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Indie/Indie Rock Reviews Uncategorized

Looking Back: Whatever People Say I Am, That’s What I’m Not

Today marks the fifteenth anniversary of Arctic Monkeys’ Whatever People Say I Am, That’s What I’m Not, and the monumental bang it punches has certainly stood the test of time. It’s undeniable that this is one of their most defining records, and even the album art alone has become an icon in the UK music scene. 

Being that I was just six years old when the album released (I know, I know….), I was a few years late to the party. I first found Arctic Monkeys when I was about eleven after randomly seeing their video for “Fluorescent Adolescent” pop up on YouTube. I was immediately hooked, and I absolutely needed to hear more; thus began my deep-dive into their discography of the time. 

Now, don’t get me wrong—every record of theirs is nothing short of a masterpiece. There’s something special about WPSIATWIN, though, and I frequently find myself being pulled towards it the most and listening to it in full every time. With such a mint tracklist, how could you even think about pressing skip on any song?

The record opens up with fast-paced, intoxicating energy through “The View From The Afternoon.” It serves as an incredible introduction for the rest of the album and provides listeners with a good idea of what’s to come. It’s playful, it’s loud, and it’s boisterous, and that sort of vivacity definitely doesn’t end there as “I Bet You Look Good On The Dancefloor” follows it up. To this day, it remains one of my favourite Arctic Monkeys songs of all time, and I know I’m not alone when I say that this is a legendary one. I mean, have you seen the way crowds react when they hear this song? There is no way in hell you could ever sit still while it plays, and if you somehow can, I don’t think I can trust you. End of. 

Next up is “Fake Tales Of San Francisco,” which happens to be one that gets stuck in my head quite easily, but I’m definitely not complaining. The catchy guitar riffs, the comedic lyrics, the explosion that erupts from the band after the lyric “So all that’s left / Is the proof that love’s not only blind but deaf…” 

Brilliant. Absolutely brilliant. 

The next three songs that follow are perfectly placed, in my opinion. You’ve got “Dancing Shoes,” which practically begs you to get up, stop paying any mind to what others may think or say, and just have fun. “You Probably Couldn’t See For The Lights But You Were Staring Straight At Me” is another personal favourite of mine (criminally underrated, might I add), and it’s such an addictive track. It does a fantastic job at keeping the energy high, which then leads into the snarky, boyish track “Still Take You Home” flawlessly. 

Oh, “Riot Van,” how I love you so. It’s an absolute dream of a song; I love the story that is told within the lyrics, and the overall feel of the track is drastically more chilled out than the rest of the album. “Red Light Indicates Doors Are Secured” snaps listeners out of that trance, though, and my god, does it do an amazing job at getting people back up on their feet. Just below, you will find my favourite verse in that song; the delivery will never fail to give me chills.

Well calm down, temper, temper

You shouldn’t get so annoyed

Well, you’re acting like a silly little boy

And they wanted to be men

And do some fighting in the street

They said, “No surrender

No chance of retreat”

It goes without saying that “Mardy Bum” is a staple in Arctic Monkeys’ discography. Despite the lyrics describing a rather rocky relationship, it has such a youthful charm that can make anybody’s eyes light up just by hearing the first few chords. It’s the essence of perfection summed up in under three minutes. Need I say more?

Alright, my favourite, favourite song off of the record is up next. “Perhaps Vampires Is A Bit Strong But…” is an absolute mind-blower. I’ve loyally stood by this one as my personal top pick for ages now, and I definitely don’t see it changing anytime soon. I’m just genuinely in love with every single aspect of this song; I love the dirty tone of the guitars, the aggression within the lyrics, and the killer jam session that fills up the remainder of the track. Plus, who doesn’t love hearing Alex Turner shout, “All you people are vampires!” towards the end? 

Like “I Bet You Look Good On The Dancefloor” and “Mardy Bum,” “When The Sun Goes Down” is another quintessential Arctic Monkeys song. I still haven’t been able to catch an Arctic Monkeys show, but whenever I do, I would be willing to make a deal with the devil to guarantee that this would be on the setlist. It is both a desperate want and need to hear this live, and in case you need any further evidence as to why that is, look no further.

