Tag Archives: NWOCR

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

Reviews

Kings of the Asylum: How Does Phil Campbell’s Third Album Measure up to his Others?

The third studio album of Phil Campbell and his sons (and Joel Peters) has a lot of hype surrounding it. Their previous two releases have been stellar, and the rumours of a new album had been floating around all year before it being announced in June. I’ve been a fan of the band since it’s inception, even getting the chance to interview Dane and Tyla back last year (find it here), so I’ve as excited as anything to be checking this out!

Opener ‘Walking in Circles’ builds up perfectly through a quick riff, slowly adding drums, bass and lyrics before exploding in with a HUGE, faster second verse. It leads to a very Bastard Sons chorus too, catchy yet still maintaining that attitude, speed and swagger. I love that Phil Campbell manages to channel his old Motorhead style into a more modern sound. The half-time, stomping drums in the bridge/chorus are nothing short of tasty and add a great, fun dynamic to the track. We get a typically great, sleazy guitar solo from the main man, and a fun double chorus closes things out. A great start to the album!

An awesome riff opens ‘Too Much is Never Enough’, forming the crux of the track perfectly through the verses. It all builds into a chanting chorus, it being very catchy and will go down a storm live. It’s a straight up Motorhead style rock ‘n’ roll track; under three minutes, quick and straight to the point. It has got another great solo but honestly, there isn’t much to say about it. It’s simply foot-stomping goodness.

Single ‘Hammer And Dance’ is next up. I loved this track since the first listen, and honestly think it’s the stronger of the two singles. It’s so Velvet Revolver’s ‘Slither’ that I can’t not love it. It’s a sick main riff, HUGE, catchy chorus and overall just another speedy, heavy rock song. The two, yes two, guitar solos are amazing and remind me a lot of Slash in Guns n’ Roses. There’s a bit more of a sleaze edge to this album that I’m loving a lot. It’s a big highlight of the album and easily makes the playlist!

‘Strike the Match’ is a touch slower than what we’ve had so far, reminding me more of an AC/DC track than anything else in it’s pace and structure. Don’t get me wrong, there’s still the trademark chugging, but it feels a little more lighter than most Phil Campbell tracks. Maybe it has something to do with them doing Hawkwind’s ‘Silver Machine’ so much live recently? It’s an infectiously catchy track, too. The chorus is awesome. I feel like it’s another track that will go down a storm live. Especially with the chanting in the bridge. It’s another highlight track for sure.

Lead single ‘Schizophrenia’ is of course a great one. Anyone who is a fan of the band has heard this countless times already, like I have. Big riffs, heavy drums and plenty of catchy vocal lines. It’s really an antithesis track of what Phil Campbell and his band are all about, and it’s a great choice for a single. It’s hard to say much about it though that I haven’t already said about previous tracks. It is a great, fun track, but a lot like the others so far!

The same could be said for ‘Show No Mercy’, ‘No Guts! No Glory!’ and ‘Ghosts’. None are bad tracks at all. In fact all are great songs. They’re just very Phil Campbell and kinda formulaic of the stuff he’s been doing for three albums now. It’s hard to talk about them without repeating myself too much!

The title track is a little sludgy, reminding me of a slightly heavier ‘Dark Days’. Phil Campbell is such a master of riffs, getting so much varied emotion out of his guitar and his writing. This track is real no exception, it definitely being darker than much of the album. ‘Dark Days’ is one of my favourite tracks from the band and while it’s not quite as good, it’s still a damn catchy song! The solo is the real highlight of the track for me too. The way it flows through the riffs and ebbs with feeling is amazing. It’s definitely going on the playlist!

‘The Hunt’ feels like a straight-up Motorhead track with modern production. It’s balls-to-the-wall throughout, not pausing to really even take a breath. The drums are fast and heavy and the riff, while simple, is heavy and fantastic. The soloing is amazing. I LOVED this and HAVE to see it live. In the right crowd, it’d go down a storm. If it could get a pit, it’d be insane. Another playlisted track!

Album closer ‘Manic’ was another foot-stomping lighter rock track like ‘Strike the Match’. It had a bit more of that Motorhead punk edge to things, but was definitely lighter than a lot of the album. The punkness may have been because of the vocals/lyrics, though! They’re childish in the best way and a lot of fun, saying what I’m sure a lot of listeners have wanted to at one time or another. It works perfectly as a closer but, honestly, I’d have put it earlier on as they could easily have a hit on their hands with it!

Overall: I really enjoyed this! I’ve seen a lot of love for this album online so maybe slightly controversial opinion time… I didn’t enjoy it as much as We’re the Bastards. As fun as this album is, I liked the variety of their previous release more. From the thrashy ‘Hate Machine’ to the more blues/southern ‘Born to Roam’ to the slower, epic closer, it had more peaks and troughs and kept me more interested throughout. Still, this is a damn good album with some sure-fire hits for the band. There are a lot of highlights and I’ll be listening to it for a while to come!

The Score: 7.5/10

New Music Mondays

New Music Mondays: Hozier, Orbit Culture and More!

A stacked week of pretty varied new music this week, and trust us, the quality is insanely high. Join us in checking it out!

