Tag Archives: Country

new music mondays

New Music Mondays: Corey Taylor, Barenaked Ladies and SO Much More!

A pretty stacked week of New Music Mondays this week. Featuring everything from prog metal to hard rock to country, and everything in between. Check it out with us!

Corey Taylor: CMF2

Corey Mother Fucking Two-Lor is an interesting release. Controversially, I quite enjoyed his first solo album. Sure, it wasn’t without its flaws and swing-and-misses. However, it took risks and was interesting, never lingering on one sound or even genre for too long. It was damn ambitious, whether it payed off or not. This, however, might as well be the next Stone Sour release. Actually no, it’s half Hydrograd, half retreads of the previous album. Tracks like ‘Post Traumatic Blues’ and ‘Beyond’ are straight up new-school Stone Sour songs. There are a few with a punky edge much like ‘Samantha’s Gone’.

Having said all of that, there is a lot of good on this album still. While the vocal melodies and darker, slower theme is ripped straight from multiple HOGAB tracks, it’s a sick song! The one-two punch of the opening two heavier tracks is awesome and a definite highlight. The surprisingly country ballad ‘Breath of Fresh Smoke’ is one of my favourite tracks he’s ever done. However, there isn’t the rap metal of ‘CMFT Must Be Stopped’ or the smoky jazz of ‘The Maria Fire’. While there are good tracks on the album, none are standout. The fun seems to have been lost a little. Unfortunately, outside of those four tracks, ‘forgettable’ springs to mind. Good music, but very similar to Hydrograd in the meh category. 6.5/10

P.S. gotta be a contender for worst album art of the year.

Barenaked Ladies: In Flight

Even slower, older Barenaked Ladies is still damn good Barenaked Ladies. This is definitely not the same sort of band that wrote ‘One Week’ or everyone’s favourite TV theme. However, if anything, it brings out the bands wide variety of influences and sounds more. Whether it’s country, folk, blues or soul, there is so much more to this acoustic rock than on the surface.

There are so many highlights too, from ‘One Night’ to ‘Fifty for a While’ to ‘What Do We Need?’. Really, isn’t a bad track on the album. And the dynamic of the three vocalists and double bass just injects everything with so much fun. My only slight issue is that it’s maybe a tad too long for it all being a similar slowish tempo and stripped-back sound. Still though, it’s hard to complain about it when it’s all this high quality! 8/10

Thirty Seconds to Mars: It’s the End of the World but it’s a Beautiful Day

I’m sorry, but what the hell is this crap? Other than hilarious, of course. I was a BIG fan of the first two 30STM albums as a kid, you know, back when they still made something that resembled rock music. This is a pop album through and through. It’s honestly like Jared Leto saw what Adam Levine did in Maroon 5 and went ‘I can do a worse version of that!’. The closest thing to ‘rock’ is when the band blatantly rip off Imagine Dragons on tracks like ‘Life is Beautiful’ . There is no redeeming value in this album at all, and it was honestly a struggle to listen to. Leto’s god complex has finally gotten too much, and it’s starting to tarnish his early, great legacy. 1.5/10

Brothers Osborne: Self-Titled

One of my favourite country artists is finally back with their first new album since 2020. I’ve been a fan of the band since their debut album, and four albums on they are still knocking it out of the park. The musicianship and songwriting talents of the two is off the charts, with the guitar-playing in particular being incredible, a rare sight in todays country music outside of Zac Brown. And the harmonies the two produce are incredible too, adding even more to the big choruses.

It’s another album chocked full of amazing tracks, but songs like ‘Who Says you Can’t Have Everything’, ‘Might as Well be Me’, ‘Ain’t Nobody Got Time for That’ and the emotional piano closer are all amazing. The band have refined their sound down to a tee with this release, and with single ‘Nobody’s Nobody’ pushing to be one of the biggest they’ve done, the band are about to be pushed into the upper echelons of country bands! 9/10

Baroness: STONE

I don’t think I get Baroness. I don’t know why I thought the band were more doom/stonery than they are, not a more Dance Gavin Dance-like Mastadon, with an indie/folk tinge. Musically they’re fine, the playing is great. However, something about the vocals, be it the sound or the Lour Reed/punk style delivery, really didn’t capture me. Sure, tracks like ‘Beneath the Rose’ and ‘Shine’ shine through (yes, that was intentional) despite it, but as an album it didn’t hold my attention for long. I completely understand why this band has a big fanbase, but I’m sadly not among it. 4/10

Danko Jones: Electric Sounds

This is a fucking awesome album. I LOVE Danko, his straight-to-the-point nature and songwriting is awesome. Everything is a foot-stomping rock anthem drenched in sweat, booze and punk, and somehow the lyrics come off fun and engaging when he sings them, when under almost anyone else they could boarder into cringe. That’s very much the point of not only this album, but his entire discography: it’s fun. Right from the first few seconds of the album, his voice rings through with ‘Guess who’s back, me mother fucker!’ and sets up the tone for the rest of the album perfectly.

It’s almost impossible to pick out highlights of the album, as there isn’t a bad track on it. The singles were a perfect selection, as I love all three so much. However, tracks like ‘I Like It’ and ‘Shake Your City’ are awesome as well. Plus, if ‘She’s My Baby’ doesn’t become a meme at this point, it’ll be a travesty. It’s one of the most enjoyable albums I’ve heard in a while, just feel-good, straight-up rock music. I can’t give it any less than 10/10

Check out our review of a Danko set here.

Otep: The God Slayer

I find myself uttering a familiar question again… What the hell is this? I’m quite a fan of a good few Otep tracks, but I’ve never had the chance to listen to a full album. Are they always like this? Over half covers and the rest 2edgy4u gothic NIN-style industrial ‘metal’ that leans heavily on bad hip-hop?

It’s a shame too, as the album actually starts pretty well. The creepy intro leading into the awesome ‘Ostracized’ is pretty terrible rendition of Olivia Rodrigo’s hit ‘Good 4 U’ and the awful trap-style ‘Exit Wounds’. Heck, her cover of Billie Eilish’s ‘You Should See Me in a Crown’ is actually amazing, adding a new interesting and dynamic take on an already well written track. Following it, however, are terrible covers of Eminem, Nirvana and Slipknot. All emotion is lost from the line delivery of ‘Way I Am’, while the slightly slower pace from the drums on the other two takes all intensity and fun out of them. Oh, and ‘California Girls’, ‘Pet’ and the closing poem are all also pretty bad.

One good track to start the album that got me hyped up and then let down by the entire rest of the album. It’s a shame, as at least the other albums I’m a fan of two or three tracks. Oh well, 2.5/10 from me.

Dan + Shay: Bigger Houses

If you’re into the modern, stadium-pop-country style that has become prominent in recent years, you’ll love this. However, even if you don’t, it’s hard not to really like this album. The duo’s fifth album continues right where Good Things left off, providing listeners with chilled-out tracks, stadium-filling choruses, and some of the best harmonies in music as a whole today. I feel like I’d be typing up every track name on the album if I tried to talk highlights, as once again there isn’t really a bad track on it. It won’t be for everyone, certainly not in terms of our readers, but I personally loved this. I’ll definitely be listening to it a lot in the coming weeks and months. 8.5/10

Hyro The Hero: Bound for Glory

The rap metaller is back with his first album in half a decade. After working with some of the biggest and best names in rock and metal for singles over the last few years, his stock has risen pretty massively, so there’s a lot of hype around this album. Heck, if you’ve been keeping up with the releases over the last few years, you’ll have heard a good chunk of this album already. His last five singles, featuring the likes of David Drainman, Chad Grey and Spencer Charnas, are all on the album. On top of that, A further three were released prior to the album. I have to say, I’ve never been the biggest of fans of hearing most of the album before it’s dropped, especially over the last three years.

Having said that, it’s still a damn good album. I’ve been a big fan of ‘FU2’, ‘Retaliation Generation’ and ‘Fight’ for a while now, and the new songs add to them perfectly. Tracks like ‘I’m So Sick’, ‘Sho Nuff’ and the RATM tribute ‘Renegade of Punk’ are all amazing additions. There are a LOT of guests on this album, which odes sometimes feel a bit overshadowing of Hyro himself. However, some of his bars are incredible, his lyric writing is better than ever and when he goes full Fever333 or Stray From the Path, it’s fucking awesome. 8/10 a great album that will surely push him to being an even bigger name in the scene!

TesseracT: War of Being

A band that I haven’t really had time to check out until now, and am currently sat here kicking myself because of that fact. The prog metal mainstays are very clearly masters of their craft. Opening track ‘Natural Disaster’ is perfect as it introduces each element of the bands sound and style, condensed into a rather surprising six minutes. Big riffs, technical playing, huge clean choruses and brutally crushing screams and heaviness is all here and all dialled up to 11. And that’s just the first song!

