That Won't Save Us - Against The Current

 A new era of Against the Current (ATC) is here.

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On Wednesday 28th October 2020, ATC released their first new piece of material since their 2018 album, ‘Past Lives’. Produced by Matt Squire, this fresh release is an energetic, guitar-driven track entitled ‘That Won’t Save Us’, which arrived simultaneously with a moody, dark and characteristically fiery music video. 

It’s no secret that the gem of ATC’s sound is the ever-so present roaring guitar riffs of Dan Gow, which felt somewhat lacking in their previous album, whilst they delved down the route of a different sound; so unsurprisingly this album has brought them right back as a foreground for the song. Whilst being heavily guitar led, the drums certainly don’t go a-miss, they are prevalent throughout the track and add the perfect amount of rock that ATC are renowned for. With a lot of the sound, feeling very much of their ‘In Our Bones’ era. The guitar may be the shining star of the show, but the powerful vocals of Chrissy’s voice, easily pin this single as staple Against The Current sound. The explosive instrumental and the beautifully interlinked vitality of the vocals, along with some of the tempo changes in the bridge and final chorus really foreshadows Costanza’s mindset behind the writing of the song. It is clear from certain elements of the song that she was frustrated and angry with whatever was going on in her personal life and her professional life, enough for her to write a killer rock track like this one. 

The bridge is the biggest tempo change out of the two changes the song possesses, all of a sudden the liviness is somewhat held back and switched for a more mellow, balladesque feel and feels generally quieter than the rest of the track, because the guitar is no longer as vibrant as it was which pulls forward the angelic voice of Costanza but a few brief seconds, switching back to the all-so-powerful, heavily guitar-led pace. The final tempo change in this song is in the final chorus, where concomitantly it speeds up, which gives a sense of the tune coming to an end and the problem being resolved. It also adds to the lively, feel-happy beat.

If this release is anything to go by, ATC3 is going to be one hell of a rock album.

TWSU Music Video - YouTube

 

Skeletons - Bronnie

Over the years the ever growing pop-punk sensation that is Bronnie Hughes, has released some stand out tunes; becoming better as they go along. From her first EP, to her recent release, Bronnie has honed her sound. There’s a lot to be said for a musician that can release songs that are both raw and emotional to the core, whilst still being upbeat. It can be done by anyone, but whether it is done well is what’s in question. For Bronnie’s music, there is no doubt about it.

Her most recent single ‘Skeletons’ is the song that every die-hard Bronnie fan never knew they needed until it came. With a heart-warming opening melody to the raw rock vocals of the singer-songwriter, it cuts deep to the core with the overarching theme of mental health. The story behind the track is descriptively painting the picture of someone who is struggling in their life; with skeletons from the past that are still haunting them in the present day. In the past Bronnie has always been vocal about her strong stance on mental health awareness using her platform and her voice for something much more than just her career. It is so easy for artists these days to become too self-involved and in some ways forget their voice can impact more than just someone’s ears, but Bronnie is the fresh few amongst the younger generation of artists who really understand the power they have behind social media within their communities. 

The acoustically driven song, only sits at a very short 2:22 but does not stop Bronnie from putting her all in those 2 minutes. It explores a little bit of everything from a small and intimate feeling introduction to a much more powerful and loud bridge. However the most interesting part that draws you in is not actually the song itself, but the sound bite that closes the song. It was an interesting choice yet a cleverly placed sound bite of a recording that initially marries the ring out of the electric guitar with crackles. It doesn’t take away from the song but it does add a level of definition that most songs in the modern day rarely express. The poem that the listener hears was written by Mary Elizabeth Frye “Do Not Stand At My Grave and Weep” is widely known for its symbolism of loss. More specifically the loss of a loved one. The poet wrote the iambic tetrameter poem in aid of a young Jewish girl, who was going through a terrible loss, one that Frye could relate to. Written in 1932, the poem still speaks volumes today, as the authoritative voice is almost demanding that there is no need to feel such sorrow, for they are still alive in spirit and soul. Physically they are gone but they are never truly gone. In relation to the song, the sonnet gives a whole new meaning to ‘Skeletons’ as it’s now no longer just based on someone who is trying to fight their demons, but it invokes a sense of what demons this person could be facing. Although not all of the sonnet is included in its entirety, its power is still very much shone, at arguably the pinochle point of the track. It was a creative decision that Bronnie should be proud of, as it makes the track stand out in its masses. 