Hozier: Unreal Unearth

Charlotte: Hozier became famous overnight with his hit ‘Take Me To Church’, transforming his career as a singer-songwriter. He continues his success with the alternative-rock, soul and funk sound created from his third studio album Unreal Unearth. The album begins moody with a hair-raising introduction with ‘De Selby (Part 1)’ before the funky switch with ‘De Selby (Part 2)’, setting the tone for the rest of the album that takes you through quiet folky ballads and souly rich beats. Unsurprisingly, Hozier’s lyrics are beautifully poetic that you could spend all day untangling with personal meaning. Favourites from Unreal Unearth would have to include ‘Unknown / Nth’. Every word from every song is chosen and sang with purpose. Hozier has taken his songwriting to new heights with this transformative and cathartic album 8/10

Joe: I have to admit, outside of ‘Take Me to Church’, I don’t think I know any other Hozier. So, when I heard the opening track, I was close to giving up and leaving it for Charlotte on her own. However, some of this was kinda jazzy and funky, like the second part of ‘ De Selby’, and there was a lot of great US indie vibes throughout a lot of the album. It’s a good album to sit back and chill to, and is a lot of fun. His voice is just as good as ever and his effortless blending of genres and styles creates a great blend of sounds. ‘Eat Your Young’ is an R&B/indie crossover classic already while ‘Anything But’ will be an underrated awesome track. My only issue is that he’s gone all country up in this bitch. Over an hour and 16 track is too long. Still, 7.5/10, good fun!

Orbit Culture: Decent

Joe: The Swedish melodeath band are back with their fourth studio album. I was a big fan of their last one, so was excited to hear what they came up with this time.

Honestly, it’s phenomenal. Doing this series hasd given me a massive appreciation of atmospheric death metal, and tracks like ‘Black Mountain’ and ‘From the Inside’ are really the peak of the genre. I really can’t praise it all enough. The perfect blend of In Flames, Gojira and Fear Factory, yet having the added layer of huge, epic clean-vocalled choruses. I know a lot of people are complaining about clean vocals in death metal these days, but honestly it adds another layer of amazingness to the tracks and doesn’t take away from the heaviness at all.

It is honestly impossible to pick highlights from the album. The whole thing is incredible and, dare I say, flawless. I loved everything about this album; the crushing riffs, insane drumming, amazing screams and impressive, uplifting cleans. If you are a fan of anything heavy at all, give this a chance and I’m sure it’ll blow your socks off. And be sure to listen to it all the way through, as the flow and energy through it is amazing. It’s very well put together. 10/10, a second masterpiece this week!

Rhiannon Giddens: You’re The One

Joe: This album was a lot more jazzy/bluesy/rocky than I was expecting from a ‘folk’ artist. Don’t get me wrong, there’s still elements of it in tracks like the title one, and there’s some country elements in ‘Yet to Be’ and ‘You Louisiana Man’, but overall it’s a lot more modern than I was thinking it would be. The former track, featuring the awesome Jason Isbell, is a huge highlight of the album, as is ‘Way Over Yonder’. Rhiannon’s vocals are phenomenal and the instrumentation behind them make it that much more impactful. This album definitely won’t be for everyone, but I enjoyed it! 7/10

Fiddlehead: Death is Nothing to Us

Max: Two years since their previous album, Fiddlehead is back with another quintessential album. The post-hardcore supergroup’s new album is another fitting addition to their ever expanding catalogue and it another really easy listen. If you aren’t familiar with post-hardcore or emo then then vocals that seems like they are just being yelled at you can be rather strange however when that is combined with the more melodic vocals and the guitars, drums and bass that are trying to show so much emotion then it all starts to make sense. My first listen through the album and then every subsequent listen from then on has pointed out one song in particular that is my personal favourite, ‘Queen of Limerick’ and I’m truly not sure what it is that makes me enjoy this song so much, all I know is that it is a song and an album that everyone should experience. 9/10

Joe: I enjoyed this, but it felt like nothing had enough time to breath or get going before it was all over. Tracks like ‘Sleepyhead’ and ‘True Hardcore (II)’ are great, but with both of them being well under three minutes, by the time I’d really decided “hey, this is awesome!” they were done. It’s pretty punk rock, don’t get me wrong, and they’re a great post-hardcore band. I just wish we got a little more from them! 7/10

Osees: Intercepted Message

Charlotte: Osees’ tenth album begins with a crossover between eighties gaming synth and punky vocals – think Mario Kart, Stranger Things, your Nintendo reminding you it’s on low battery, new-wave dance and the Sex Pistols all at once? Sounds weird, but it works. Fittingly titled Intercepted Message, Osees create their distinctive sound with a chaotic composition that fits. 7/10

Shadow Smile: Signed in Blood

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

Bobby Rush: All My Love For You

Joe: The fact that the blues legend is still releasing new music at nearly 90 years of age is massively impressive. The fact that it’s also still to this high quality is utterly ridiculous. It’s hard not love hearing someone still have so much passion for their art and genuinely enjoy what he’s dedicated his life to. His lyrics and playing still ooze so much emotion, too. It’s simple stuff, but it’s some of the best traditional blues I have heard released in the modern era. Highlights include the emotional opener, ‘One Monkey Can Stop a Show’ and ‘I’ll Do Anything For You’. Is he on track for his third Grammy win? I certainly think so! 8/10

SKÁLMÖLD: Ýdalir

Joe: It feels like we don’t do enough Viking metal here, so I’m excited for this one! And honestly, it’s a really interesting listen. It’s definitely Vikingy in every conceivable way, but has more of a both thrash and extreme edge than a band like Amon Amarth do. The duelling vocals were cool, one being lower while the other more Dani Filth, reminding me a fair bit of 3 Inches of Blood. However, the riffs remind me more of Iron Maiden or other NWOBHM contemporaries. It blends together power metal, speed and extreme exceptionally well.