Now we’re down to the final two tracks: “From The Ritz To The Rubble” and “A Certain Romance.” What a way to draw the record to a close, huh? Both songs are exhilarating and successfully encapsulate the general feel of the entire album, and before you know it, you’re back to “The View From The Afternoon” to give it another well-deserved listen. 

Can you tell I absolutely adore this record? Since I found it at such a young age, it’s safe to say that it played a massive role in shaping my taste in music. I hold it near and dear to my heart, and I’m confident that this will be an album people still talk about in decades to come. Happy 15th, you powerhouse, you.

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Indie/Indie Rock Uncategorized

Meet Malcolm.

Stumbling upon Malcolm.’s music was by pure chance, thanks to the ever-elusive ways of the Instagram algorithm. As soon as I heard the preview for his latest release, “Nobody,” I instantly wanted to put a spotlight on this up-and-coming artist. For fans of indie and surf rock, this one’s for you.


To start things off, how would you describe yourself and your music to a new audience?

Describing myself is definitely weird, but I guess I’m what happens when someone bases their personality on sitcom characters. I’m pretty introverted, I self deprecate a lot, I’m gifted at avoiding drama, and I’m in a constant state of confusion. My music is a little easier to explain. It’s mostly a blend of rock and R&B. I use mostly real instruments, and I usually put groove first. It’s pretty much modern soft rock.

You recently put out a song called “Nobody” (which is an absolute tune, might I add). What do you want your listeners to take away from the track?

“Nobody” is a song that’s all about contemplating being single. If fans can take anything away from it, it’s to not worry if you don’t have anyone, and don’t force yourself into anything if you’re not ready.

You also released your debut album Vibey Rock. back in May—congratulations! What was the overall process like, and what helped inspire each track?

Vibey Rock. was a long time coming. I had the idea for it after I released my first EP, Khaki, in 2017. That’s when I started morphing my sound into a more 70s style, using a lot of warm and bright sounds as well as a more organic approach. The first track that kind of pushed me in that direction was “Far Away,” and although it’s not actually on the album, it really showed me the type of vibe it could be.

“ADHD” was written after finally being diagnosed. It started mostly as a joke song, but it’s also just a good introduction to who I am. “Slow Motion” is a feel-good track about a crush, and also one of the best basslines I’ve made. The collaborator, RUSUR, is a guy I met online around five years ago after entering a remix contest for one of his tracks, back when he still went by Johnny Gr4ves. “Sorry Girl” was literally just me wondering if I could make a filler track, and “Manly Man” was what happened when I decided to try to make an early-60s sounding track; it’s all about making fun of my lack of traditional masculinity. 

“Same Mistakes” was written after I sent a drunk text to a girl and instantly regretted it. Luckily, she was in another country and it didn’t actually go through! “Leave Me Alone” is just an introvert anthem; if you’ve ever had your social battery run out at a party, you know the feeling. Next, “Lonely Sun” came after hearing Vampire Weekend’s “Sunflower.” I was just amazed by the complexity of it without it taking away from the overall feel-good vibe of it. Lastly, “Ride Again” is my favourite song I’ve made; it’s kind of a finale for songs about the girl most of my lyrics have been about. Writing this track helped me accept that we may never get back together, and it’s okay.

As we make these first few steps into the new year, it’s safe to say that it’s a relief to leave 2020 behind. As a musician, how did the year affect you?

Honestly, I got lucky this 2020. I rarely played shows before 2020, and I got a lot of time to spend making new music. Yes, not everything went well for me, but compared to other artists, I didn’t suffer many losses.

Livestream concerts became the norm last year as well. Do you have any plans of doing your own in the coming months?

I don’t think I’ll be doing any livestream concerts in the near future. I’m not against them, but I’d rather just wait until the world opens up again and, in the meantime, push my energy into making as much music as possible. The thrill of performing isn’t really there without a live audience.

Steering away from the super fun topic of COVID, I absolutely adore your sound. How did you develop it, and are there any musicians that helped inspire it? 

I’m glad you like it! My sound choice is very inspired by classic rock and soul, while my songwriting mostly comes from alternative R&B. The artists that have had the biggest impact on my sound are definitely more modern ones, like Anderson .Paak, Childish Gambino, Harry Styles, Asher Roth, Rex Orange County, Leon Bridges, and Dominic Fike.