The highlight of the album is the prog masterpiece of the title track, for me. At 11 minutes, it’s the longest song on the album, and all the parts and dynamics of it are so good. From the heavy, Gojira-like opening riff to the slow build of quieter stuff back into the chuggahs to some of the most interesting riff-to-drum playing I’ve heard in years, it’s amazing. Everything from the vocal delivery to the drums to the guitaring and bass is amazing, and it’s all produced together masterfully.

There are another seven tracks on the album outside of the two I’ve mentioned, and all are good. In fact, ‘Echos’ and the funky ‘Burden’ are also big album highlights. If you’re into the prog side of metal, you’ll love this. It arguably blows the latest Periphery album out of the water, it’s that good. 8.5/10, great stuff!

Pretenders: Relentless

Charlotte: Rock royalty Chrissie Hynde drew new attention after a surprise performance at Glastonbury this year alongside Dave Grohl and Johnny Marr, and the release of ‘Relentless’ by Pretenders adds 12 songs to their roster of classics. Challenging the modern sound and taste of today’s charts, the album fights the status quo and explores chord progressions, melodic ballads, and gritty rock. 7/10

Electric Boys: Grand Explosivos

A band that should be much bigger than they are, the Swedish funky rock band are back with their eighth studio album. I’ve been a big fan of the band since seeing them at a HRH a few of years ago, so have been excited for this one. And honestly, it’s more of the typical awesomeness. Right from the amazing opening track, ‘When Life Treats You Funky’, I was hooked in right until the final note of the album. The bluesy riffs are a massive highlight as always, but as is the great songwriting and the somehow both fun-loving yet swaggering attitude throughout. Other highlight tracks include ‘Domestic Blitz’, ‘The Great Believer’ and ‘Learjet’. This album is a boatload of fun and if anyone is into rock or funk at all you’ll love this. 9/10

Features, Interviews & Features

Tenille Arts: ‘Hopefully next year will be so busy I won’t even have time to breathe!’

We had the chance to chat to the amazing Tenille Arts back at The Long Road festival a couple of weeks back. Check out as we talk about the scene, her plans for the future, and the origins of her debut single!

Firstly, what got you into the country scene?

I mean, growing up, that was what we listened to on the radio. I’m original from Canada and a lot of the music was country. And my family were farmers, so a lot of it resonated with us. And the storytelling and all that, I just thought it was so cool. I was about 15 years old when Taylor Swift came out and she was writing her own songs and all of that so that’s when I got into guitar. I think it sparked a thing. I’d always been writing songs but I’d never actually been able to play them before so that really sparked it all for me!

And you got scouted out quite young, right?

I did! At 15. I’d just learnt guitar and somebody from Nashville asked me to come down and start working with them and start writing real music, going in with actual songwriters. Learning the ropes. So yeah, I got involved very early!

So your first single was a charity one, how did that come about?

So, growing up I was a dancer. I worked for this dance company and this girl, I think she was four at the time, and I was assistant dance teaching, just working with the kids. Helping wrangle them mostly! And one of the parents of this girl came up to me and said ‘we heard you’re a singer, would you like to perform at our charity event?’. And I said sure, what’s it for. They said Cystic Fibrosis and that was something I’d never heard of before, I had no idea what it was. And I did my research and came back and said I absolutely want to be involved in this.

Later on throughout playing at their shows for a while, I was connected with a lot of the CF community in Canada and over here actually, too. The song that I recorded was by Matt Scales. He unfortunately passed away due to Cystic Fibrosis but he was an artist and he wrote this song. I recorded it and put it out with all the proceeds going to CF research and all of that. That was the first thing that I ever got to do and it was incredible. And it’s still out there if people want to donate or be a part of that.

Check out our review of the festival here.

And you’re on tour over here at the minute, right?

Yes, this is actually my last show! Caylee Hammock and I were doing a co-headline tour in the UK. So we did three dates together and then I’m playing today and she’s playing tomorrow. So yeah, it’s been really fun. It’s been a little bit of a whirlwind. This is probably one of my quickest tours over here. We arrived at like 9am the one morning and had a show that night so it’s got a little wild. But we’re good!

And can you make any comparisons between the scene over here to the North American scene?

I love it over here. I love playing small clubs and things like that, especially over here. I will compare the UK to Canada; it’s a very respectful audience. They learn your songs and all of that. Some of the time you’re not even sure if they like you and then they give you a standing ovation! They’re so respectful vs the US where they have so many people playing all of the time, I feel like it’s kind of brushed off sometimes. They get a lot of music all the time. Once in a while there’s obviously some amazing shows over there, and amazing fans and superfans, but here it’s different. And I love it!

You put out a single at the start of the year, is that a standalone release or part of something bigger to come?

So I put out a song called ‘Jealous of Myself’. Then I added LiAnn Rimes to the record, which is really cool! Then I put out a song called ‘Summer Don’t Go’, and we have another one coming out before Christmas. Then, hopefully a full album by January/February. I’ve already written and recorded everything, everything’s ready to go. I’m excited, but it’s all of the extra work that comes with it after that now. It takes a long time. Working on visuals and stuff like that now.

And the rest of the year looks pretty busy for you?

Lots of shows, lots of fun things and obviously trying to fit in finalising the record so I might be away from shows for a little while. Just making sure it’s everything I want it to be. Then I’ll go back to Canada for Christmas and then hopefully next year will be so busy I won’t even have time to breathe!

new music mondays

New Music Mondays: Puddle of Mudd, Saliva and More!

A pretty crazy week for new music! Who’d have thought that in the same week of 2023 we’d get new Puddle of Mudd, Saliva and Mustard Plug? I certainly didn’t, but here we are! Join us in checking it all out!

Puddle of Mudd: Ubiquitous

Joe: I know, I can’t believe it either. Wes Scantlin’s problematic project is back with its first album in four years. It’s also the first since that Nirvana cover went viral. I have to admit that, like most others, I have only really listened to their debut album. It’s good, too! And, though I’ve heard the rest of their discograph isn’t nearly as good, in truth I simply haven’t had the time to check it out and form my own opinion.

Until now…

I understand what people mean, now. ‘My Baby’ is a terrible opening track. Wes sounds almost as bad as he did in the video above, and the track itself is basic, sleazy, bad-Buckcherry levels of writing. AND THAT’S THE SINGLE. The rest of it is arguably worse. ‘Dance With Me’ is a horribly transparent attempt to recreate the success of ‘She Hates Me’. ‘Cash & Cobain’ and ‘Butterface’ are terrible attempts at a country-rock tracks. ‘Candy’ is a somehow-worse-than-Gallagher sung Oasis rip-off. ‘Man in the Mirror’ is like when people write piss-take Alanis Morrisette songs and try to do her voice, except this is clearly deadly serious.

Scantlin’s voice is shot, and even if any of the tracks were good, he’s ruin them with his vocals. However, there isn’t a good track in 11 of them. In more than one there are even uncomfortable levels of misogyny, with none of it seeming tongue in cheek. Avoid this album at all costs. 2/10

Saliva: Revelation

Joe: It’s always odd when a band have no original members left. After the devastating passing of guitarist Wayne Swinny back in March, many expected it to be the end of the band, or for them to at least change Joe: up. There had been talk of Josey Scott returning to the fold for a tour and even a new album, confirmed by the man himself. However, since Covid left things up in the air, that doesn’t seem to be going ahead any more. He did a special guest appearance with the band last year, but is set to tour solo playing Saliva songs, while the ‘band’ carry on on their own tour. Still, this album is said to be in honour of Wayne, and have a lot of his work on it, so I’m at least curious as I have been a big fan of the band in the past.

It’s pretty much exactly what you’d expect from a 2023 Saliva release. Big riffs, some catchy, fun vocal hooks yet ultimately lacking that anger and something special that propelled them quickly to the top early in their career. It’s the same vein of radio/butt metal as Skillet is, minus the new-found preaching. The same inoffensive, fine, average US hard rock that has been around for a good decade or so. None of it is ‘Always’ or (the albeit silly) ‘Click Click Boom’ or the greatest wrestling song ever (sorry Alter Bridge) ‘I Walk Alone’.

And this isn’t even me hating none-Scott stuff. I was a big fan of Love, Lies & Therapy when it came out, with ‘Breakdown’ being one of my favourite ballads of all time and one that has personally gotten me through a lot. But nothing on Revelations stands out to me. It’s nothing that hasn’t been done before, by the band themselves or their peers.

I have to admit, out of all of it, tracks like ‘Crows’ and ‘Warzone’ are at least standout tracks on the album. It’s just far too bland for me in 2023, there are a hundred albums that sound exactly like this. But hey, it’s not bad. I feel like I’m being harsher because of how much I was raised on the band and this style. If you like the genre, I’m sure you’ll find yourself enjoying it somewhere! Hell, at least it’s a fitting send off for Wayne, in the sense of it’s very Saliva 6/10

Mustard Plug: Where did All my Friends Go?

Joe: We don’t cover enough ska on this page. Heck, the 4th wave of ska hasn’t quite taken off as much as I’m sure the fans of the genre have wanted, so the legends of the previous wave don’t seem to be putting out music as regularly as one would hope. So, for genre mainstays Mustard Plug to put out their first studio in nine years is a pretty big deal!