The opening title track is the perfect showcase of the bands sound, while single ‘Ratatoskur’ is an amazing track that really shows off the bands skill in playing and songwriting. I also love the proggy closing track, ‘Ullur’. The plodding pace was a nice change, as was the quieter folky bit in the middle. I loved the epic, medieval feel to it all, and it’s definitely a highlight of the album.

It’s a solid album and if you like the styles it presents, you’ll love it from start to finish. I enjoyed a fair bit of it but it didn’t quite hook me as an album as a whole. 7/10

The Xcerts: Learning How to Live and Let Go

Charlotte: The XCERTS bring together themes from different genres to create their own style for Learning How To Live And Let Go. Opening track GIMME is reminiscent of Nothing But Thieves with a fuzzy, alternative rock sound, but it wasn’t long before pop-punk and playful synths came into the mix to create an angsty, thumping album – emotional ballads aside, whilst still in keeping with the album’s nostalgic tone. Favourites include ‘Ache’, ‘GIMME’ and ‘My Friends Forever’. 8/10 

Alana Springsteen: TWENTY SOMETHING

Joe: Firstly, this modern trend of having an all-capitalised album title and then not having a single other capital letter in any of its song titles is real odd. I can’t tell if there’s some message behind it I’m not getting? I just thought I’d put that out there.

The album itself is great. Right from the opening track, ‘you don’t deserve a country song’, the quality, catchiness and radio-country feel is there, and sticks around until the very last note of the album. It walks the line between modern country and a more old school twang perfectly. It’s clear Alana has a huge love and appreciation for the country greats, yet has her own sound and a modern feel too. This is what I wish Taylor Swift had evolved into, honestly.

Both guests, Mitchell Tenpenny and the legendary Chris Stapleton, do amazing, with the latter being my favourite tracks on the album. However, not having Chris sing, just play guitar, was a very odd yet ballsy choice. Other highlights include the title track, ‘hypocrite’, ‘cowboys & tequila’ and ‘thinkin’ straight’.

My only slight issue, as I have mentioned about a lot of modern country albums, is the length. The way the album was released definitely helped with that, putting it out in three parts, with the third and final one being the full album. However, doing this review still had me sitting down and listening to 18 tracks that were all fairly similar for nearly an hour. There is a lot of amazing stuff here, but it definitely dragged in parts. I get why such long albums are put out, and it seems to definitely be a Sony thing as it’s a lot of their albums the last couple of years, but a more concise album could have been phenomenal. For now, it still gets a very respectable 8.5/10

Spirit Adrift: Ghost at the Gallows

Joe: The Texan heavy metal band released their fifth studio album last week. Having never even heard of them before, I really enjoyed this! Maintaining some of the doom elements from their earlier days, this also feels like it draws in heavy inspiration from the likes of Mastadon and Coheed & Cambria. Heck, there’s also some prog elements through the ever changing riffs. When mixed with the sludgy doom stuff it’s very The Sword.

Overall, it’s just a damn fun album to listen to. The talent in playing being showcased is off the charts, the riffing being some of the best I’ve heard all year. And honestly, some of it has an almost freeform jam feel to it, something you can’t help but enjoy. Even the slower, ballad track, ‘These Two Hands’, is great and builds up to the heaviness perfectly.

As seems to be a recurring theme this week, there isn’t a bad track on the album. It’s the perfect 45-minute listen for anyone into old-school metal, and I’d highly recommend listening to it front-to-back. If I had to pick and choose, though, ‘Death Won’t Stop Me’, ‘Hanged Man’s Revenge’ and the album’s epic closer are massive highlights. I can’t recommend this album enough, great stuff. 9.5/10

Reviews

Signed in Blood: Shadow Smile Take us on a Journey Through the Seven Deadly Sins!

A band that have become good friends with Overtone, Shadow Smile, are set to release their debut album in a couple of days time. Being a big fan of the band since first seeing them last year, as well as hearing a couple of the tracks live already, I am super excited to be checking this out. A mainstay in the NWOCR scene these days, even though they’re a little heavier than most in it, Shadow Smile will have a huge future if they nail this release. So, let’s see what it’s like!

The extended intro track, ‘Se7en’, is the perfect setup for the album. It sets up the mood and premise for the album in little over a minute, as well as building phenomenally. Plus, it’s a nod to one of the greatest films of all time, so win win!

Lead single and title track of the album, and a track that I have barely gotten the chorus out of my head after I first heard it months ago, is up first. Right from the catchy vocals of the chorus to open, it hooks you in and doesn’t let go until the end. From the heavier edge of the huge riffing and the odd scream scatted through to the melodic, almost metalcore feel throughout the rest, it’s a track dying to be played in arenas across the room. It’s been on our playlist for months after I did a reaction to the track, which I’ll drop a link to below. What a fantastic choice to start an album with!