“ANTIGLOW” is a really incredible track, and I read on your Instagram page that you wrote it as a follow-up to an older song of yours called “Glow.” What drove you to write this newer track? 

“ANTIGLOW” and “Glow” are set in the same environment, yet have totally different perspectives. When I wrote “Glow,” I made it with one of my best friends. We would go to a lot of local dances, and being the few kids that were good at dancing, we always killed it. Now, I’ve lost interest; it just doesn’t feel the same anymore. I don’t like showing off as much, I’m not big on hitting on strangers, and I suck at drinking. 

The main connection between the songs is a callback line to “Glow.” The first line of it is, “It’s feeling like a disco,” so in “Antiglow,” I put, “It’s no longer feeling like a disco,” kind of as an easter egg for some of my older fans. It was actually my roommate Brody Larson that came up with the title idea, though! He’s also a musician and is obsessed with unique titles.

Another song of yours, “Jim & Pam (Goddamn),” has raked in over 70k listens on Spotify, and it was released just a couple of months ago in August. It goes without saying that this is an amazing accomplishment; did you ever expect it to receive as much attention as it has so quickly?

I’m super grateful that “Jim and Pam (Goddamn)” is getting the love it is. I kind of knew when I wrote the hook that it would be one of my more popular songs. So, I put more money into the ads for it than usual, and I guess the Spotify algorithm gods rewarded me for it. You can never tell how well a song will do, so I always hope for the best and expect the worst. Sometimes, it works out!

What can we expect coming up? Any more new songs on the horizon? 

For new music, I’m releasing one single a month for as long as I can keep it going. I started doing that with “Jim & Pam” and have been keeping it going since. My next song, titled “Friends,” is going to come out on the 25th of January. I also plan on releasing two remakes of some older songs of mine that haven’t aged too well, those being “Pretty Please” and “Betty White.”

To wrap up, what would be your absolute dream gig?

That’s definitely a cool thing to think about; I think a big outdoor show would be super fun! Having it somewhere warm like Australia or Hawaii would make it even better. I don’t think anything else would suit my music better.


To keep up with Malcolm., follow him on Instagram, Facebook, and Spotify.

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Pop/Indie Pop Soul/R&B Why We Love

Why We Love: Biig Piig

Meet Jessica Smyth, better known as Biig Piig. Born in Ireland, brought up in Spain and now based in good ol’ London town, the neo-soul/hip hop singer has been gaining traction over the last couple of years with her silky smooth tracks and emotionally in-depth lyrics, taking inspiration from classical folk Irish music, Latin Jazz to modern indie and hip hop. But with that all in mind, you can’t hold Smyth’s music to just one style, I mean how could you with that diverse a range of inspiration? But her vibe is complete chill, as if you’ve stumbled into a run-down bar with the local jazz band pulling you in.

Smyth grew up in Spain and spent a lot of time in the Irish pub her parents owned there. Growing up around a pub setting definitely shapes you differently, as stated by Smyth before “I think you learn a lot about people when you’re surrounded by adults a lot of the time, they don’t treat you like a kid. Maybe that’s where the writing came from when I was younger.” And from living in Spain for so long, you start to learn the language which is where Biig Piig’s music gets interesting. Not only does deep classical Spanish music flourish throughout her work, but also slipping into the Spanish tongue giving her music this double-sided feel that’s irresistible. 

Biig Piig’s first single was dropped back in 2017 on Soundcloud, but that caught the attention of COLORS, who gave her a spotlight at their Berlin studios, helping her soon-to-be-fans find her sensual songs. Fast forward a year, and she released her debut EP ‘Big Fan of the Sesh, Vol. 1’ Further answering to the deserved hype and solidifying her fanbase. Tracks such as ‘Dinner’s Getting Cold Ft. Mac Wetha’, ‘Perdida’ and Flirt’ really demonstrated the talent Smyth has; lo-fi beats with velvet-like vocals to shatter dimensions.

Upon meeting Mac Wetha at sixth form after moving to London, the two have become good friends and regular collaborators within her own music and with their DIY Art Collective NiNE8. ‘A World Without Snooze, Vol. 2’ was released in 2019 and whisks you away to that special place in your mind where you can breathe easy and relax.