Honestly, the band pick up right where they left off, too. Their blend of Madness, Goldfinger and Mighty Mighty Bosstones is more than welcome to my ears, and the band are clearly still out, in the major part, just to have fun. It’s an element of music that has been largely lost in rock the last decade or so, and it needs to come back in a big way. This album is definitely an enjoyable listen; the horns and ska guitar making it near impossible not to dance to. And the band are on top form still, too. I’d put tracks like ‘Vampire’, ‘Another Season Spent in Exile’, and ‘Which Way is Up?’ up there with any of their big older tracks.

I really hope it’s not another big gap between this album and the next. They are such good songwriters it’d be a shame to have to wait so long again. Still, I’ll be listening to this album a lot in the coming weeks and months, and I’d recommend it to any fans of the genre! 8.5/10

Ashley McBryde: The Devil I Know

Joe: The recent country icon returned this past week with her fourth studio album. The counterpart to last year’s concept album, Lindeville, both were written at the same time and definitely feel similar and linked in that regard. It’s a lot more of a traditional country album, though, talking about life on the road, beer, trucks etc instead of building a new world. I have to admit, while I preferred the more interesting and collaboration heavy previous album, this is still a damn good release.

Tracks like the opener, ‘Women Ain’t Whiskey’ and ‘The Devil I Know’ are all big highlights. However, there really isn’t a bad track on the album. It’s paced well between slower and more upbeat tracks, holding my attention throughout. And for once it wasn’t too long, rare for a country album! Again, I just found her last album such an interesting breath of fresh air for a country release, it’s a slight shame she’s gone back to the status quo with this one. Still, 8.5/10, good stuff!

We are Sovereign: Step Out Your Comfort Zone

We’ve already covered this awesome album! Check it out here.

Kvelertak: Endling

Joe: Now, I love a good long, proggy intro. However, ‘Krøterveg Te Helvete’ takes the piss just a little bit. Well over three minutes of the song, almost half of it, before we reach the main riff. It’s a tad insane. The rest of the track then also turns into more of a crossover thrash/hardcore rock track than the epic, more folky power metal thing the intro hinted at.

I remember first checking out the band when they were announced as Metallica’s support a few years ago. I didn’t get them then and I still don’t really get them now. However, I like the description black ‘n’ roll, and think it really is the perfect sub-genre for the band. It’s hardcore punk with somehow a hard rock and dark metal edge to it. I totally get why this sort of music would appeal to people, it’s weird and different and heavy and bouncy at the same time. However, it’s not something I’d listen to outside of this site. The title track is probably the closest I got to enjoying a song of theirs and finding it a highlight, so if you’re unsure start there! Sorry to any fans out there, but in my personal opinion it’s a 4/10

Wax Mekanix: Psychotomimetic

Charlotte: ‘Psychotomimetic’ by Wax Mekanix offers a modern take on the clean, classic rock sound without compromising the authenticity and grittiness of the genre. The album is perfect for the general rock fan, offering easy-listening tracks with just enough balance between the powerful opener with ‘Pillars of Creation’ and the melodic end with ‘Look at You Now’. 8/10

Sylosis: A Sign of Things to Come

Max: So as always, Sylosis has released a very technically excellent and heavy album that has punchy guitars and vocals whilst having the more melodic solos that the band is known for. It is difficult for me to say exactly what makes this band suitable as there is always just a feeling that I get whenever I listen to them which can’t really be summarised in words. But, this album definitely gives that feeling again.

All this being said however, there is definitely a more pop/commercial feel to a number of the songs and they seem to depart from the normal Sylosis sound and instead seem to go for a more memorable riff that appeals to a wider audience. Whilst I understand this sounds like a criticism, I don’t mean it as such. Rather, it is just something of note. I still found this album just as, if not more, enjoyable when compared to their other albums and I would definitely recommend listening to this. overall. 8/10

Angel Du$t: BRAND NEW SOUL

Joe: Despite the cringy band name and album title, this was actually alright. The Turnstille and Trapped Under Ice-featuring supergroup are as generic indie pop-rock as they come, but it certainly isn’t poor quality. It’s like the Saliva album but for indie music. You’d maybe expect slightly more from artists also in pretty big bands, but then again I’m hardly the authority to listen to when it comes to indie stuff. It’s good music to just stick on and relax to while doing other stuff. However, saying that the riff in ‘Love Slam’ goes pretty hard, the whole track having more of a Soundgarden feel than anything else. It’s definitely my favourite track on the album. ‘Space Jam’ is also punk rock awesomeness.

It’s a weird, fun album, and it’s also so nice to have one under half an hour! After so many long country albums or prog tracks recently, it’s nice to have 13 radio-length tracks and then to be done. And all the collaborations, though I have no idea who any of them are, all do a damn good job on their tracks. So yeah, a damn good summer-relaxing album, but with a few surprising tracks thrown in that are different and keep you guessing. 8/10

Starmen: Starmenized

Charlotte: Starmen’s fourth album, ‘Starmenized’ (yes, I’m not making it up), offers ten new tracks, drawing on inspiration from 70s and 80s rock heroes. The Swedish band have produced a replica of glam rock classics, slick guitar licks and powerful vocals. Whilst their music is enjoyable, my new favourite thing about Starmen is their stage names – Starman Red, Starman Gold, Starman Purple and Starman Silver. Ridiculous power-rangers or clever PR trick? Either way, they aren’t afraid to stand out. 7.5/10

Lowdrive: Rise

Joe: Another local band, this time from Sheffield. I had the pleasure of seeing them when Overtone was first starting up at Rockin’ the Bowl (review here), so to be able to review the new album of theirs is pretty special!

The bands more stoner/doom Alice in Chains mixed with Corrosion of Conformity sound is amazing as ever. The other thing I noticed was the jump in production quality. The mixing on the album is top notch, and every instrument sounds clear and awesome. The riffs are amazing and honestly the vocals fit it all perfectly. It also reminds me a lot of another local band, Syncolima. I’m so glad this sort of sound is making a big comeback in a big way in the local metal scene.

Highlight tracks include ‘Rise’, ‘Blood Sacrifice’ and ‘Shield Wall’. But honestly, the whole album slaps. If you’re into any of the aforementioned bands, check these out. Even if you’re not, check them out anyway. They’re awesome and they deserve it! 8.5/10

Egokills: Self-Titled

Joe: Now, upon reading the description that we were sent of the band, I have to admit I didn’t really know what ‘hippie metal’ was. After listening to the album, I still don’t think I understand! However, it’s a damn good album. I have to admit the opening track didn’t really hook me, but damn, the bluegrass-metal ‘Life’s a Party’ is incredible and sold me fully on the band going forward. Then ‘Sweat’ is a Chevelle mixed with Bad Brains masterpiece, while ‘Feeble’ is sludgier, heavier metal awesomeness.

There are so many different styles throughout the album, from doom to metalcore and black metal, to grunge to the aforementioned bluegrass, and the band transition and blend all these styles effortlessly. It keeps the album constantly interesting and entertaining. The more I listen to it, the more I love it. There isn’t a bad track on the album and there’s something for just about everyone on it. It’s catchy, epic, dark, heavy but also fun all at once. I honestly can’t say enough good, I could gush about it all day. It’s definitely going to be up there in the discussion for top album of the year when December rolls around! 9.5/10

Features, Interviews & Features

First Time Flyers: ‘We’re just getting started really!’

We had the pleasure of sitting down with the awesome First Time Flyers at The Long Road festival last weekend. Check it out as we talk about their sound, the scene and their plans for the future!

You guys were in individual projects for a while, what made you want to get together to form this project?

Jake: Money.

Poppy: Simon Cowell!

Tim: As you say, all solo, but just through the nature of our work, we’ve all written together, performed together, I’ve produced stuff for the ladies and a track or so for Jake. We’ve also played in Jake’s band. So between all of that we’ve known each other and of each other for so many years. It was actually Jake who suggested it to me. That we should do it as a four.

Jake: He was reluctant, not gonna lie!

Tim: He just wanted to share fuel costs! But I said what could go wrong starting a band?

Vicki: And then we got involved!

Jake: I think when the idea came about we always wanted it to be very harmony-heavy. There’s something about two guys and two girls that’s so rich when you get that vocal blend together.

Vicki: And now we are a four and we are no longer individuals!

And just how did four people from the UK come together to form a country-inspired band?

Vicki: I think country is a guilty pleasure of a lot of people. They just don’t want to admit it.

Jake: I also just don’t think they know that they’re listening to country!

Poppy: Country is storytelling and instruments and great singing. I think we’ve all loved country music as individuals and now we’re doing this. I wouldn’t say we’re strictly country, we write what feels good and sing what feels good. But we’re hugely influenced by it.

Tim: It’s always the harmonies that make it come back round to that.

Poppy: And the stories in the songs. We always pull that from personal experience and that’s such a country-heavy thing as well.