Up next is another single, ‘Hellbound Heart’. Again, it is catchy right from the get go thanks to the hook of the ‘ooooh’s. Once again the ch0nky riffs bring back the heaviness, and everything works so well together. I LOVE the tone of Connor’s vocals too; from the cleans to the harsher screams, both sound perfectly with the track behind them. The breakdown riff with the incredibly technical guitar solo over the top was also a massive highlight of the track. The entire composition of the track, heck, the entire album, is amazing. Everything feels massive and all the little touches like the intro track or the ‘oooh’s or the subtle keys or even certain mixing choices feel deliberate and so well placed. Another great track!

‘Our Morality’ opens on a riff and sound straight out of early Killswitch or BFMV. I love it. The heaviness almost lends itself to melodeath before cleaning up into another huge, infectiously catchy chorus. As much as I love the more Avenged style of the previous tracks, I love the band mixing it up and throwing us a heavy track, especially this early in the album. I can’t wait to hear the NWOCR crowd’s reaction to the track, too…! This is an incredible track and easily will make the playlist come Friday when it’s out!

After another short piano interlude track, the band explode into the marching band-like intro of ‘Before Every Fall’. It builds up perfectly through the intro, verse and pre into a now typically massive, arena-filling chorus. The bridge and breakdown are heavy and great. However, I have to admit, it’s the first track on the album that didn’t immediately hook me in fully. It’s a great song, for sure, but it’s missing something that the others had. Still, this is my first listen, and it’ll no doubt grow on me more and more!

Check out our interview with the guys here.

‘Take What You Can’ opens on a great string section, giving off power metal vibes and actually fits in great with the Pirates of the Caribbean movies they are referencing! The riff fits perfectly over the top with the same melody, and everything through the verse works amazingly. Shadow Smile skirt between metal and hard rock perfectly, straddling the line on multiple occasions throughout the track. It’s very Avenged Sevenfold in the best ways. The duelling clean and harsh vocals in the chorus is a highlight of the track for sure. It’s another fantastic track that I cannot get enough of!

I LOVE when a track runs into the next, and the note being held heading into ‘The Devil Makes Work for Idle Hands’ is no exception. Said track is an interesting one, too. Everything suddenly comes in all at once, giving off heavy Deftones vibes. While still maintaining the heaviness and great melodies, it adds a whole new layer to it all and sounds completely different. the track still has the huge chorus, but outside of that it channels more of a 90s industrial/nu metal feel. It keeps things interesting this deep into the album, which not a lot of bands can do these days! It also has a darker, sludgier feel to it which I love.

Another interlude track leads us again perfectly into ‘The World is in My Way’. Said track is the slower, ballad of the album. It again has a different feel, reminding me more of an 80s synth kinda feel. Think a mix of Depeche Mode and Billy Idol. It’s a really interesting choice, especially this late into things, but it pays off big time. It’s a fantastic track, and a fitting ballad for the rest of the album. It shows how much range the band have too. It’s something completely different to the rest of the album while still sounding wholly Shadow Smile. Also, that guitar solo is fantastic.

Then we reach the most recent single and closing track, ‘Suck the World Dry’. This is another track I’ve been obsessed with since its release. Not only does it sound like Shadow Smile crossed with Wednesday 13, one of my favourite metal artists, but it has a fucking saxophone in it! And any long-time readers here will know how much I love me a sax. It’s a damn sexy sax solo, too. Also, the lyrics here are my favourite from the album. It’s the most obvious sin they explore, greed, but it’s if anything our most pressing issue as a society these days. The emotion and anger behind the vocals are apparent. It’s a great choice for a single and a great choice for a closing track. Playlisted!

Overall: This was amazing. Having been a fan of the band for a little while now, my own anticipation for this release was pretty high. Still, Shadow Smile surpass it with ease. Not only is it a damn impressive collection of tracks, but it’s a thought-provoking concept album that all ties together perfectly. The word masterpiece is thrown around maybe a little too often these days, but I’ll be damned if this isn’t in that conversation. This will be on heavy rotation for me for months to come, I’m sure. The guys have put out on of the best debut albums I’ve ever heard. I can’t wait to hear it live at their launch next month!

The Score: 10/10

Interviews

Beth Blade: ‘Being able to get a magazine that we were buying as teenagers, and reading a review, that’s still mad to me!’

We sat down to chat with Beth Blade and her Beautiful Disasters at Call of the Wild festival earlier this year. Check out the interview below!

How was the set?

It was awesome! When you’re on early there’s always a worry you’re going to play to one hungover guy. And I mean if that hungover guy is having a good time then I’m happy! But yeah, it was fabulous! We had a big crowd so early and they were proper up for it, singing along and stuff.

And so what’s it like being adopted into this NWOCR scene?

Well the best thing about it is that there’s definitely a sense of community. We come to a festival like this and not only do we get to play but we also get to see our friends in the other bands and support them. It’s got a very loving vibe about it. That’s the best thing we can hope for, really!

How would you say the scene is doing these days?

I think it’s better. It’s definitely recovered. It’s getting there. You’ve got the people who really missed it in lockdown. But there’s also the issue that venues are struggling because people still aren’t wanting to buy tickets in advance. You’ll get like 30-40% of people walking in because they’ll wait until the day. And obviously people are still worried that we’re going to cancel. Just for the people out there: we don’t cancel unless someone’s in hospital! That’s the rule!

