Shipwreck Records. Clocking in at just 10 minutes long No Insight have delivered a short, fast-paced introduction to their nostalgic energetic brand of pop-punk.

Debut single and EP opener ‘These Days’ starts off with an early Green Day style guitar riff before breaking into a full-band driving rhythm to carry the verses. Papworth’s punk-style vocals contrast with Astacaan’s throughout the verses, and, are at their most effective as the song kicks into a catchy chorus that’s bound to get sing-a-longs started.

Title track ‘Chasing Memories’ sees a more pop-rock orientated direction with a sound that’s reminiscent of early Busted, with the rhythm section pulling the verses along as Astacaan talks about the classic pop-punk cliché of wanting to get out of your hometown. The distortion is amped up for the chorus and a guitar solo is introduced the second-time round. The track comes to a close with a final chorus featuring an array of gang vocals.

EP closer ‘If I’m Rick, You’re Morty’ (who doesn’t love a good Rick and Morty reference?) kicks in similarly to ‘These Days’ with a standalone guitar riff before bursting into a full band instrumental with a melodic guitar melody. The verses see Papworth taking a lead in with the vocals while Astacaan delivers supporting lyrics in a call and response style. The chorus continues to deliver what the previous two tracks have, in a short fast burst of energy. The song takes a dynamic shift as the lyrics ‘We can last forever, better late than never’ are repeated before jumping into a final chorus to close out the record.

‘Chasing Memories’ is due to be released on March 30th via Shipwreck Records.

No Insight are also scheduled to perform at the Asylum 2 in Birmingham on April 29th.

Keep up with the band on Facebook - https://www.facebook.com/NoInsightUK/

Album Review: Vukovi – ‘Vukovi’

Glasgow experimental-rock natives Vukovi have just released their debut self-titled album. Over the past few years the band have built up a solid fan-base, performed on numerous tours around the UK and released three EPS, 2011’s ‘…But I Won’t Wear You Again’ and ‘It Looked So Good On Me’ and, 2012’s ‘Sweet Swears’. The band originally formed with current members; Hamish Reilly (Guitar), Jason Trotter (Bass) and Colin Irving (Drums) under the name ‘Wolves’ soon recruited vocalist Janine Shilstone and renamed themselves Vukovi.

Latest single ‘La Di Da’ sets off the album at a fast pace with a distortion packed dark instrumental. There’s a similarity to the sound that ‘Love, Robot’ captured on their second album ‘B.A.D.’ Almost immediately you can hear that this isn’t a record that’s going to hold back lyrically, with the track delving into the story of an abusive relationship. Second track ‘And He Lost His Mind’ follows the pace set by ‘La Di Da’, a menacing guitar riff driven song that touches on the subject of alcohol and drug abuse and its affects.

‘Weirdo’ sets a lighter tone, with a bouncy introduction and a heavy pop-rock sensibility, track six ‘Bouncy Castle’ follows in the same vein with electronic elements shining through the chorus with the track truly living up to its name, it really is bouncy. This is just the first taste of the versatility of the record. Track eight ‘I’m Wired’ also captures the band’s pop-rock side, with a dance feel, more electronics carrying the chorus, and, one of the most powerful vocal performances on the album, it’s reminiscent of PVRIS track St. Patrick.

‘Prey’ and ‘Boy George’ showcase the albums more aggressive moments. ‘Prey’ is led by a powerful guitar melody and highlights some of the best lyricism on the record with the chorus melody stating ‘We are deadly monsters waiting for you under your bed'. ‘Boy George’ is riff heavy and bursting with attitude held down by an instrumental that’s derived influence from Rage against the Machine.

Closing track ‘Colour Me In’ serves as a curve-ball and an absolute highlight for the album. An emotional track that details love for somebody close whether they’re still here or not. Making for the slowest track on the album, a dreamy guitar melody and simple drumbeat support the vocals throughout the verses before building up into a strong chorus displaying the lyrics ‘You colour me in from my skin to my bones’.  Eventually cascading into a powerful bridge followed by a soaring guitar solo and a final chorus.