The track ‘Vete’ caught a lot of attention from the expansion of the smooth sound incorporating a cheeky bit of Sax to really hone in that chill Jazzy vibe. And thus Smyth signed to RCA Records, then immediately starting work on the final instalment to the trilogy. In November that year, she dropped ‘No Place For Patience, Vol. 3’. 

Really perfecting her sound here, it feels as if the journey had really taken you somewhere. The production of the song ties every little nook and cranny together into this ear-melting sound. Roses and Gold kicks off the EP, introducing some funky slap bass to shake things up whilst staying inside the proverbial box. Smyth does new things here but nothing feels out of place. ‘Lie to Me’ closes the EP and shows off some of the complexity to her lyrics; “I don’t wanna go, but this heart ain’t a home / Peace of mind, my peace is fucked. lucking out when he won’t listen / Risking trust to prove a point”. Smyth somehow just has this immense control of singing (in both English and Spanish) with such depth and on the flick of a switch completely nails these free flow rap verses which blend with her sound so perfectly.

Earlier this year, Biig Piig treated us to her political commentary of the 2019 snap election; ‘Switch’ which is a fitting title. This is a Biig switch indeed from her earlier work, fast-paced, angrier and with more drum ‘n’ bass inspiration. Smyth has said “I thought when I was writing it that it was about a relationship, but then I was like ​actually nah, it definitely isn’t. It’s that same hate but just for something else.” Switch is the kind of left turn an artist needs to take after solidifying their sound from 3 EPs worth of material. The track goes out of bounds but still suits Smyth’s voice, like something was suddenly realised inside her mind. The content of the song definitely needed a more prominent sound, so it all compliments each other ridiculously well really.

‘Don’t Turn Around’ was dropped in July this year and samples Love for the Sake of Love by Claudia Barry, more commonly known from being sampled in Montell Jordan’s Get It On Tonite. You may also recognize the directing style in the music video and you’d be onto something, frequent Beabadoobee video collaborator ‘Bedroom’ directed the song’s video, complimenting the sound of the track with a rich visual paradigm. Once again showing off her flow with some insanely catchy rap verses, bookended by delightful vocal hooks in the chorus. Lyrically being quite a jam-packed song as you’d expect with rap verses, but really shoving that emotion into the listener in a really exciting way. Smyth spoke about the song, saying it’s “my post-breakup, pre glow up tune. Finally getting to confidence through self-love and letting go of toxic relationships”. All we can take from it is that it’s such a good song and Biig Piig’s artistry really shaped it into something new and refreshing, leaving us with open arms for whatever her next outing may be.

Biig Piig is someone who needs no real introduction, just an open mind and a good pair of ears because no matter what the Irish-Espanol singer dishes out, it’s no doubt to be something that gets you hooked. In fact, Clairo and Billie Eilish have proudly announced themselves as fans, so why not join them? For once I can safely say that it’s right to believe the hype.

Like what you hear? Check out Biig Piig’s latest release and double single ‘Oh No / Liarh’ on Spotify.

Categories
Indie/Indie Rock Reviews

Review: Oscar Lang – Antidote to Being Bored (Single)

Slacker rock superstar Oscar Lang is back with a brand new track that really nails in the new psychedelic gritty rock combo we were gifted with in Hand Over You Head in September. The cosmic hobo soundscape here completely lifts you out of your shoes, a wall of noise to rock your body till the cows come home. Lang announcing a brand new EP (with ‘Antidote..’ being the title track), was exactly what I needed to hear amongst the misery of the UK’s second lockdown.

The track definitely lives up to its name, after listening to it, I was the complete opposite of bored. Whatever Lang does to mix his music is always astounding and the new track is no exception. Something in the way his voice becomes buried within the instrumentation just blows your mind. ‘Antidote’ has a heavier and more brooding vibe, expelling so much nostalgia for mid-90s rock with such a filthy sound.

Lang said in a recent interview about the upcoming EP “I wanted to get a little darker with this EP but continue with the sound of the previous one. I feel like with the last one I really found a style of music that I love and am just excited to play. So this EP was all about developing that sound further.” And thus the stadium rocker Antidote to Being Bored was born and the EP to follow on December 4th. I think we’re all praying this will be the soundtrack of a post lockdown life, a glimmer of hope to look forward to.