Check out another interview from the festival here.

A couple of you have worked in the US before; are there any comparisons you can make between the scene there and over here?

Jake: I did a lot of writing in Nashville. It was great fun. You learn so much because they’re just so quick! You can’t hang about when you’re writing with the Americans!

Tim: For me, the stuff I did in America was really bucket list stuff. I was very fortunate at the time to do a couple of shows at the Oprey and the Ryman. It’s mad. It almost feels like a past life it’s so surreal.

But the performing side of stuff doesn’t feel any different. I think there’s just a special feeling when an American audience embrace you. They can be quite territorial about country music.

Poppy: It’s so embedded in their culture to like country music so in a way it’s like, you have so many people who love it, are they gonna get into it.

Tim: I think we’d have fun out there! We will have fun out there.

Poppy: We should and we would!

What’s it like to be a part of this boom of country music in the UK?

Vicki: Yeah, it’s wonderful! I’ll play any festival.

Poppy: You [Vicki] have always said a lovely thing in that you think there’s not many fans here and then you watch someone like Lady A.

Vicki: Yeah, basically, like we were saying earlier that country is taking off but people are scared to admit it. Then you go to these festivals and you’re like ‘where have you been hiding?! Where do you live the other times of the year?’. You just don’t hear of these people. And when you do headline gigs or whatever, we’re very fortunate that we have people who come out and support us and will follow us round, but then there’s all these other people who will go to C2C and the Long Road and there’s SO many more people into it.

Tim: How do we make them regulars!

Poppy: And that’s the cool thing about being in the scene. I think a lot of people think there’s a ceiling in the UK scene but it’s constantly bigger and bigger and bigger.

And obviously you’ve put out a handful of singles now, is it building towards a larger release?

Poppy: We have so many goals! With us, it’s always building to something!

Tim: Honestly, I think we’re quite flexible with what we’re doing, because we’re not tied to a label or anything. Because we worked together really hard before we actually launched in January, we have such a backlog of songs we can put out in any order depending on what we’re aiming for. It’s nice to have that freedom to do stuff. We’re happy to go with anything.

Poppy: And we’re just getting started really!

Is the plan to stay as an independent artist for now?

Tim: I think the beauty of what we do is… it’s this, it’s the live stuff. We love playing in front of people. We love collaborative stuff that isn’t just us sat in a bedroom recording. Yes, you have to do that sometimes, for monetary reasons usually, but because we are so flexible we are open to meeting people. I think those sorts of things happen when you aren’t looking for them. It’ll happen when you least expect it. If the right thing comes along absolutely, we’re ready for it.

And you guys are on tour this month, is this the first time you’ve toured together as a band?

Jake: As a band, yeah.

Poppy: Yeah, well this is our eighth gig as a band! And we have five more. We’re hitting big number 10 this weekend, and then that tour will rack us up to gig 16.

Vicki: That’s actually ridiculous when you say it out loud!

Poppy: This feels like a mini-tour though as we’re together all weekend. We’re so excited.

Tim: We also have a tendency to go away on week trips to write, so they always feel like mini-tours too. We know we vaguely get alone.

And what was it like playing Hyde Park?

Vicki: Mental!

Jake: Unreal.

Tim: We found out pretty late on, as well. It wasn’t much. They do historically leave it quite late sometimes! But we’re glad it was us, for sure. That was a special day!

Do you have an goals you want to hit in the next say five years?

Tim: Talk him through the box, girls.

Vicki: You tell him about your box Poppy!

Poppy: I ordered us a box saying ‘The Adventures of First Time Flyers’ and I got us loads of bits of card and we wrote down what we wanted, and a little reward inside it, and we filmed it. Actually, the first one we opened was BST. And that was a nice little video that went out, it felt like a real moment for us.

We have so many goals. Sell out this tour would be the immediate one. Collaborate with artists, play big festivals, play a support tour would all be absolutely awesome.

Tim: There’s a nice one of playing ‘that’ gig. Where we feel like it’s the pinnacle kinda thing. And that could be today. We don’t know.

Poppy: We have so many big goals, and I think that’s why we’ve had such an exciting year so far. And why it’s not going to slow down.

Jake: We are four very driven people. I think that sort of eggs us on a bit. It’s so much fun. I didn’t have to spend eight hours in a car going to a festival last weekend by myself! It was awesome!

new music mondays

New Music Mondays: Polaris, Phil Campbell and More!

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A less busy week of new music this week, but still plenty of high quality music. Join us in checking it out!

Polaris: Fatalism

This is the best metalcore album of the year so far. Heck, I’d say it’s honestly one of the best modern metalcore albums. I’d put it up there with the likes of I Prevail, Wage War and Ice Nine Kills’ latest releases. Honestly, the genre currently is in a bit of a resurgence, and is looking massively strong and hopeful which is amazing. The 3rd wave of Metalcore(tm) I’m dubbing it. So, for Polaris’ third album to stand among the others is fucking awesome. Especially given the rocky year they’ve had.

The opener, ‘Harbinger’ is not only the perfect slow-buildup track, but (as the name suggests) is the perfect indicator of what to expect from this album. From the slower, melodic clean first half surrounded by modern synth sounds, to the crushingly brutal ending filled with screams and huge riffs. It tells a story on its own, never mind how it sets up the rest of the album.

Speaking of which, the album is filled with highlights and awesomeness. Tracks like ‘Nightmare’, ‘Parasites’ and ‘Inhumane’ are standouts to me, but honestly the whole album is banger after banger. These guys are going to be huge in the next couple of years, and a lot of it thanks to this album! 9/10

Phil Campbell and the Bastard Sons: Kings of the Asylum

We’ve already covered this awesome album! Check it out here!

Larry Fleet: Earned It

Owen: Traditional sounds coming out of Tennessee, Larry Fleet’s latest release Earned It is a strong selection of straight-cut country tracks. Some might listen and say this album hits a lot of stereotypical notes for the genre, but there’s something more to these songs. Fleet sings about family, Jesus, hard work, and beer, no surprises so far. As he says in the fourth track 25-8 “Jesus, Mama, Football, that’s bout all we know around here”. But for all the pitfalls of these themes being overused in modern country, Fleet somehow pulls it off well. For it to become cliché there must be
certain amount of truth and clearly this is how Fleet was raised so write what you know I guess?

Despite some repetitive themes 21 tracks made it onto this album and it did feel a few too many. Some songs blend together and fall into the background when listening to the album in full. A late day stand out for me was ‘Devil Music’ where Fleet talks about a rebellious stage of childhood exploring rock and metal music. A country anthem referencing AC/DC, Led Zeppelin and The
Rolling Stones, where the chorus thanks God for the Devil’s music, what’s not to like? A few good songs hiding amongst a majority of filler country-radio, inoffensive in the background
on a long drive. 6/10

The Paper Kites: At the Roadhouse

Charlotte: Indie-folk band Paper Kites haven’t released new music since 2013 with their album ‘Woodland’, so the release of ‘At the Roadhouse’ is a long time coming for their fans. With storytelling at the heart, it’s easy to get lost in their romantic, easy-listening style. Offering 16 new tracks, ‘At the Roadhouse’ elevates the traditional folk sound with a warm, wholesome sound that transports you like a day-dream. 8/10

Primal Fear: Code Red

Joe: The German power metallers are back with their 14th studio album. Forming in the booming European scene in the 90s, I’m shocked this is the first I am hearing of them aside on the odd Wacken poster. Honestly, they’re pretty decent! The opener is great and followed up perfectly by ‘Bring that Noise’, which is a definite album highlight! I see now why frontman Ralf Scheepers tried to replace Rob Halford, this is very Judas Priest!

I have to admit though, as good as this album is, I feel like modern power metal has overtaken it in recent times. I don’t know if it’d the general consensus, but I personally prefer stuff like Powerwolf or Angus McSix to this. However, it is very Painkiller, which will definitely keep me coming back for more than just the one listen. Other highlights include ‘Deep in the Night’ and the epic, Maiden-esque ‘Their Gods have Failed’. 8/10, this was fun and definitely grows with more listens!

Soen: Memorial

Joe: The prog metal Swedes are back with their sixth album. I have an odd relationship with this band. The first time I’d checked them out was when we covered their ATLANTIS album last year (check that here). I didn’t realise until we were checking them out ahead of Graspop this year that it wasn’t a full release, instead being a semi-live album backed by an 8-piece orchestra. Heck, the fact that it was recorded without a crowd made it so I didn’t even realise it was live and old tracks! So, unfortunately I wasn’t a big fan of their actual studio stuff when I checked it out.

However, I fucking loved this album! While the opener didn’t hook me immediately, I found myself ‘liking’ almost every track after that on Spotify. I usually use it to know which to put on the playlist, so you’ll have to check it out here to find out which of them actually made the cut! However, the almost Gojira-like riffing in ‘Violence’ was amazing, as is the beautiful duet ‘Hollowed’. Also, ‘Incendiary’ is one of my favourite tracks of the year from any act!