It’s getting there but people out there, please buy tickets in advance! It’ll support the promoters, the venues and the bands as well. But I think we’re getting back on the right track now after lockdown. Isn’t it great! It’ll continue in a good trend!

Check out our review of the album here.

So your latest album was last year, right?

Last July, yeah. We had our first review a year ago today from Power Play. We went to Preston to get the magazine. See, we’re in a band, so people say ‘you’re in a band, you’re a rockstar!’ and I’m like ‘no, I’m a wanna be rockstar’. But then for us, being able to get a magazine that we were buying as teenagers, and reading a review, that’s still mad to me.

That album was so well received by everybody. It was quite nerve-wracking for me as I put everything into it. There were no secrets. But yeah, it’s been absolutely wonderful. We can’t thank people enough.

And I imagine you’re writing already again?

Yeah. We’ve started writing for album number for as we speak. I think this album’s going to be a lot more aggressive and have a darker turn to it. It’s going to be more raw and natural with all our emotions. The aggression side is more what we’re aiming towards because the last album, while it was aggressive, had emotion and feel to it. This time…

I don’t know, I’m probably going to put a pop-funk song on at the last minute! You could end up with anything! That’s the thing, we’re classified as a hard rock/NWOCR band, but we don’t like to pigeonhole ourselves to just one genre. A good tune is a good tune, it doesn’t matter what it falls under. I might rap, who knows!

What’s the writing process like for you?

Normally Beth will bring in bangers and then we’ll advance on it. Or like I’ll bring something in and if Beth likes it she’ll chop and change it into a way where it’ll fit better. There’s some stuff I bring in where it works, but it works a lot better once another mind has jumped onto it too.

The thing for me is I’ve been writing songs since I was eight or nine years old, they just kinda come to me. Sometimes they’re fully formed and other times they’re not so I’ll send it to Sam and tell him what I feel like it needs. Then these guys put their flavour in it. Sometimes people think it’s just my thing but it’s not. If these guys weren’t playing on the songs it wouldn’t sound like it does. We’ll arrange everything together and it’s really fluid. I like it!

Reviews

Crocus Biflorus: Have Miss Vain Put Out the EP of the Year?

Finnish hard rock/melodic metallers Miss Vain are set to put out their debut EP at the end of the week. After releasing most of the tracks already, the anticipation for the collection is pretty high. Join me in checking out what it’s like!

‘One to Burn’ opens on a great, quick guitar riff, starting off the EP with a bang. It’s heavy yet accessible, reminding me of the early 2000s radio rock/metal like Rev Theory or Skillet. It drops down for the verse, providing an interesting dynamic. The vocals sound great over the top of the building instrumentation, too! It all builds to a huge, epic chorus. The subtle keys in the back added a lot to the sound, making it even catchier and arena-filling. The drop down bridge was awesome, building perfectly through the spoken word part into a phenomenal guitar solo. It was fairly simple but full of emotion and feeling, fitting the track perfectly. What an incredible way to open the EP and a great introduction to the band!

Another great, chunky riffs leads us into ‘All the Same’. However, I was a little surprised and disappointed they immediately went back to the same structure of the stripped-back, clean, lower verse. Still, that pre riff is so good that I’ll let it off. Like, one of my favourite riffs of the year, it’s that good. It definitely needed to be at least doubled in the track. At least we get it the second time! It’s another big, fun chorus, and I love the heavier second half of it A LOT. The heavy riff instead becomes a breakdown after the second chorus, somehow feeling even heavier. It’s amazing, honestly. I can see it popping off live! Then we head into a final huge chorus to finish. Despite its similarities to the previous track, I loved this a lot, and it easily makes our playlist!

The heaviness continues through ‘Leap of Failed’. The riff is another amazing one, especially when the drums join in with the chugging. The guitaring is a massive highlight of this album, reminding me a lot of the likes of Santa Cruz. The pace stays quick and aggressive this time, and we even get some harsh vocals. The heavier edge is amazing. It’s almost like a metalcore/post-hardcore track, and I love it. Then it still cleans up with an anthemic, power metal-style chorus. Miss Vain shift between the sub-genres seamlessly and blend them perfectly. The solo is awesome over the heavy riffing, sounding evil and is massively technical this time around. We then get an amazing build into a HUGE scream and breakdown. This may be my new favourite track, this is insane. I cannot praise it enough, check it out immediately. It’s already made our playlist so listen there!

The closer, ‘Song of Solitude’, is the now typical slower track to finish on. The low riff builds slowly and amazingly, feeling almost doom metal, like something Candlemass would put out. The big riff over the top also gives me huge Tool vibes. The jumping between clean guitar bits and heavy distortion almost gives the track a prog vibe. It has a dark, plodding pace throughout, which fit the lyrics and title perfectly. Even when it picks up after the second chorus, it keeps its dark attitude. That may have been helped by the harsh vocals and breakdown though, of course! It’s the perfect track to end the album with as it starts slow but ends with a huge bang. It’s epic through and through.

Overall: This was amazing. My doubts and worries of the first two tracks sounding similar were done away immediately in the second half of the EP. The band have an incredible range and such humungous talent as players and songwriters. All four tracks are amazing, and Miss Vain are going to be a huge name in the international rock and metal scene sooner rather than later. I can’t wait to hear more already, and hope a full length release is on the horizon soon!

Overall: 9/10

Interviews

Fury: ‘Every heavy metal fan loves a ballad!’