There’s not much I can say aside from the fact it’s an absolute banger, the guy knows how to write a mega tune. I’ve had this song on repeat for about an hour now and my sandwich has gotten cold as I’ve been so immersed in the rapid ecstasy of ‘Antidote’. Just listen to the song, it’s a beautiful thick mess of noise. If you could fuse the sounds of Oasis’ ‘Morning Glory’ with Interpol’s ‘Marauder’ and put them in the Oscar Lang blender, you’d have this masterpiece.

So start adding to your playlists, and check out your local record shop to see where you can pre-order your copy because it’s going to be a stomper you’ll have to own.

‘Antidote to Being Bored’ Tracklist:
1. Antidote to Being Bored
2. That Wasn’t What I Said
3. Pretty Princess
4. Red Cherry Chapstick
5. Something Has Changed

Listen to the title track on Spotify now.

Categories
Indie/Indie Rock Why We Love

Why We Love: Her’s

For a band consisting of only two people, Her’s certainly knew how to get things moving. Cascades of chorus, bass lines to move mountains and vocals to ground you back to earth and take you far into your dreams all the same, the talent here knew absolutely no bounds. Which is why it was heartbreakingly awful to hear that Stephen Fitzpatrick and Audun Laading along with their tour manager Trevor Engelbrektson were tragically killed in a traffic collision in America whilst travelling to one of their tour dates in March 2019. A band with so much potential and so much love, was taken far too soon, which is why I wish to pay tribute to Her’s and hopefully introduce you to a remarkably wonderful band who’s work deserves to be heard and remembered for years and years. 

Her’s formed in 2015 and a year later released ‘Dorothy’ and B-Side ‘What Once Was’,  which brilliantly showed off just what they could do. Psychedelic falsetto vocals juxtaposing the baritone range Fitzpatrick had, the jangly guitars taking you straight back to bands like The Cure and Siouxsie and the Banshees, along with the complimentary percussion loops of their drum machine, Dorothy showed not only the capability of Her’s, but also to aspiring young musicians that you don’t need some enormous 5 piece band to write and release your music, but that even limited you could record music AND perform it with only 2 people, which I’d argue has definitely influenced and helped the indie scene today. 

Later Her’s released more music that sat in the balance of absolute bombastic bangers and shy intimate whispers. Characterisation was a big part of their work, namely within the lyrics and vocals, almost melodramatic at times, each song and each line felt as if they had their own personified consciousness to guide, as well as writing songs in character allowing Stephen to write about such diverse topics that writing using personal inspiration secludes you from. Take the song ‘Speed Racer’ for example, which tells the story of someone who’s looking for lust in a one night stand, another corker that just makes you feel the need to get up and groove wherever you may be upon listening. 

Her’s continued to write and release music throughout the following year and thus released ‘Song’s of Her’s’, a compilation album of all the songs they had written thus far, along with a few new tracks to delight fans. Tracks such as ‘Cool with You’ conveyed lighter sounds, almost lo-fi giving off early Rex Orange County vibes, but all the while being something unique, like taking the surf rock genre and drugging it up on morphine, but also producing tracks such as the  before mentioned ‘Speed Racer’, the fast paced glossy rocker that completely blows your socks off. From then on Her’s began to play shows here, there and everywhere, all while working on their debut album, and it was at their live gigs where you really got to see the talent of simplicity and how much an effect they had to their audiences, but also, you got to see just how much fun they had performing, every song had substance, and to see the shared bliss between listener to performer was profound. 

In 2018 the dynamic duo geared up to release their debut album ‘Invitation to Her’s’, and once it dropped it was heavenly. Somewhere in the void between dream pop and indie rock, Her’s laid the foundations and left a significant mark on the music scene. Dropping the single ‘Harvey’ with a hilarious music video as if Scooby-Doo met Laurel and Hardy. Invitation to Her’s showed more of Her’s quirky appeal, quality music, good laughs and the theme of Her’s giving this almost episodic feel to their works. 