I love the depth of the music throughout. They seem to have taken what worked with ATLANTIS and used it in the studio, creating a really interesting, massive sound throughout the album. If this is how they’re going to sound live in front of a crowd, I have to see them soon. 9/10, damn this was good!

Lord of Shadows: Echos of Yore

Joe: A shorter release than most, the gothic doom band put out just seven tracks for their latest release. It is still 42+ minutes though, as there are some longish songs here. And it’s one hell of an interesting listen. It’s definitely epic, and rolls between beautiful, quiet gothic rock and extreme doom metal pretty seamlessly. Plus, the fact that each track has so many amazingly talented guests on it is a massive plus, as it gives the whole album a diversity to it, despite it all being a similar sound.

Those who are regulars here at Overtone know that I have a very up and down relationship with extreme/black metal stuff, and somehow I have that same relationship throughout the whole album. I prefer the cleaner stuff, but some of the heavy stuff is good too. Some of it isn’t really my thing. However, the general feel of the album, especially with the more poetry-based narrative, is amazing. Those who are into the ambient black metal side of stuff, this is definitely worth checking out, just to see if you like it. I feel like it’s very much Marmite music! 6/10, it’s worth checking out!

Escape the Fate: Out of the Shadows

Joe: This band have been releasing music for nearly two decades now. Man do I feel old. Though I admit I was never much of a fan of the band growing up, nowhere near as much as some of my friends and peers anyway, they dud have a few good songs here and there. However, I always find myself preferring the current and former members of the band’s other projects more. Whether it’s Blessthefall, Beyond Unbroken or the awesome Falling in Reverse, every other band just seems to grab my attention more.

This album is the perfect example of why this is. It’s fine. As an early 2000s metalcore/post-hardore band putting out an album in 2023, it’s exactly what you’d imagine. But that’s my issue: nothing stood out. It’s like they heard out good Motionless in White’s album was last year and went ‘let’s do that!’ but then in the process lost what made that album special. When these days we have awesome modern albums in the genre from the likes of MIW, Ice Nine Kills, and Crown the Empire, this just kinda falls as almost radio static.

If you’re a fan of the band you’ll probably still enjoy this. However I struggled to find stand out tracks, it was all pretty much on the same level. 4.5/10

Speedy Ortiz:

Charlotte: Speedy Ortiz welcomes her touring bandmates with fourth studio album ‘Rabbit Rabbit’. This album nostalgically transports you to a 90s/00s indie-rock soundtrack with bright vocals, catchy riffs, and upbeat-dance beats. I recommend this album to anyone looking for an indie-rock change of pace, youthful energy and that overall optimism occasionally missing from the indie-rock genre. 8.5/10

Reviews

The Long Road 2023: The Big Bad Review!

So, after heading down last year and having an absolute blast, we knew immediately that we’d be heading back to cover it this year. And, this year was the exact same. One of the best weekends of the year, surrounded by some of the best people and checking out some awesome bands and artists. We even got to interview some (more on that later)! But, what did we think to the music of The Long Road 2023? Read on to find out!

The first act we managed to see was Mikaela Finne on the beautiful Front Porch stage. She was the perfect opener for us, too. Her voice was absolutely incredible, powerful yet amazingly controlled. And her talent for songwriting was off the charts. She truly deserved the pretty massive crowd she had, and everyone was clearly hanging on her every word.

Next up were possibly the fastest rising band in the world, First Time Flyers. Only debuting as a band at the start of this year, and this only being their eighth gig, the hype around them is massive. Yet, not only have they gotten themselves a high slot at this festival, but also have a pretty big tour scheduled next month and even supported The Boss himself at BST earlier this year. Heck, I’ve been a fan of theirs since their first single and have been impatiently waiting for this set.

Check out last year’s review here.

They did not disappoint at all. The sheer talent of playing, singing and songwriting in this collection of four is insane. The harmonies are of course the highlights, giving off big Fleetwood Mac vibes. Heck, they even played part of ‘The Chain’ as I’m sure a nod to that fact. However, each individual voice is also amazing in its own right, and as I mentioned, their songs are amazing too. From ‘Happier’ to ‘Gold’ to ‘Just Friends’, I’d say it already rivals a lot of bands’ back catalogues that have been going considerably longer. And the packed out crowd at the Interstate stage ate up every second of it. The band are going to only go up from here and I’m sure will be absolutely massive sooner rather than later. And this set confirmed that.

After that we headed back across to the Front Porch for local band and crowd favourites Gasoline & Matches. Having been fans at the previous years of the festival, and only being from down the road in Birmingham (as well as being excellent of course), the crowd were pretty familiar with the band, and it was once again packed. And rightfully so, as the band were excellent.

Playing through their back catalogue of great country-rock singles to an adoring crowd is the perfect recipe for an awesome time. However, add in the sexiest of saxophones on top of half of it and damn, they win. They just win. If you ever get the chance to see the band I would recommend it highly, they put on a real special show and sound pitch perfect live. Another band that are going to be huge in the years to come, I’m sure, though they already have their roots deep in the scene!

Next up was the night’s headliner, the fantastic Tenille Townes. The consummate professional put on one of the most polished sets of the weekend, in the best way possible. The Canadian star shows off not just her talent but also experience as her and her band tear down the house with an amazing set. From plenty of awesome originals to surprising covers like Alanis Morissette and Melissa Etheredge, it was a perfectly long, packed set of bangers. Also, her emotional ballads, one with Bryan Adams on track and ‘Jersey on the Wall’, had the tent in tears and were both a particular highlight. Being one of the best frontwomen in the business right now, Tenille had everyone in the palm of her hand through her entire set, and it was a fitting headline slot for sure! Another one I would highly recommend seeing next time she’s close!

We were also treated in the after-show to a second setlist by the amazing Tim Hicks. I was gutted when his set at Buddy’s Good Time Bar clashed with Tenille, so getting to see him afterwards, albeit a little more briefly, was such a relief. While he didn’t have his full band with him for the festival, it was still a damn fun acoustic set that rounded off the night perfectly. Opening on recent single ‘Ye to the Haw’, it got the crowd moving and boogying aplenty. Then, whether it was stuff from his Campfire Troubadour collection or some of his hits, we got a whistle stop tour of some great songs. It’s a shame he didn’t have longer and a full band, and fingers crossed I can see him with both soon!

Day 2 ->

Reviews

The Long Road 2023: The Big Bad Review – Day 3!

The Sunday of The Long Road was once again STACKED for us, lineup-wise. So, just to warn you, there’s going to be lots of gushing on this last page.

The first band we saw on the Interstate were honestly phenomenal. Holy Moly and the Crackers are so much better live than on track, and that’s saying something as they are really pretty good on track! They have a bit more of a folky, bouncy feel to them live, while on the tracks it feels a little more hard rock and grungy. Neither sides of the band are bad, but the energy they give off live is infectious and outstanding.

For a smallish band that aren’t too close to the typical music style on the third morning of the festival, they had a pretty busy crowd moving dancing along to every song. And, considering they had a frontwoman who, while massively charismatic, can’t move around quite as much, it’s one hell of an achievement. I’ve been listening to them a lot since I got home, and will definitely be getting tickets to see them again on their tour in November!

After that we headed to see another fast rising country star, Alana Springsteen. I’ve been a fan of her since she was announced, and her album that was released the other week was pretty damn great. Much like a lot over the weekend, she lived up to my hype of her and then some! Much like a fair bit of the big stuff on the bill, it’s the usual female-led pop country. However, it’s done so well, and Alana has one hell of a stage presence about her.

Rattling off some of her big hit singles, as well some great album tracks from TWENTY SOMETHING (and saying the word tequila a potential record time in one set), it was one hell of a set. She’s already on track to be a huge name in the scene, and live shows like this are definitely going to help. Also, shoutout to her British session players, who smashed it.

On our way over towards the Interstate we stopped and caught a fair bit of Laketown. Though I wasn’t really familiar with them at all going into it, I really enjoyed them. It was also nice to see another full band on the Front Porch, especially when it was so many solo acoustic acts on it last year. The three guys put on a fun show and definitely won me over!

Then it was another duo I was hugely excited for, The War and Treaty. To say they lived up to the hype would be a massive understatement. Honestly, this was more an experience than a live set. I don’t think they were expecting the kind of reception and packed out crowd. They clearly got rather emotional at one or two points during the set. However, it just made the crowd response that much greater and willed Michael and Tanya on even more.

Their voices are absolutely incredible and pair together perfectly. I’ve not really heard any soul live and this was the very best way to introduce me to the sound. The whole band did incredibly behind them, but the couple were on a level above all others. It was the loudest I had ever heard that tent be, and it’s my favourite set of the weekend. I LOVE this band!

It was back over to the main stage after that for the amazing Caylee Hammock. Another woman who I have been a fan of since the announcement, she put on a great show and sounded amazing live. Her slightly lighter, more folky spin on country went down a storm with the crowd, and her voice was hauntingly beautiful at times. ‘Just Friends’ and ‘Family Tree’ were personal favourites, but the whole set was great!