We sat down and chatted to the amazing Fury a couple of months back at Call of the Wild. Check out as we chat about their set, their plans for the year, and everyone’s favourite song!

How was the set?

Yeah, it felt good, we had a good time, the crowd was good. Over too soon I guess! As soon as we went on it kinda felt like we were at the last song. But yeah, really enjoyed it!

What’s it like to be playing festivals like this? Especially with how big the underground scene is in the UK these days!

It’s been really good. It’s great that the NWOCR fans have embraced us onto some of their festivals. It is great to play with these kind of bands that are doing those shows. It’s kinda made a different element of Fury. Before we were a lot heavier while now we’re a little more accessible so we’re able to play these sort of festivals. So yeah, it’s great to be involved in these kind of things. It’s a different fanbase that we can now appeal to. We still have the heavy songs in some of the sets and on the new album but we’re able to reach further now!

You obviously played a big ballad today [Upon the Lonesome Tide], how did that come about?

Oh yeah, folk songs, he loves them!

I mean our sound… we’ve released four albums now and our sound has evolved with each album. The the album it’s from, The Grand Prize, was a lot more shorter songs compared to the album before.

I have got a lot of the sea and boats and pirates and all that. We’d done kinda similar themes on that before but this was the first one that we a proper full on ballad. Even on the previous two albums we’d done folk but a bit more rock and metal whereas this one is a full-on power ballad. It’s basically just me fulfilling all my fantasies! There’s a bit of a Dubliners influences and some sea shanty influence.

It seemed to go down well live too!

Always does! Like before we played it live I was dead against putting it in the set and then the crowd loved it every time so fair enough! Every heavy metal fan loves a ballad.

I mean, the set that we did tonight… it’s a Sunday… we only had 35 minutes so we were a bit unsure of what to play. The temptation to just give them fast, rocky stuff, and for the best part it was. But it’s one of those things that if we bring that energy down just a little bit and let people enjoy it. And after the set, that’s the one people talk about the most. There aren’t many bands like us doing ballads so it’s something different.

Check out our review of their set here.

It’s been a year since the last album, are we working on new music?

Yep! Yeah we are. So this year was supposed to be a quiet year. But we’ve got a new guitarist so it’s kinda bedding Tom in and then a new album. But then we’ve had lost of gig offers. And yeah, we’ll gig, we’ll play live, that’s why we’re in a band. But yeah, that’s still the focus, writing an album. Between gigs we are getting together, rehearsing and writing. The aim is to get it recorded through the summer so we’ll figure out a release date after that!

Have you guys got much booked for the end of the year then?

Yes, loads! In October we’re going on tour in Europe again. Germany, Belgium, Switzerland and the Netherlands. The last few years we’ve played a festival in Switzerland called URRock Festival. Last year we were main support of Skid Row there which is incredible. The guys there always really seem to like us. They said last year there’s no URRock festival without Fury! This year they’re having a year off from the festival but instead they’ve booked us a few shows out there. It’s gonna be great!

So given that you guys have done a fair amount in Europe, how would you compare the scene there to here?

Comparing here to say Germany and Belgium, I think the fans are a lot more enthusiastic over there. And it feels like not as many people start bands as there doesn’t seem to be as many there. When they are really good they do well, but when they have bands coming in from the UK they’re like ‘oh my god, this is amazing!’. They think it’s so cool you’re from England as they know so many great bands that have come from here.

The Europeans are great with merch, too. Over here a person will buy one CD. In Europe they’ll buy three CDs, and when you ask why they’re like ‘one for home, one for car, one for my friends’.

You tend to get fed better in Europe. Oh, the catering! Shoutout to Ragnarök in Belgium. Everywhere we go in Europe it’s homecooked meals brought straight into the green room. Then again, the British government is terrible for funding music, so I don’t put the blame on the venues themselves here. They’re trying their absolute best but just not getting any support.

Do you have say a five year plan at all?

America! Oh, and Brixton. So the ballad you mentioned, we filmed the music video for that back in 2020, the restrictions had been eased a little bit but you still weren’t be able to get in. We were able to film music videos, and we filmed it down in Brixton. Because of that I think we’ve gotten quite in with the Brixton crowd. We’ve done their pirate festival for the last couple of years. This year they had a galleon out in the harbour and they had a band play on that. So in the very near future, that’d be great!

Obviously we’d like to venture out further into Europe. We played Download last year, we were on one of the village stages, it’d be great to be a part of the main thing! And to just support some really cool bands! A good support slot for a big tour is something we’ve not really done so we’d like that very much!

New Music Mondays

New Music Mondays: Sevendust, Brad and More!

A quietish week for New Music Mondays this week, with only six albums for us to check out. Still though, they’re all awesome, so join us in taking a listen!

Sevendust: Truth Killer

It’s rare to hear an older band so heavily inspired by a newer one. However, right from the first few seconds of ‘I Let the Devil In’, I was getting heavy Sleep Token vibes. The slow build into heaviness was a great way to open the album, but it caught me off guard given the tracks I know from Sevendust until this point. The lead single and title track is a little more what I was expecting and hoping for, with some big, chunky riffs and a huge, nu metal style chorus.