Lines Included in the song:

Do not stand at my grave and weep, 

I am not there; I do not sleep,

I am a thousand winds that blow, 

I am the diamond glints on snow,

I am the sun on ripened grain, 

I am the gentle autumn rain.

Do not stand at my grave and cry, 

I am not there; I did not die.

One final note is the single cover, which is minimalist yet effective at not only drawing in the listener but not being the “shining star of the show”. It is designed in a welcoming and eye catching way but almost connotes the sound of the track. The well produced, graciously sung, acoustic track that is ‘Skeletons’. Does it deserve a listen? Definitely. In fact it deserves multiple. Not only will you get the classic rock undertones of Bronnie, and her sound but you also get a heart-tugging emotional song that is the perfect arsenal to any playlist.  

Harry Mackie - The Middle

For the past year, singer-songwriter Harry Mackie has been taking the Manchester Music scene to create a name for himself.  The 20 year-old artist, has already teased his new single 'The Middle' to multiple crowds at a local jam night down in the Printworks, amongst a series of live opportunities and events. As well as posting an IGTV video of the song, being played acoustically by himself in a public open space in local Manchester back in April. However it should be noted that this is not his first time releasing a song, so the young artist has some knowledge behind releasing his music. 

Album Artwork - Ben Lockett

His first two singles 'Bury Me' and 'Give Me It All' have come to be popular releases amidst his fans and have gained, more popularity as time has gone on, leaving fans slowly aching for more. Within the short amount of time since 'The Middle' has been made public, it has achieved a lot of talk amid his fanbase and other artists. 

'The Middle', is your run of the mill summer feeling tune, that makes you want to dance. It's rooted sound stems from one of the worlds most emblematic genres... Jazz, which comes prominently from the smooth waves of the saxophone. More importantly though, Harry has added his own flair and modern-day twist to these sounds and created something versatile and approachable for a vast audience. Not only has he married some of the most nostalgic sounds together; but the pop of the saxophone strongly pins this song as one of the grooviest tunes, 2020 has had the pleasure of getting. Although Mackie is meticulous for delivering such a rich sound, his attention to detail on this track has been one of the many reasons he is gaining so much traction. Unlike many young musicians, he has found his sound and found the juiciest ways to deliver; making his hardcore fans incredibly satisfied. 

It must be said that, the time and effort that has been put into this track is apparent but certainly not surprising. The way that the welcoming jazz-esque intro meets the exceptional vocals and the characteristics of the drums is a pleasing listen. Harry has a breathtaking voice and the slow pace of the song makes that shine. Nevertheless the biggest point of change in the song is by far the bridge; where the change of tone becomes apparent but invigoratingly so. The bridge does not mask or hinder the quality of the song in any way but the instrumental break draws the audience's attention to something other than the lyrics. This short break allows the listener to re-evaluate the song and bring back their focus for the remainder of the song.

Photo Credits - Jack Lewis (@jack_lewis_photography)

To sum this single up...it is a ridiculously catchy, and wonderfully funky tune, that allows the vocals to be the shinning star without it being overpowering. Straight from the get go, the musical intro and the abrupt outro gives an overwhelming sense of personality and is what draws you in to the song immediately. Harry's stunning vocals make this track fresh, innovative, modern yet inviting which for a young artist like himself is hard to achieve. He has poured the emotion of his personal experiences into a song that speaks volumes to a varied audience with its indie characteristics and its Jazz sounds, but like many songs the meaning is open to the listeners interpretation. It is clear that the song has been written this way, to grasp the audiences appreciation but it does not do it in such a way that is estranging the listener. It can be safely said that this is something that Harry himself and the incredible talented people he worked with should be proud of, as this track is nothing short of extraordinary. A rather enjoyable track for sure.

The Middle is available to stream on all platforms now!

Social Media Links; 

Instagram - 

harrymackiemusic 

jack_lewis_photography

armm_publication 

Call Me The Criminal - Minerva Daisy

Minerva Daisy, an 18 year old singer, songwriter based in Manchester, UK released her debut single 'Call Me The Criminal' on Friday 27th March 2020. Commonly known for her meaningful lyrics and empowered voice, she is constantly making steps towards a bright career as a musician.