TikTok sensation Breland was up next. Honestly, this could have easily headlined the festival, and he certainly treated it like a headline show! Bringing out guests to sing duets with like Alana Springsteen and Kezia Gill was a lot of fun, and the crowd loved both. Between that and rattling out crowd favourite after crowd favourite, it was a truly awesome set. And, just like War & Treaty, it really enhances the experience of a show when the artist is clearly enjoying themselves too. Breland was having a blast here. I cannot pick a single fault with his set, and he’s a born performer. He’s another that is going to be massive sooner rather than later.

Folk superstar Sierra Ferrell was next on the Interstate stage. A packed out tent greeted Ferrell as her and her band took the stage, and despite some early technical issues the set was clearly a hit with the crowd. Opening with a new track ‘Making My Way’ the group then dived into some larger hits from Ferrell’s debut album Long Time Coming released in 2021. Six tracks in and we are given another new unreleased song called ‘Fox Hunt’, for which Ferrell drops her guitar in exchange for a violin as does one of her band members. ‘Fox Hunt’ is a foot-stomping anthem honouring ancestors that had to hunt for survival, keep an ear out for this one when it does get released.

Festival sets can always be a bit tricky, its a fine balance between playing to your dedicated fans that are there for you and those in the crowd that are experiencing your music for the first time. The mix of new tracks, old
tracks, hits and a cover played to all parts of the audience and I doubt anyone came away from this set not counting themselves a fan of Ferrell.

Shane Smith & The Saints were another HUGE highlight of the festival. I’m a big fan of the band and have been watching a lot of their live performances in the leadup, so knew what to be expecting. However, hearing the band being this good live and in person is still mind-blowing. His low, raspy voice is incredible, and complimented perfectly by the rest of the band behind him. And every single one played their hearts out, putting on one hell of a performance. No wonder they’re getting massive in the US, and fingers crossed that success will now follow them across the pond!

Check out our interview with Shane here.

Next up was the bittersweet Sunday headliner, Cam. The last minute replacement of Jon Pardi (who dropped out of his whole European tour the week before because… reasons?), there was a whole heap of pressure on the woman. You wouldn’t have guessed it at all, as Cam smashed it out of the park. Honestly, I think this is a lot of people’s set of the weekend. She is a festival alumni, having played back in the before times, so having a lot of the crowd familiar with her and already a big fan certainly helped.

However, Cam certainly brought it as well, putting on an effortlessly spectacular performance. I laughed, I cried, I sung along, and had the time of my life. She’s another artist that I’ve listened to nearly non stop since I got home, and for good reason. I think it’s the best headline set I’ve seen in the two years I’ve been going. ‘Diane’ is one of the best experiences I’ve ever had live. I really hope she tours over here again soon, as I’d recommend her to anyone!

The final after show act was the awesome Megan Moroney. I hate the fact that this was the first chance I had to see her over the weekend. And I heard she was very good on the Rhinestone stage earlier in the day. However, between interviews and clashes, we just couldn’t make it happen. Much like a lot of this review, hopefully she tours over here so I can see her properly!

However, just in the brief acoustic after show set we saw, she was amazing. Her voice is incredible and her songwriting talent is off the charts. I’m a big fan of her last album and LOVED everything she played off it. She’s another natural performer who had the crowd in the palm of her hand throughout. A damn good way to close out the festival!

And there we have it, folks. Another fantastic year of The Long Road festival under our belts. One of the best weekends ever, and we can’t wait to do it all again next year!

<- Day 2

Reviews

The Long Road 2023: The Big Bad Review – Day 2!

We started off our second day at The Long Road seeing the amazing Tyler Booth over at Buddy’s. Just like Tim Hicks the night before, he was absolutely great, but man I wish he had his full setup and band with him! His voice is utterly incredible, even for a country singer, and his songs translate well over to an acoustic sound. The fun and bounce of the tracks still remained with the stripped back setting. And the crowd loved it, especially for pretty early on! His ‘Keep it Real’ EP is out mid next month and it’s definitely something we’ll be checking out here at Overtone!

After Tyler it was over to the Rhinestone stage for the wonderful Megan McKenna. The first thing I have in my notes is how good the sound was for the set, and honestly it was a running thing throughout the weekend, and not just on the main stage. Even when some of the heavier-handed drummers hit the stage and things got loud, everything was clear and well mixed. Massive props to everyone working sound over the weekend!

Check out more country here.

Back to Megan, though, it was an amazing setlist. Skirting the line between modern pop-country and a more traditional, almost Dolly Parton sound, it was the perfect backdrop to open the Long Road ‘s main stage. It was a really fun show and honestly one of the highlight sets of the day for me!

We headed back over to Buddy’s then for Beaux Gris Gris & The Apocalypse. The band were just as interesting and fun as their title, too. A more blues, soul soaked Americana sound was a great change of pace from the more pop country that we’d had so far in the day. The crowd, though they didn’t seem as knowledgeable of the band as others over the weekend, responded really well to them, too. I’m definitely going to have to check out more of them as the band have a new fan in me!

Then we hightailed it back over to the Rhinestone stage for Jackson Dean. I was pretty excited to see him, and he didn’t disappoint at all! His voice is somehow even more impressive live, which is really saying something. And his darker edge to the country sound is really fantastic, and translates perfectly to a big stage setting. Plus, being a primarily a heavier rock fan, it of course worked for me! Honestly, for someone who is still relatively new to the scene to be this polished and well rounded is impressive. He is already getting huge, but he’s going to be a megastar if this performance and sound is anything to go by. Hopefully next time he’s over here he’s on a bit later and can put on a bit more of a show!

Sadly we couldn’t catch the final couple of Jackson’s track as we headed over to the Front Porch. There was no chance we were missing the incredible Gabe Lee! One of the hardest working people in the genre, as well as being possibly the most successful Asian American in country, Gabe Lee has exploded onto the scene and gotten bigger and bigger with each passing year. Now on his fourth critically-acclaimed release, Lee played a great selection of songs throughout his career. His unique blend of folk, Americana and honky tonk suited the Front Porch so well, and the crowd lapped up every second.

My only slight comment, much like Jackson before, is that there wasn’t much of a show. I know that the music doesn’t exactly lend itself to one, and there were definitely times where I got lost in the music. However, with a full band, everyone just standing there chilling out was a bit odd to watch for this metalhead. Still, an amazing set, with him jumping on keys for the last track being a particular highlight!

We caught the back half of the indie folk Sons of the East in the Interstate tent. While I don’t have a huge amount to say about them as we just chilled out outside the tent, they sounded incredible, and so close to how they do on track. I love this sort of music live, and the band didn’t disappoint at all. I’mma have to see them again at some point and see a full set!

We managed to get a quick interview with Tenille Arts earlier in the day (keep your eyes peeled for it!) so having the chance to see her after was amazing. She’s exactly what you’d expect from a female pop-country singer in her twenties, and it was great. Huge, catchy anthems performed masterfully well by Tenille; her stage presence is captivating. From massive, fantastic original songs like ‘I Hate This’ and ‘Summer Don’t Go’ to a medley of great tracks that inspired her to even (of course) a cover of the best Taylor Swift track ever, it was a stacked, amazing set. I was a fan of her before we went but am an even bigger one now! Amazing stuff!

I managed to hear a lot of Margo Price’s set from the media area, as well as catching a few songs here and there. Her voice was incredible throughout, and she seemed like she put on one hell of a show. I wish we’d have been able to see more of her, but from what I did see I’d highly recommend seeing her live.

Like Sons of the East, we sat outside the tent and caught a good chunk of Nickel Creek’s set. I was familiar with the band already, having reviewed their latest album here. However, they sounded even better live than on track. I always think this sort of slower, more chilled out music does translate better to a live audience, but everyone in and out of the tent was loving it, and they had a pretty packed crowd. Playing a varied, career-spanning set, they were great!

Saturday night headliners Blackberry Smoke absolutely blew me away. I’d only seen them once before, on a rainy Friday afternoon slot at Download festival, so getting to see the full show from them, especially now I was an even bigger fan of their music, was truly magical. Much like a lot of the festival, we got a varied set from across their albums, including big hitters and crowd favourites like ‘Waiting for the Thunder’ and ‘One Horse Town’. And we even got to be treated, being the first big crowd to hear their brand new released single, ‘Dig A Hole’. It was fucking awesome.

Charlie Starr oozes such effortless charisma and stage presence. And the rest of the band have Lynyrd Skynyrd levels of coolness and swagger too. It’s so good to see this awesome band finally getting big slots over here, and watching them playing outdoors on a big stage to a packed crowd as it got dark was truly magic.