Later the duo released the single ‘Under Wraps’ which showed off a more sombre side to the sound of Her’s. Sonically it felt as if there was something a tad more toned down from the typical Her’s theme, with so much more musical depth in the mix, but all the same just really developing that oh so heavenly sound from their previous releases. It was like Her’s had released the perfect slow dance song for a wedding, however lyrically the song took a more emotional tone, meant to comfort your loved ones who go through changed in their life, Her’s saying it’s a song to offer “reassurance and support”. 

And with the actual release of ‘Invitation to Her’s’ we were able to quantify just how good the band of Her’s were, and consume the marvellous mania of their sound. The intense amounts of depth, layered instruments, drum machines blended with live drums, ambient synths and general improved production that gave off an even warmer sound to the band. Tracks like ‘Mannie’s Smile’, ‘Blue Lips’ and ‘If You Know What’s Right’ are just a few of the intense flavours Her’s had to offer this time round. It showed just how good they were at their craft and could bring a tear to your eye as the music transports you to your happy place. Her’s were packed with potential, and they were able to drop off such a phenomenal record that definitely leaves an unprecedented mark on the indie rock and bedroom pop scene. The talent between 2 guys making music and having fun is the pinnacle of modern indie music. Her’s managed to stand out in a crowd, revolutionise the scene in their own way and take things back to a more simpler approach amongst the ambush of 4 or 5 piece bands going far too in depth to try and accomplish the same sound. Her’s was a natural, passion fuelled project that just expressed its own ecstasy wherever they went, with anyone who listened to them. 

So I implore you to take a deep breath, set sail on the journey that is your invitation to Her’s, and experience the bliss that is Her’s, and the mark they left on this world that spins ever more so lonely with their passing, but stronger after their influence. And to Stephen Fitzpatrick and Audun Laading, thank you for the music, and for everything. 

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Indie/Indie Rock Reviews

Review: Pillow Queens – In Waiting

It’s a real surprise that after the release of two impressive EPs and supporting several big-name bands from IDLES to Future Islands that Dublin based Pillow Queens haven’t had people shouting about them left, right and centre. Nevertheless, their experience with fellow artists fronting the current rock movement and a knack for turning out sonically rich songs in their own right has proven that they’re an indie force to be reckoned with. All things combined they’ve just delivered a record you didn’t realise you’d been ‘In waiting’ for but after a listen won’t be the same without.

The album encapsulates a hazy sense of hope and instantly has you hooked on all manner of components from sweeping melodies, flourishing tones and lo-fi layering. Together, the result is ten all-star tunes from the female foursome that met on a basketball court in their hometown (a fact that I had to drop to further emphasise that they’ve been cool since the get-go). There’s an almost magnetic draw in the first few twinkles of the haunting ‘Holy Show’ and you’re instantly connected as soon as Sarah Corcoran’s crooning voice pierces through. From that moment up until the last echoes of closing track ‘Donaghmede’, the band take you on a journey where you can’t help but feel all of the emotion that their songs are created and delivered with. Each track seamlessly melts into the next; ushering you into a new stream of thought before you even have the chance to realise, leaving you in a dreamlike trance-ready to become the monarch of your own pillow. 



The journey doesn’t just happen as one tune flows into the next though; you’re taken on a voyage with each individual song. Not only are they gentle and melodic but also fierce and rocking, transitioning as effortlessly as one of this era’s most iconic alt bands Wolf Alice. ‘Handsome Wife’ is a great display of how they start gracefully, then seamlessly build to raspy exclamations and when ‘A Dog’s Life’ gets going it delves into even edgier territory with grungy guitars and more punk-like chants in a prominent Irish twang. Overall, I’d compare the Queens’ arrangements to a crisp winter morning, sun piercing through the clouds and glistening on snow; bright and refreshing but not without a hint of gloom and bite.

There’s an abundance of stand-out elements besides their progression too, like the poignant folk cries repeated at the end of the self-love reminder ‘HowDoILook’ that help to provide a shining example of their flawless transitions into the emotive melody that is ‘Liffey’. Further messages of positivity can also be heard in fan favourite ‘Gay Girls’; a wake-up call to people of strict religion and those alike that there’s no need to worry when it comes to different sexualities, featuring a catchy hook and accompanied by a cracking music video. It’s exciting to hear more top tunes from such empowering female representation in the rock industry, using their talent to draw attention to causes that many listeners will care about just as much as they clearly do. I also love that they have a rock ‘n’ roll attitude with regards to their opinions and approaches, saying “feck em” to any critics of Corcoran and accompanying vocalist Pamela Connolly’s accents for example and instead embracing their roots; using them to their advantage in adding to the raw emotion to their sound.