With their debut album Vukovi have proved that they’re a band you can’t pigeonhole. With twelve excellent songs that balance between alternative rock and pop. Being unafraid to touch on serious subject matter throughout the entire record also makes it an incredibly honest listen. With such a strong debut album it’s guaranteed you’ll be seeing and hearing a lot more of Yukovi in the future.

‘Vukovi’ is currently available to purchase on ITunes.

Watch the official music video for ‘La Di Da’ here -https://www.youtube.com/watch?v=lXPM8nXR3Z8

Album Review: Mallory Knox – ‘Wired’

Since forming in 2009 Mallory Knox have released two albums, played numerous festival slots across the UK, including Reading and Leeds, and, performed at BBC Maida Vale studios. The band have just stormed back onto the scene with the release of their third album ‘Wired’ that is currently sitting at number one on the UK rock album charts. ‘Wired’ sees a shift in direction from the band’s second record ‘Asymmetry’, the album spans eleven songs and touches on the subjects of love, lust, religion, family and mental health.

Opening with lead single ‘Giving It Up’ sets the record off to a fast-paced start as vocalist, Mikey Chapman, drives the verses with a series of powerful high-notes before crashing into a hard-hitting chorus making for a great album opener.

The band shed a more light-hearted tone on the record with ‘California’, with a pop-rock sensibility, led by a colourful guitar melody and a sunny chorus that’s guaranteed to get a crowd dancing. Track five ‘Midnight’ also rectifies the tone with a bouncy guitar rhythm and what could easily be the catchiest chorus the record has to offer.

‘For You’ sees the album slow down as Chapman delivers a letter of confessions and apologies as he weaves the story of struggles with mental health, a portion of the album’s songs were derived from bassist/vocalist Sam Douglas’ personal struggle with anxiety. Douglas has previously described the track as ‘a love song without having to say ‘I love you’. With simple instrumentation and a delightful vocal melody ‘For You’ is bound to become a fan-favourite.

‘Better Off Without You’ follows in the same vein as track four, the song details Douglas confronting his feelings towards seeing doctors and being prescribed medication. Speaking of the song Douglas’ described it as being ‘born out of (that) frustration’ and that frustration is clear as soon as the song kicks in with an aggressive instrumental as Chapman delivers the lyrics ‘You’ve got it all wrong, you think I’m indestructible’.

Track seven, ‘Falling in Love’ shifts in dynamics with nothing but a palm-muted guitar rhythm supporting the vocal melody for the first minute and a half, with a pre-chorus that shows of Chapman’s lyricism as he sings ‘I lit a match to let the light in but the demons tried to sneak in’ followed by a chorus hook that simply states ‘I kept on falling in love’. At the two minute mark the song bursts into life with a full band instrumental crashing in which gives the chorus a huge increase in impact.

‘Lucky Me’ and ‘Saviour’ jump right back into the fast-pace shown throughout the majority of the album. ‘Lucky Me’ is a solid guitar riff driven track while ‘Saviour’ demonstrates a highlight for the rhythm section as it powers the verses on before an epic chorus commences with Chapman displaying just how powerful his voice can be.

Closing track ‘Mother’ ends the album on a high. A heartfelt uplifting song that serves as a message from the band members to their parents, similar to You Me At Six track ‘When We Were Younger’ which, incidentally, was also the closing track on their third album ‘Sinners Never Sleep’. Featuring a chorus full of gang vocals and soaring guitar melodies ‘Mother’ is a triumphant ending to a brilliant record.

With the release of ‘Wired’ it’s clear that Mallory Knox have delved head-first into a new vision and are back with something to prove and with an exceptionally strong record full of risk-takes they couldn’t have started this new chapter any better. 

Single Review: The Maine – 'Black Butterflies & Déjà Vu'

As of 2017 The Maine have officially been a band for 10 years, a big feat for any band in this day and age. They commemorated this recently by putting on the 8123 Festival in their hometown of Phoenix Arizona, a day they celebrated with friends including The Summer Set and a reunion performance from A Rocket to the Moon.