The after party for the Saturday were Americas Got Talent alumni Chapel Hart. (Find another album review, this time for them, here). Another band I went into as a fan, and enjoyed thoroughly. All three women sound incredible live and clearly have a lot of fun being on stage with one another. And the packed out tent were having just as much fun, chanting, shouting and practically demanding an encore. And there comes my one and only issue with their setlist: covers. I don’t mind covers at all, and they did a great job with Journey, but they only had a short set and I really like their original stuff. It would have been nice to hear more of it than an extended cover. But hell that’s just me, and the crowd were loving it. Still, a damn good set to round out a damn good day!

<- Day 1

Day 3 ->

new music mondays

New Music Mondays: Alice Cooper, Asking Alexandria and Much More!

A HUGE week for new music to close out August. Whether it’s metal, rock or country, small or big, there seems to be a bit of everything. Join us in checking out as much as we can of it!

Shout out to Dadi Freyr. While not the sort of music we cover, he’s a fantastic, interesting artist and I Made an Album is great. 9/10

Alice Cooper: Road

Joe: The man, the myth, the legend is back with his whopping 27th album. We checked out his last one and I remember really enjoying it. Let’s see if it lives up to Detroit Stories!

Honestly, it’s another great album! It’s a bit less experimental than the previous album, leaning a lot heavier into his punk-enfused rock n’ roll than some of the more out there tracks from 2021. Still, the hits of blusey, do-wop on ‘All Over the World’ were a lot of fun, as was the heavier, stomping collaboration with everyone’s favourite guitarist to work with, Tom Morello. Honestly, there isn’t a bad track on the album and I’d put it up there with any of his best releases. It’s insane that this late into his career he’s still releasing stuff of this high quality. 9/10

Asking Alexandria: Where Do We Go From Here?

Max: This is one of those albums that I was nervously awaiting, I must admit. Not because of the idea that if a band explores new genres or tries new things then they are “old” or have “gotten soft”, but because the singles they released had gotten me really excited. When it came to exploring the album it really was interesting. There were screams at the forefront but also the more hard rock style that AA has been doing recently. On top of this, there were slight synths to the first track that reminded me of their older stuff and somewhat of ‘Reincarnate’ by MIW.

There were definitely some weak spots in the album that seemed like the band didn’t know what direction they wanted to take certain songs in, thus leading to a rather strange pacing and feeling. Overall I think it is a good album and does show that AA knows exactly what they like to do. 7/10

Candlebox: The Long Goodbye

Charlotte: Candlebox‘s The Long Goodbye had me on their hook with opening song ‘Punks’, and kept me there for the whole album. Every song is polished and purposeful – there’s not a bad track on the album. They’re grunge rock with a funky fuzz sound and a hint of indie rock (you have to hear it to believe it). Unfortunately, The Long Goodbye is the band’s farewell to their music career. Whilst all good things must come to an end, who knows if their latest album’s success will spark a reunion tour in the future? 8/10

Check out our interview with Candlebox here.

Tim McGraw: Standing Room Only

Joe: One of the biggest names in country the last 30 years is back with his 17th album. If you are a fan of the man or really of the genre at all, you’ll know what to expect. The man has helped shape modern country music, and over three decades into his career he’s still at the top of his game. It’s radio-friendly yet emotion-filled country music, and is a truly great 50-minutes of music. It’s even put together perfectly, it doesn’t drag and isn’t too long, an issue with a lot of country albums these days.

Highlight tracks include the opener, ‘Remember me Well’ and ‘Small Town King’, but there isn’t a particularly bad song throughout. 8/10, this man just pumps out great, catchy country.

Holding Absence: The Nobel Art of Self Destruction

Joe: The Welsh post-hardcore band are back with their third full-length release. I remember being a pretty big fan of their debut album, but admit I haven’t checked out their stuff in a while. I’m excited for this!

I don’t know why I dropped off the band, as this is another fantastic release. It’s a really interesting listen, as you can hear all of the band’s inspirations pretty clearly, but they’re so well and curiously blended together that it’s something truly unique. Right from the opening track it feels like a culmination of rock music from the last twenty years. There’s pop-punk in here, indie rock, nu metal and also metalcore and post-hardcore. It’s a distinctly British in the best way.

‘A Crooked Melody’ is my favourite track on the album and is the best example of what I’m talking about, I’d recommend it highly to anyone curious. Other highlights include ‘Scissors’ and the epic, slower closer. 8.5/10, great stuff!

Daedric: Mortal

Joe: The Texan metalcore woman’s debut album has had a lot of hype around it before it’s release, and it’s easy to hear why. This goes hard from start to finish, and is a fantastic release. The opening and title track is the perfect showcase of her sound and immense talent, while breakout singles ‘Wretched’, ‘Dawnbreaker’ and ‘Only’ are all massive highlights in their own right. Heck, the cleaner, balladier former track could and should be a massive radio hit. That’s not to take away from the other tracks on the album, either. The whole album is killer from start to finish.

I find Daedric’s vocals to be the highlight of the album, too. The effortless transitioning between beautiful operatic vocals, Maria Brink style more fry cleans or straight up death metal growls is insanely impressive. There is some incredible playing from the instruments throughout, including some great breakdown riffs and even orchestral parts. Heck, there’s even some nu/industrial metal scratching and synths in the awesome ‘Alchemy’. But, the vocals are well and truly the selling point.

It’s an incredibly fun, varied album that doesn’t really stick to one singular sound or genre. It fits in perfectly with the modern metal scene alongside the likes of Spiritbox and Sleep Token. If you are a fan of either of those bands, or modern metal/metalcore in general, check out this album. It’s awesome! 8.5/10

The Cat Empire: Where the Angels Fall

Joe: Some funky jazzy stuff now which I know isn’t really what we cover typically here at Overtone. I think that’s why I loved this so much. Right from the first jazzy horn notes, clapping beat and poppy vocals, I was hooked, and couldn’t stop listening until the end. ‘Thunder Rumbles’ is the perfect opening track, being a fusion of jazz, samba and pop and being so catchy and fun. ‘Boom Boom’ is a fantastic, less complex follow-up, while ‘Money Coming my Way’ had me immediately into the band when I heard it a few weeks ago.

I do have to say, at 14 tracks and nearly an hour in length, it is ever so slightly too long. There are also a few tracks that I wasn’t into as much, or didn’t think achieved what others did so could have been cut. ‘Deeper’ was a little too Coldplay for me, while ‘Be With You Again’ being just before the superior ‘Rock ‘n’ Roll’ was an odd choice.

Still, it’s a damn solid album, with tracks like ‘Dance the Night Away’ and ‘Oh Mercy’ being excellent songs too. I hate that it’s taken me until their ninth album for me to check them out, as it’s the exact type of fun, out-there style of music that I love. I’m going to have to go back and check out their older stuff now as the band have a big new fan in me! 9/10

Incantation: Unholy Deification

Joe: Not only were the song titles needlessly complicated, but I did NOT get this at all. It’s the same sort of death metal as early Cannibal Corpse, but without the shock factor or charm. I’mma let you guys into a secret that will maybe get m metalhead card revoked… I hate early Cannibal Corpse. I can only get into the Corpsegrinder albums. While I appreciate Chris Barnes’ contributions to the band and the scene, for sure, I always preferred his better produced stuff with Six Feet Under.

Anyway, back to the album at hand. Sorry lads, I’m not into it. There’s a few decent riffs throughout, but generally the bad production on the vocals puts me off completely. I feel like I’d probably enjoy it more live, but on track it’s a 2/10 from me.

The Word Alive: Hard Reset

Max: Okay, so I can sum up this album very easily. It is the exact opposite of what the first track would suggest. They are very much here to stay and are very much not dead. To actually talk about the album though for a second, the album is great. It has this bounce and swagger throughout that is sure to be amazing to experience live. The really nice choice of features from a number of bands and musicians gives this variety to the songs without feeling like there is no direction or continuous theme throughout. The punchy screams and drums are set off perfectly with the lovely melodic clean vocals that the band has always had a mastery of are once again here and are done so genuinely well that there isn’t much to complain about. Overall 9/10.

Knife: Heaven Into Dust

Joe: The German extreme/thrash/death metallers are back with another album. And, in the nicest way possible, that’s exactly what this album is. Now, I like death metal as much as the next metalhead, but I generally prefer the more melodic, modern sound. And I can for sure appreciate the hell out of the early death metal and crossover thrash, as much as it isn’t really my thing. In 2023 though, it’s not particularly what I want to hear from new music. You can definitely hear the punk influences which were fun. But, honestly, it all kinda blurred together and sounded the same.

Don’t get me wrong, it’s good death metal, I’m not disputing that. Clearly I’ve been spoiled over these three years of doing music journalism with simply more interesting takes on the sub-genre. I’m sounding far harsher than I’m meaning to, I’m sure, as it is a good album. If you like 80s death metal, you’ll like this. It simply isn’t my thing. 5/10

Zack Bryan: Self-Titled

Owen: All American country boy, Zach Bryan, has released his fourth studio album this week. The self-titled collection of brand new songs was a surprise to fans after a steady stream of singles this year and last years mammoth 34-track release ‘American Heartbreak’. If you’ve been following Bryan’s journey over the last couple of years then you know what you’re in for with this album; clever songwriting about friends, family, life in the Navy and now on the road.