There continues to be a modern influence throughout a lot of the album, working to various degrees. ‘Won’t Stop the Bleeding’ is a great example of it working exceptionally, and is a massive highlight of the album. The slower ‘Leave Hell Behind’ is another big highlight! It isn’t just Sleep Token either, tracks like ‘No Revolution’ have a slight Spiritbox air to it. It’s a fun direction for the band to go. I enjoyed it quite a bit and it still definitely sounds like Sevendust. However, I’d be curious to hear how some of the older, more diehard fans feel about it! It gets a 7.5/10 from me!

Brad: In the Moment that You’re Born

The Seattle alt rock collective return with their sixth album, and first in over a decade. It is the bands final album, featuring tracks that the band had been working on before the passing of their vocalist Shawn Smith in 2019. It admittedly makes it a creepy yet fascinating and sad/proud listen.

I have to admit, a lot of it isn’t my sort of thing. It’s a little too Porcupine Tree for me. However, I can definitely appreciate the hell out of what they are doing. They are clearly all talented and massively good songwriters. Plus, tracks like ‘Straight to the Hoop’, ‘Star n You’ and ‘Without Guns’ are big highlights for me personally. It’s a really cohesive album which surprisingly didn’t bore for a second. It’s such a shame this is the last we’ll hear of the band, but they certainly went out with a bang! 8/10

From Ashes to New: Blackout

More nu metal, except this time more like the later years of the first wave, like Papa Roach. Lots of big riffs, rapping vocals and huge choruses. It’s like how I’m sure a lot of people wished Hollywood Undead stayed like, and even has an air of early Linkin Park to it. I’m loving all this new music that is bringing a rapping element back to metal. From Falling in Reverse to bands like Stray from the Path, it’s some of the more exciting new music around these days, in my opinion.

It’s hard not to find the singles as the highlights of the album. Opening on three of them was a great choice while arguably the two best ones are saved for later. Until We Break featuring Matty Mullins is such an incredible track and maybe my favourite on the album.

Don’t get me wrong, that’s not saying the album tracks are bad. However, there is a distinct pop feel to a lot of the album tracks, the edge and heaviness isn’t as present through a lot of them. They’re good tracks, but I prefer the more heavier stuff. Plus, while they are slightly different, there is a lot of similar sounding stuff on this album. It’s a lot of the same. While it’s a lot of fun, I don’t think it’s an album I’d listen to in full all that much. Still though, if you like nu metal, check this out, you won’t be disappointed! 8.5/10

Susto: My Entire Life

This indie/folk/pop rock band put out their fifth album last week. Honestly, I wasn’t expecting to enjoy this as much as I did. I went into this thinking it’d be a big too indie and stripped-back for my tastes, especially after checking out a single or two. However, there’s a punk twang to it that reminds me ever so slightly of Velvet Revolver. Heck, some of the slower ones, like ‘Mt. Caroline’, felt like the perfect blend of Dire Straits and Matchbox Twenty.

There are so many different styles and sounds throughout that I didn’t get bored at all, the album going by in a flash on my first listen. It also made it near impossible to pick a highlight track or two. The whole album is great and deserves a listen in full. It’s the perfect album to chill out to, and the band have a new fan in me! 8.5/10

Girlschool: WTFortyfive?

The band famous for being Lemmy’s favourites, underrated NWOBHM powerhouses Girlschool are back with their first new album in eight years. Honestly, outside of seeing them at a HRH a few years ago, I haven’t paid much attention to the band aside for their few big songs. However, I really enjoyed this album. It was darker and heavier than their earlier stuff, which resonated a lot more with me. Tracks like the opener, ‘Cold Dark Heart’ and ‘Are You Ready?’ featuring the awesome Joe Stump are all personal highlights. Also, the closing cover of the iconic ‘Born to Raise Hell’ featuring Saxon’s Biff Byford, Duff McKagen and the man himself, Phil Campbell, was fucking awesome.

It wasn’t all positive. Tracks like ‘Invisible Killer’ and ‘Barmy Army’ were not only more of their older style, but were pretty cringy from a lyrical standpoint. Still, overall the album is a fun one that will hopefully please both older and new fans alike. It’s worth a listen if you’re into 70s metal at all! 7.5/10

Arch Blade: Kill the Witch

The debut album of the new heavy metal band is a 45+ minute arrival statement. For anyone who’s into traditional heavy metal or thrash, this one is most certainly for you. Big, quick riffs and drumming, high, powerful vocals and plenty of catchiness, this is definitely a 70s/80s metal album. It takes a lot of inspiration from Painkiller from the sounds of things, which is fine by me as it’s one of my favourite albums of all time. Tracks like ‘Nightbreed’, the slower ‘Queen of the Damned’ and both the albums opener and title tracks are all massive highlights.

My only slight issue with the album is really just some of the production. The vocal mixing is odd, and generally the album sounds compressed instead of the massive sound I was expecting/hoping for. Still though, as a collection of tracks it’s awesome and well worth checking out. It’s a fantastic debut album and the band are certainly ones to keep an eye on! 9/10

Reviews

When We’re Dead You Can Sleep: How Does Smoke Over Elsewhere ‘s EP Measure up to Their Singles?

Leave a comment

Local boys for us, Smoke Over Elsewhere, have been going from strength to strength in the UK underground rock scene for a couple of years now. Their blend of southern with the usual UK rock sound has turned a lot of heads. Their debut EP came out earlier this month and, after their previous two singles, I can’t wait to hear it. Let’s check it out!