Call Me The Criminal, is a melodic and balladesque take on the anger and revenge of a broken heart. Turning her emotional and raw heartache into a channeling soulful story of toxic love from start to finish, Minerva has truly captured the bruising of a broken heart and the stages of break ups. The track has a similar sense of this through the thoroughly driven instrumentation. Taking the wheel is her captivating piano playing that paves the way to guitar, drums and bass. The fade in of these instruments works in conjunction with, the mellow strums of guitar played by Alistair McKenzie and the underlining, fundamental rhythm of the bass by Tom Hetzel with drums by Amy Rogerson; which are arguably what makes the song what it is. Her strong, powerful and emotive voice is what makes the song feel authentic and capture the heart strings of the listener.

Straight from "screaming and punching through the days" to "you're the one that murdered this..." it is safe to say that Minni knew what she wanted to expose to the audience by putting herself in a vulnerable place, showing the strength of her talent. With that being said this single may not be everyone's cup of tea, but if you are the type of person that enjoys slower, raw pop with hints of soul and jazz then this single is the one for you and a must listen.



YouTube lyric video -

Where can you find Minerva Daisy:

Instagram - @minervadaisy

YouTube - Minerva Daisy

Facebook - minerva_music

Twitter - Minervadaisy1

Website - https://minervadaisy.wixsite.com/minervadaisyofficial 

Bury Tomorrow is releasing a sixth album this upcoming April...

British metalcore band Bury Tomorrow, have recently announced the arrival of their sixth studio album ‘Cannibals’, set to release April 03, 2020. The Southampton quintet is comprised of lead vocalist Daniel Winter-Bates, rhythm guitarist and vocalist Jason Cameron, drummer Adam Jackson, bassist Davyd Winter-Bates and guitarist Kristan Dawson.

This album is a follow up to the fifth studio album, released in 2018 ‘Black Flame’ and is going to be launched by Music For Nations/Sony Music. The album will contain 11 new tracks, including 2 newly released singles; the title track ‘Cannibal’, which is a brutal and personal lyrical interpretation of the lead singer’s mental health struggles, and a rather dark time in his life. As well as ‘The Grey (VIXI)’. Bates has described it as “one of the darkest songs” the band has ever written. It is based on being on the edge, the defeating point of it all; essentially the lowest of all lows.

Here’s the album artwork:

The full tracklist looks like this:

Bury Tomorrow: Cannibal

1. Choke

2. Cannibal

3. The Grey (VIXI)

4. Imposter

5. Better Below

6. The Agonist

7. Quake

8. Gods & Machines

9. Voice & Truth

10. Cold Sleep

11. Dark Infinite

Dream or Nightmare... proceed with caution...

Hello there...
The angel from my nightmare...

Spooky season has finally arrived and apparently conveniently timed EP from Liverpool born punk-rocker Bronnie has arrived. Not only has her brand new EP come at arguably a desirable part of the month, but it is her biggest release to date. 'Dream or Nightmare' a seven track EP that has been recently been released shortly following her single released EP titled track 'Dream or Nightmare'.

Constantly on the drive to release new music, these songs make the best parts of Bronnie from throughout the years come to light. From the release of 'High School Sucks' to this EP, Hughes has shown growth in not only her songwriting but her musical talent. Her single 'Dream or Nightmare' was the third single of this EP to be released and has been gaining traction ever since. The songs in their own way just like members of a band, deserve their own spotlight.

'Run and Hide', is the opening track on the album and without doubt sets the mood for the entire EP.  Hughes' vocals jump straight in at the beginning with very little time fill, to hook the audience straight away. The instant beginning is almost like a metaphor for her kicking ass in her career that's for sure. This track in particular though is a, showcase of her vocals and certainly shows how hard working she truly is. It is additionally emotionally hitting in a lyrical sense and has the element of surprise 3/4 's of the way through when male vocals jump in on the final bridge; giving this track more of an underlining hard rock vibe, which arguably pulls this song apart from all the rest.

'Lost and Found' was the second single to be released and brings much more of a pure rock vibe to the EP with a foot dancing fade in instrumental to ease us in, and it provides the audience straight away, strong imagery which is portrayed through the songwriting. Something in which Bronnie is incredibly good at doing with all of her songs. To note with this song, is the screaming vocals on the track; which is what makes the song prevalent to it's rocky vibe, and the emotions.