The album kicks off with ‘Fear and Fridays (Poem)’, a spoken-word track which shows off Bryan’s literary skill and ability to capture the beauty in something almost everyone has experienced in a unique way. This quickly bleeds into the second track ‘Overtime’, over the top of a sample from a Barstool Sports interview at the Indy 500 (they’re going fast and left!) we hear the opening notes of the Star Spangled Banner and the horn section creeps in. The energy is lifted and the album is clearly underway now. I’ve long admired how Bryan can pivot from these softer meaningful quiet songs into big band tracks that get the foot stomping.

The stand out tracks for me here are the collaborations with other artists from different corners of the genre. Enlisting the services of established names like Kacey Musgrave’s and The Lumineers, and up and coming acts The War and Treaty, and Sierra Ferrell (If you haven’t heard of Sierra you’re missing out). This is a rare move for Bryan and the most collaborations we have seen on one album so far. I think it’s a great statement from Bryan that although he may be relatively new to the genre he can hold his own against these strong voices of varying styles.

Bryan embodies a new wave of country stars that are helping to reposition the genre and peoples views of it. He has proven it’s possible to preach love, tolerance, and friendship, whilst still preaching the glory of Whisky and an 88’ Ford and the women that have shaped his life. I think this is why I see people describe him as neo-traditional county, progressive in his ideals but traditional in his sound.

If you’re late to the party and haven’t heard of Bryan before, this album is a great introduction to Oklahoma’s latest export, but it would be well worth your time to look back at his earlier releases as well. 10/10

Fliter: The Algorithm

Joe: This is the post-industrial/alt rockers’ first album in seven years. However, the platinum-selling band pick up right where they left off with their eighth album. Though a rather turbulent writing and producing period which saw a crowdfunding campaign, a bankrupt label and multiple album title changes, it has released, and was worth the wait!

It reminds me a lot of last year’s Bush album. Popular nineties alt rock modernised into a great new sound. There’s definitely still that industrial edge to it, too, with a Nine Inch Nails-like synth and drum sound.

Speaking as a bassist, ‘Up Against the Wall’ is a big highlight. It’s a great, 90s-feeling track, and that bassline and tone is amazing. I also love the politically charged lyrics in tracks like For the Beaten’ and ‘Threashing Floor’. The vocals are really interesting too, like Rod Stewart or Kelly Jones singing heavier NIN songs. And honestly, some of the riffing, like on ‘Say it Again’ is fucking heavy and I love it. Honestly, the whole album is packed full of highlight tracks, there isn’t a bad one on it.

For a band with this much chaos recently and a band that are now across the three decade mark, they have no right still sounding this good. If anything, they sound at the top of their game again, creatively and artistically. And the production, hot damn, it’s fantastic. If you’re into any facet of rock, check out this album, you’ll love it! There really is something for everyone throughout, and I never once got bored. 8.5/10

Spanish Love Songs: No Joy

Charlotte: No Joy by Spanish Love Songs expresses crushing despair, desperation and anxiety through juxtaposing punk-rock melodies with painfully honest lyrics. With a sound reminiscent of bands like The Gaslight Anthem, No Joy tells a story of reality with alternative rock anthems. Raw angst isn’t for every listener, Spanish Love Songs’ fifth album (excluding extended and alternative album versions) offers a modern version with broader appeal to new audiences. 7/10

Shepherd’s Reign: Ala Mai

The Auckland metal band continue in the footsteps of Alien Weaponry, letting their Polynesian heritage flow through their brutal metal music. It results in an incredibly fun, interesting and dynamic listen that is unlike almost anything else. It leans more into the tribalistic sounds than the aforementioned band, too, coming across closer to a New Zealand Sepultura. It’s fantastic.

Being a big rugby (as well as The Usos) fan, of course I loved ‘Le Manu’. Honestly though, it’s all so good it’s nigh impossible to pick highlight tracks. However, though I don’t speak the language, the pain and anger is so real in ‘Ua Masa’a’. It addresses the murder of the vocalist’s sister, and honestly it’s an incredible journey. The same could be said for the frankly beautiful ‘Never Forgotten’, another track addressing the horrible death of a family member. Honestly, it brought me to tears. I would highly suggest finding the summaries of the tracks if you can, or at least the translations, because damn, each one is so emotional and well written.

I love the switching between English, Samoan and Tongan throughout too, adding so many different dynamics and intrigue. Filiva’a James has one of the most intriguing and impressive ranges and voices around today. He switches between aggressive Polynesian screams to beautiful yet equally powerful clean singing for ballads like ‘Cold Summer’s Night’.

The riffs are ch0nky, the drums huge and the vocals somehow aggressive, catchy and haunting all at the same time. Honestly, this feels as big and important as Roots Bloody Roots for this sort of genre and area of the world. Because of how up and down the pace was throughout, too, I didn’t feel the 13-track length at all. This is an album that deserves to be listened to from front to back. Though the individual tracks stand VERY tall on their own, too. Damn, for the third time in two weeks, I have no other choice. 10/10.

Interviews & Features

Shane Smith & The Saints: ‘You can essentially hear the scar tissue from touring over 10 years!’

Ahead of his massive England debut set at The Long Road festival this coming Sunday, we had the chance to chat to Shane Smith. Check out as we talk about The Saints’ sound, their last year and their plans for the future!

How would you describe your sound?

I think the simplest way to describe our sound is “Folk-Rock”. Certain songs have elements of: “Country”, “Celtic” or “Singer-Songwriter” styles, but overall “Folk-Rock” seems to summarize it best to me.

Check out another country interview here.

What was it like touring with Eric Church last month?

Touring with Eric was an amazing opportunity. We’ve never opened for an act that pulls over 25,000 folks in a single night… it kind of blew our minds! And yet, he was such a nice guy. I had the chance to talk with he and his wife for a long time on our last night and they were both so kind. It was inspiring to hear their story and see what they’ve built together. On the first day though, seeing roughly 10 tour buses and nine different 18-wheelers, all with his logo, loading in their gear was a very eye-opening experience.

What was it like doing Red Rocks? Always been a venue I’ve wanted to go to and seems like a bucket list for a lot of bands!

Headlining a sold out Red Rocks show was a goal that I wasn’t necessarily sure was possible for us… lol, but we’ve always considered it to be the mile-marker for “making it” as a musician. It has always been the “apex venue” in my mind, so seeing 9,000+ of our fans waving their iPhone flashlights during “Fire in the Ocean” was an absolute dream come true. It will probably forever be my favourite venue.

Is The Long Road the first time Shane Smith & The Saints have played the UK?

Over the years we’ve spent quite a few hours delayed at the London-Heathrow airport, but we’ve never had the chance to play a proper show in England. Bennett (fiddle) and I played several acoustic shows over in Ireland years ago, but that’s the only UK performances up to this point.

You’ve put out a few singles this year and last, is it the beginnings of a new album?

Yes, we are currently finishing up a full length album and a few of those tracks will be featured on it. There are many more to come though!

It’s been 10 years between your debut album and most recent single. How would you say your music has changed in that time? How has your fanbase changed?

I feel like our sound has evolved a significant amount since the beginning, and each album has its own, very unique character. This current record definitely has me most excited though. Even my voice has matured so much since the beginning, and you can essentially hear the scar tissue from touring over 10 years. Regarding our fan base, I’m very biased, but I think ours is the best out there… haha! They’re just a very “real” and down-to-earth group of people that have been truly devoted to helping us grow and spread our music around. We appreciate them so much, and it has been incredible to see it grow, these past few years.

How would you say the scene is doing after a tough few of years of restrictions etc?

We’ve seen numerous bands and musicians have a very difficult time bouncing back from Covid and the lockdowns. It caused so many friends of ours to seek out work and jobs outside of music, which then creates scheduling conflicts and a tough environment for a band to keep moving forward. I was very thankful that we were able to hold our band and operation together during that time, while also keeping everyone paid. Our fans played a massive role in that effort, by supporting our merch store and watching all of our livestream concerts.

Do you have a rough plan for the next 5 years? Any goals/milestones you want to hit?

 I think our main goal at the moment is to release this next record in a big way and continue to make our fans happy. We would also probably love to release music and content more consistently, but while having a much more balanced tour schedule in the years to come, since it’s been so crazy lately. Releasing this new music is our next step though, and I think it will take a huge weight off of our shoulders. I’m very excited for our fans to hear it and to start playing the songs live.

Do you have a dream tour you’d want to be a part of? Be it big act you’d want to support, or friends you’d want to bring along?

I would love to see us open for Chris Stapleton eventually. That would be a big goal for the next few years to come. We’ve always been a fan of his music in the Steeldrivers and his early songs before he was so widely recognized. It would also be cool to collaborate with a wider range of musicians and genres in the years to come. From First Aid Kit to Billy Strings, there are so many musicians we respect that we’ve never been able to play shows with or collaborate with.