I believe the ride that is listening to ‘In Waiting’ can best be described in the final words of ‘Harvey’ as the expansive sound truly leaves you feeling as if you’re ‘floating ten feet off the floor’. Earnest and atmospheric, claims of coming up short in the heartfelt ‘Brothers’ evidently aren’t in reference to their album as it’s an absolute beauty and I can’t wait to watch Pillow Queens flourish like their songs and take everyone by storm.

Categories
Punk/Rock Reviews

Review: IDLES – Ultra Mono

Direct, divisive and darkly humorous, if you’re looking for an album that packs all of these qualities as well as a major punch then look no further than Ultra Mono, the third studio album from Bristol rockers IDLES.

Since receiving critical acclaim upon the release of their aptly named debut album ‘Brutalism’ in 2017 the band have consistently stayed true to themselves in speaking the truth- no matter how harsh. Frontman Joe Talbot refuses to be defined by genre and continually denies claims that they fit under the ‘punk’ umbrella despite comparisons to likes of Shame and even Fontaines D.C. a band at the current forefront of the genre. One thing there’s no denying though is that they’ve truly developed their own distinct sound. A belligerent beat creates a mechanical feel that ticks along at the heart of their music; more so on this album than ever before, helping to seamlessly transition between tracks and allow Talbot to fire off his often frenzied but equally thoughtful lyrics.

Blunt political statements are a prominent driving force behind both their music and in recruiting steady support from many however, the same proclamations also result in severance from others who feel they’re too judgemental. They recognise the irony in these opinions though and in no way care that it repels, continuing to speak their mind and confronting any hate in witty lyrics with examples including “there’s nothing brave and nothing useful, you scrawling your aggro shit on the walls of the cubicle” dominating second track ‘Grounds’. There’s no shying away from other charged topics either with passion filled songs on the likes of white privilege, toxic masculinity and feminism; even bringing onboard Savages Jehnny Beth to practice what they preach by featuring some defiant female vocals on ‘Ne Touché Pas Moi’ further driving home their beliefs of equality.

Ultra Mono encapsulates a feeling of doom simmering inside most listeners given the current climate. A sense of terror looms throughout but unlike many that internalise this, they break through the surface to address the sense of urgency and need for action by exploding in exciting anger with raging riffs and aggressive vocals. This, combined with the military coherence created by their rhythm section leaves you steadily riled up throughout the record, resulting in a sense of unity against the common enemy, building the “strength in numbers” referenced again in Grounds. There’s plenty more to the record than anger though; from the surprisingly tender ‘A Hymn’- a melancholic vessel for channeling their emotions and delivering opinions in a softer way, to the comically propelled Model Village, with a sinister undertone that that feels so familiar you can’t help but laugh. All tracks combined, you’re left submerged in an oppressive atmosphere, ready and raring to escape the constraints of the everyday and confront whatever darkness is on the horizon.

The main concern on the run-up to this third release was that the band wouldn’t channel the boldness they exude in their songs when it comes to exploring new grounds (no pun intended). To a certain point, this worry has been addressed as the band worked with producer Kenny Beats, infusing a touch of his hip hop background right into the record’s veins and also collaborated with jazz-pop pianist Jamie Cullum on ‘Kill Them With Kindness’ for a further twist. Despite this, they don’t venture too far from previous material but it’s clear to see that they’ve sustained a real direction and are more focused on upholding their own belief in what they should be, delivering something for existing fans rather than pleasing everyone and converting anyone that opposes.

As a whole, Ultra Mono is a strong follow up to their previous Mercury Prize nominated album ‘Joy as an Act of Resistance’ that couldn’t have come at a more apt time. The driving feeling evoked in their tunes looks set to continue, helping to thrust them forward and prove that when it comes to speaking up about what they believe in, Idles wont be staying idle.

Listen to Ultra Mono on Spotify now.