'Dream or Nightmare' is the continuation on the rockier elements of the EP and keeps that side of her genre truly alive, with yet again more strong imagery in her lyrics. It's another depicted story telling kind of track displaying her inner thoughts and her emotions, yet again impressing fans with her vocals in partner with the rocky beat that is far too addictive to not keep playing over and over.  With a quick start into the lyrics, it is not only the title track but appearing to be a fan favourite of the EP so far.

'Not Too Late to Be Okay', kicks straight in with her drummer Chris Mitchell vastly accompanied by her vocals and without a doubt is a powerful punk-rock track; that is both insightful vocally and pleasurable instrumentally. With both of these elements put together it makes it one of the most unforgettable tracks on here and is bound to get stuck in your head for a while.  Definitely a typical depiction of Bronnie and her songwriting talents, that never ceases to amaze.

Now shifting into her more mature audience, 'Ageing' is a song that has been contrived full of relatable thoughts throughout the orchestrated scenarios and things all of us think about at some point as we age. Although it is one of the shortest tracks, it offers a lot in a short time with rockesque drum beats and dreamy rock guitar riffs from guitarist Peter Gebbie. It is by far the song that you want to replay again and again because by songs end, you don't want it to stop.

'Stay' introduces itself with a highly energetic classic hard-rock vibe, and was the first single to be released. Four years ago it was released in a more demo-esque version, with less of a rock comparison unlike now. By far one of her fan favourites and clearly meaningful to Bronnie. Although it has had a few minor changes to it like the more edgy feel to it, it has kept its catchiness and kept rolling in with its personal relations. additionally it is still swiftly sat at one the highest streamed songs she has, and it is very clear to see why.

'I Wonder What It's Like' is the only stripped back, acoustic song on this EP and ends the 7 tracks on a much softer, more emotionally exposed side, but was exactly what was needed. Even though there is quite the shift between this track and 'Stay' this song is a showcase for her voice and is the only song on the album that floods you with all of her heart and relatable feelings. The guitar has a controlled, dream like state that keeps you drawed into the lyrics and allows you to focus on Bronnie and was a clever way to sum up the tracks.

Overall, something this EP shows to fans is Bronnie's undeniable ability to interlink emotion through imagery in her lyrics, and vocals that throughout the songs shine. Even on occasion, dare I say give a slight shiver to the skin. It shows how far she has come throughout the years with her being an artist and an influencer to her younger audience. Although "I think i'm ageing" just thinking about how far these tracks, show she has come.  Hand on heart, this EP is her best yet and just shows that she has the ability to out-do herself every release she has.

With a hint of new music in the works, do you think she can out-do herself?

Five Acts - Five Quid ...What to expect when seeing Hazel live?

Hazel, are a female fronted, 4 piece alt-rock band based primarily out of Sheffield, UK with influences of Don Broco, Lower Than Atlantis and Marmozets. Mae Florence (Vocals), Tom Beverley (Drums), Tom Pearce (Guitar) and Joe Williamson (Bass).

The Castle Hotel is a small 80 capacity venue in Piccadilly, Manchester. On May 15th, Hazel were apart of a gig night known as Fiver, run by Degenerate Productions. Five bands...Five Pounds...You couldn't argue that the price was one good deal.

Hazel took to the stage around 8:30pm and the audience were ready. The band started playing and pretty much instantly bassist Joe was headbanging and feeling the music. In unison at multiple different times during the set, Tom and Joe were headbanging and for those small segments of the songs you could feel, the heart and soul of all the members. There was nothing like the vocals of Mae, pure talent and one enjoyable vocalist alongside a drummer that could answer "what's the next song?" whilst being fully invested in playing the current song.

Scorpio was a song for the win. An emotionally captivating song that got you moving, one hell of a guitar riff and a thumping bass that you couldn't help but admire. Every song that this band played, were full of bopping beats, admirable riffs, slapping bass chords and lyrics that were vastly relatable. A true pleasure to watch and a band that are on the list to definitely see again in the future. They took alt-rock to a new energetic level and despite how bad the levels were for the band prior to them, the band were a pleasurable, entertaining and fun band to watch. Dancing, headbanging and over all enjoyment.