Opener ‘Told You So’ builds up perfectly through a great bass and drum line, adding in the guitars before exploding into the HUGE main riff. The verse is fun while the chorus is simple yet dripping with attitude and swagger. There isn’t necessarily a huge, arena filling feel to it, it reminds me more of some of the Appetite for Destruction album tracks, ripping through awesome riffs and brief vocal sections. It’s a hell of a lot of fun as a track and skirts the line between hard rock, southern and heavier indie perfectly. A great way to open the EP!

Check out similar music here.

‘Fire Blind’ channels the same heavy, hard southern rock swagger and riffing as the previous track. I LOVE the playing that’s going on through the EP, and especially here with the inclusion of the slide guitar. The chorus here is pretty catchy, and has more a doom/stoner vibe to the delivery. An almost Monster Magnet or High on Fire type feel. Honestly, there wasn’t much I could think of saying about the track outside of it’s a great song that’s definitely worth checking out.

Another great riff forms the basis of ‘Crazy’. If there’s one thing that’s a clear highlight of the EP and band in general, it’s these sleazy, hard rock riffs. It’s another great chorus in a simple yet incredibly effective track. The drum fill was great in the middle, too. It’s all one level and tempo and there really isn’t a massive amount to the track, but that’s if anything part of its charm. The band don’t need to do anything flashy or reinvent the wheel, they just play good rock music!

Closer ‘Rock ‘N’ Roll Woman’ is practically exactly the same as the previous track, and the two before that. It’s the origin of the EP’s title, and it’s an infectiously catchy chorus surrounded by of course great instrumentation from the band. It’s my favourite track on the album and easily makes our playlist. It’s the perfect way to conclude this short, straight to the point EP!

Overall: This is exactly what I was expecting. And, for anyone going into this expecting a straight forward hard rock album with a bit of blues and Southern edge to it, you’ll feel the same. I have to say though, this release is definitely less southern than their previous two tracks, which was slightly disappointing. Still, it was a lot of fun and a collection of tracks that I would LOVE to see performed live. Each member is a master of their craft and came together to create something really great here. Hopefully we get a full length soon!

The Score: 7.5/10

Interviews

Dead Writers: ‘We got on the Classic Rock Magazine, we got track of the week!’

We chatted to our good friends Dead Writers at Call of the Wild a couple of months back. Check out as we chat about their recent line-up change and their plans for the future!

First of all, how was the set?

Yeah it went well! We had a bit of a rough time rushing up on stage and everything, we didn’t have enough time to sound check properly. It was a bit more chaotic for us than the final result. 

What’s it like to be invited back from last year, especially to be on a bigger stage and higher spot on the line up?

Very lovely Joe. Lots of space, we could get used to that! It’s probably the biggest stage we’ve played in terms of size. Usually in London stages are more small.  Compared to what we do in London.  Good gigs, but it’s always smaller stages.  It’s funny, sometimes you need to get used to all that space, we just don’t know what to do with it. 

Obviously we chatted last year; how has this last year treated you?

Last year we put out a single, shoot a video, it was very well received. We got on the Classic Rock Magazine, we got track of the week. We beat Steel Panther and Alice Cooper’s guitarists band.  And the latest lineup addition (Bassist – Näo). It’s been one of those periods where a lot more happens behind the scenes than out there in public. We were really missing the shows, so it’s great to be back. 

Check out our review of them here.

Do you have a rough timetable for the EP?

We don’t really have, we did have a bit of timetable in place, but then things get delayed. But hopefully by the end of the summer everything will be out. We also wanted to start recording new songs for an album. 

Have you got plans for the end of the year?

We got booked for three festivals this year including this one. We wanted to put a bit of a tour around them. But again, it sort of caught up with us and we didn’t have the time just yet to do that. But, I think towards the end of the summer we can do a bit more of an organised one to promote the EP, and, all these people who are coming up to us and saying “oh, we’re in Manchester” or wherever it is, we could come and play there. Like you guys in Nottingham saying “you’d go down so well.” You have to take that as a token of promise, and that we could go to these places and have a bit of fun. Spread the good word. 

The band name is so perfect and fitting to what you play, how did you come up with it? Is there a story behind it?

Yeah there is a bit. I remember when we didn’t have an and name when we started the band. I’d had a bit of a personal crisis about the name, when songs are starting to shape up and we haven’t got a band name yet. I was actually finishing reading a book, ‘Notes from the Underground’ by Dostoevsky, which then inspired ‘Lisa’. I’m a bit of a reader, I have a discreet collection at home. I just put down the book, and was thinking, what’s the next thing that I’m going to pick up and read.

I like classic books a lot, I had this thought to myself, everything I read is by dead people. It was like oh, Dead Writers. That’s really good. You know, the songs take influence from poetry and other books as well lyrically. Everyone we mention are names to are like “Dead Writers, that really cool”. It stuck. 

Have you got a 5 year plan?

Do you have a five year plan? It would be nice to play some festivals around and branch out a little bit. I think that’s what personally I would like. Branch out release terms, have an album, with more solid work, just travel around and let us be known in other parts of the UK, and possibly anywhere else. That’s more like a two years plan. Just the natural growth of a band. We’re in for the long haul, we want to spread out, and reach as many people as possible. So, in five years, maybe some really amazing things could happen. But, just carrying on writing and recording music and performing it, and just getting better.