Something that is always striking about The Maine is their ability to change and adapt their sound on every record they put out while still retaining the formula that initially hooked fans in with debut album ‘Can’t Stop Won’t Stop’ back in 2008.

The band are currently preparing for the upcoming release of their sixth studio album ‘Lovely Little Lonely’ and have just released brand new single ‘Black Butterflies & Déjà Vu’.

Upon announcing ‘Lovely Little Lonely’ lead single ‘Bad Behaviour’ was released simultaneously. A light-hearted feel-good track that’s bound to get a crowd dancing.

‘Black Butterflies & Déjà Vu’ jumps straight in at a fast-pace with a colourful guitar melody, as soon as it kicks in you can almost taste the nostalgia. Once John O’ Callaghan’s vocals come in the track is similar to something you would have heard in the soundtrack to an early 2000’s teen film and, if you recall the soundtracks to the likes of She’s the Man and John Tucker Must Die, that can’t be a bad thing. The chorus however almost turns the song on its head, leaving just one guitar as O’ Callaghan’s vocals come shining through singing ‘I lose my voice when I look at you, can’t make a noise though I’m trying to’ before a quick rhythm on the high-hat is introduced the second time round and the beginning guitar riff comes crashing back in. Packed with infectious melodies, a compelling chorus and with O’ Callaghan’s lyricism being at the highest standard, if this track is anything to go by, ‘Lovely Little Lonely’ is going to be a phenomenal record.

If ‘Bad Behaviour’ hadn’t already ‘Black Butterflies & Déjà Vu’ just goes on to prove that The Maine are truly a band that you’ll never be able to pigeonhole. As they continue to evolve and develop their sound, with their fans supporting them every step of the way.

‘Lovely Little Lonely’ is set to be released on April 7^th and is currently available to pre-order at https://www.themaineband.com/

Album Review: Conor Lane Guitar – 'Origin'

The follow up to last year’s EP ‘8% Mango’ Lane’s debut album sees a massive step-up in both song writing and production.

Having been the lead guitarist for punk/hardcore band ‘Bear Safari’ since 2012, Lane first began writing solo material in 2013 initially under the persona ‘Life in the Fast Lane’. After accumulating three years’ worth of work he then went on to remarket the project simply under the name ‘Conor Lane Guitar’ and released debut EP ‘8% Mango’.

Almost a year on and he is gearing up for the release of his debut album ‘Origin’. Upon asking what the album means to him Lane quotes ‘If this album were to say anything, it would be to show how I interpret the concept of music, and if that can inspire other people as much as it’s inspired me, then that’s more than I could ever ask for.’

Packed with magnificent guitar work, brilliant orchestrations and featuring guest’s solos by Patrick Somoulay, David Lovejoy and Sims Cashion, Lane has managed to create a record that almost feels as if it could be the soundtrack to blockbuster cinema. In short, if you’re going to listen to an instrumental record this month, make it this one.

Opening the record is debut single ‘Graphite’ coming in at full throttle with a tasteful set of riffs before corresponding into a pre-chorus of chugging. With a synth-like build up bringing to song to a quick stop before diving into to the first guitar solo. Graphite acts as the perfect introduction.

‘2001 DKS’ begins to show the somewhat lighter side of Lane’s song writing, with ambient bass-driven melodies, quite a bizarre song-structure and a beautifully performed guest solo from Patrick Somoulay of Reflections, 2001 feels like a great segway between the opening track and the rest of the album.

Heading back into the grit displayed in ‘Graphite’ are tracks three and four ‘Crimson Cake’ and ‘Miraculous Escape’, the former initially being an instrumental idea for Bear Safari that Lane choose to eventually develop into a solo track. ‘Crimson Cake’ feels like a continuation or sequel to ‘Graphite’ while ‘Miraculous Escape’ features a guest solo from David Lovejoy of Sorrow Plagues and leaves room for a wide range of orchestrations, the type of sounds you’d hear in the build-up within a horror film.

‘This Town’ pulls the record to a slow-down. As well as ‘2001 DKS’ it’s a track that allows room for the bassline to be most prominent, accompanied by a simple drumbeat and delicate guitar that builds up before crashing into a commanding solo and an outro that makes for one of the most soaring on the album.

‘Guttural Alpha’ is a gut-punching instrumental that is backed by chugged chords and layered melodies. Track seven ‘MPLESRUP’ makes for the shortest song on the album at just two minutes and five seconds. Although being the shortest it’s probably the most brutal. The excessive use of guitar bends and the drive behind all the instruments makes it clear that Lane wanted to make the most of what the listener gains from these two minutes.

You’re probably in for a surprise with eighth track ‘Summer’ as it’s the only non-instrumental song on the record, featuring guest vocals from Evertim’s Alex Tuck. The song is reminiscent of early ‘Bullet for my Valentine’ material with Tuck switching between harsh and clean vocals throughout and a chorus melody that supports Lane’s instrumental perfectly.

Penultimate track ‘Rafiki’ bares a resemblance to the orchestrations heard in ‘Miraculous Escape’ creating a suspenseful atmosphere as the song begins. Laced with layered harmonies and some of the most driving rhythm section parts on the album. Topped off with an ending that seems to transition into final track ‘Origin’ effortlessly.

Title track ‘Origin’ closes out the record, at a staggering eight minutes long it’s a combination of everything previously heard and if that weren’t enough a guest solo by Sims Cashion adds an entirely new element to the track in what is a truly anthemic ending.

‘Origin’ will be available from March 8^th on ITunes, Spotify, Deezer and Bandcamp.

Watch the official music video for ‘Graphite’ here – https://www.youtube.com/watch?v=tYC1Th5LWiQ

Keep up with Conor on Facebook and Instagram

 https://www.facebook.com/ConorLaneGuitar/?pnref=story

https://www.instagram.com/conor_bsafari/

Single Review: Sainte ‘With or Without Me’

Since We Are The In Crowd announced that they were taking a break in February 2016, past members Tay Jardine (Vocals), Cameron Hurley (Guitars) and Mike Ferri (Bass) have formed brand new project SAINTE.

The three-piece outfit released debut single ‘Technicolor’ back in October. Accompanied by a colourful music video it seemed to have fans hooked immediately. With a huge pop sensibility, hints of electronic elements and an incredibly catchy chorus it’s easy to see why fans were eager to hear more.

After a long awaited few months, Jardine took to Instagram last Sunday to announce the premier of a new song on March 1^st, titled ‘With or Without Me’.

Kicking in with the electronic elements that had been previously introduced in ‘Technicolor’ you can tell you’re in for the same feel-good ride Sainte delivered with their debut single.

Once the verse lands Jardine’s vocals are immediately evocative of early P!NK material, an artist whom she has previously stated as a big influence. The chorus hits with a feisty vocal hook that grabs you instantly, accompanied by a sunny synth melody and vibrant harmonies.

Lyrically the track is quite the opposite of its predecessor, while ‘Technicolor’ has an almost giddy quality, that of the honeymoon phase in a new relationship, ‘With or Without Me’ showcases a defiant attitude towards a recent breakup. With Jardine declaring ‘When it’s over tell your friends that I’m a monster, I’ll be long gone, you’ll never be happy with or without me.’

Fans are now hoping for even more music and a chance to see the band live in the future and, from the basis of what we’ve heard so far, Sainte’s live show could shape up to be an incredibly fun time,

In a recent interview with Rock Sound Jardine admitted that she feels she can express herself naturally with Sainte and, from these two songs, it’s perfectly clear that she’s completely in her element.  

You can watch the new music video for ‘Without or Without Me’ here - 

https://www.youtube.com/watch?v=kSfhvLYHQXk

Keep up with Sainte on Facebook and Twitter -

https://www.facebook.com/sainteofficial/

https://twitter.com/saintesays?lang=en