A Chat With: Youth Illusion

Alternative, Interview, Rock

The rock scene is a saturated one at best and overcrowded at worst. With the entire genre screaming their throats into oblivion it’s not easy feat to have your voice heard above the rest so you have to make damn sure that what you’re offering is worth blocking out the noise for. Alt-rockers Youth Illusion, and their upcoming EP ‘Seeking Answers in Silence’ make short work of such a challenge and have provided some of the year’s most indelible hooks and most devastating moments of aggression and we had the pleasure of chatting to the guys behind it all to find out more…

RR: What to you is the best rock album of all time and why?

ZAC: Ok, hear me out…. AC/DC “ Back in Black”…….  this album has with stood the test of time. You have multiple generations of musicians they picked up a guitar because of this band.

RORY: There are so many that changed music but since I grew up and got my musical education in the 90s I have to say its between Nirvana – Nevermind, Oasis – Definitely Maybe, or Green Day – Dookie. All for the same reason, they changed the course of music and reintroduced rock/punk music to the mainstream after the disastrous hair metal and synth wave of the 80s.

MATTEO: GNR Appetite for destruction in my humble opinion. The reason is that Axel was at the top of his shape vocally speaking, the second best singer of whole times just after Freddy Mercury. The line up as well was just insane, the bond that the band had it was just sensational. Song after song it’s just a never ending of filthy riffs, iconic bass lines and the perfect vocal tone as the cherry on the cake. (when I named Freddy above on the tv suddenly came up Freddy singing ‘who wants to live forever’ on the news)😱

HEATH: If we’re talking straight up rock, it’s got to be Superunknown – Soundgarden. Chris Cornell’s voice is amazing.

RR: How did you first discover rock music?

MATTEO: My dad introduced me to it, my dad never followed Italian music, he was a rocker – leather jacket, biker and so on but he never played an instrument. Since I was a kid my dad use to play to me bands like Dire Straits, Queen, Deep Purple, Led Zeppelin, AC/DC and many more on our old hi-fi.

HEATH: I first discovered rock music at a very young age as my parents would often play the likes of AC/DC and Queen around the house.

RORY: I grew up in a very musical family so was raised on bands like Pink Floyd, Bob Dylan, ELO, Eagles etc. My uncle lived with us and was into metal so I used to raid his CD collection and got into Metallica, Iron Maiden, Anthrax, Exodus and the rest. But I started developing my own taste when I was given a tape, Offspring – Smash. My brother got Nirvana – Unplugged at the same time so we used to swap. He then started borrowing music from his friends and introduced me to Rage Against the Machine, Marilyn Manson and the heavier bands of the 90s. After that, everything got turned up to 11!

ZAC: I grew up in a religious house. My dad used to have this shelf for CD’s. I remember looking through the CDs curiously and I found this album that was all black and I asked my dad “what is this?” and he said “it’s AC DC, you can listen but don’t tell your mom” hahaha, I still remember hearing back in black for the first time and it was game over from there.

RR: How would you describe the songwriting process behind the two new singles?

ZAC: I usually come up with a riff in record on my phone and then send it to the boys at 4 in the morning with a text message in bold saying “oh my god listen to this!!!!” hahah  we are starting to get more regimental with the process but these two singles were honed in after many writing sessions.

MATTEO: Both tracks are Zach’s ideas but all of us added our personal ideas to it. We worked on this record as a team, we made so many changes since the beginning to the tracks but then we got to point which we thought ‘ this is it!’.

RORY: Zach will come up with the riffs and the vocal melody and we will loop the hell out of it in pro tools. I will then chop it up and create a basic song structure and program a simple drum beat. Once the back bone and structure is completed Matt comes in and adds the sparkle. Obviously the song is evolving the whole way through as new parts and transitions are added or changed. Then we go into the studio and it all comes together.

HEATH: Although I wasn’t present for the writing of the two singles, I do enjoy adding my own style of playing to the songs when we play them live.

The band’s previous hit single ‘Cover Up and Die’

RR: What does the future ahead look like for Youth Illusion?

RORY: Hopefully a lot of touring and a lot of festivals. The goal is to do this full time and hopefully that is on the cards.

ZAC: Bright……I’m not just saying that to sound arrogant but I really believe we can do something great with this band. Hopefully we get a chance to tour more and do festivals.

HEATH: The future of youth illusion looks bright. With the tours and the album release, we’re shaping up to have a good year and a lot of fun. As always with music, it’s great to keep it professional and have a good time doing so.

MATTEO: Bright! I’m 100% sure that this record will let people turn their heads, we are eager to show what we have to offer so I can’t wait for it! We want to play shows as much as we can and take this EP as far as we can.

RR: If you had to describe your music to someone who could not hear, using only images, what images would you use?

RORY: Fireworks.

MATTEO: A rollercoaster: calm sections that suddenly switches in heavy breakdowns going up and down like a rollercoaster.

ZAC: Gosh, that’s a tricky one.  Maybe a picture of an avalanche? Hahaha

Seeking Answers In Silence is available everywhere on 25/03/22! Connect with the band below:

Website

A Chat With: Bent Self

Alternative, Hip Hop

Evolution in music is inevitable, there’s nothing that can stop it and nothing strong enough to even resist it. Hip-hop, and the myriad branches that grow from its core values, are no exception and alt-hip-hop solo project ‘Bent Self’ shows that this is nothing to turn your nose up at. His latest LP ‘Waves’ is a melancholic triumph in brooding atmospheres and intelligently designed soundscapes so it was only fitting that we got to pick his brain and dive deeper…

RR: What to you is the best rock album of all time and why?

That’s a really hard one….but I would go with Tool “Undertow” because it has that raw dark vibe with great hooks, originality and vocal dynamics. It’s under that timeless category so it will still sound fresh 20 years from now.   

RR: How did you first discover rock music?

I was around 7 years old when I heard Guns N Roses ‘Welcome To The Jungle” on the radio with my dad and it just grabbed me instantly. I asked him take me to the Chevron to buy me the cassette tape and I played it on repeat on my walkman. They had this grime, chunk and killer vocals that no band had at the time so I really connected with it.   

RR: How would you describe the current state of rock/alternative music?

I would say rock/alternative music is not dead and is alive and kicking. I believe many people just look at the mainstream rock artists that you hear on terrestrial radio saying rock is dead but they miss all the other less known artists that have great music and touring.

RR: Who is your current favourite rock/alternative artist and why?

I really dig Puscifer because they stand out and mix some of my favorite genres electronic-rock, trip-hop and post-industrial to create a vibe. Each song has an experimental aspect to it and I always enjoy the mixed in female vocals.

RR: Do you see the genre evolving in any particular way at the moment? For good or for bad?

It seems like alternative/rock is mixed with many genres these days and is always evolving which is what I love about it. Many artists are mixing it with electronic, pop and hip hop currently so I think that it will evolve in those areas for the better.

RR: How did you come to fuse elements of modern hip-hop and rock/metal?

Well growing up in the 90’s I really connected with rock/metal, hip hop industrial music and really liked the fusion. So in 2001 I started by band Arvins Garden which has that alt/metal, nu-metal sound and then nine years later I started my solo project Bent Self. Bent Self is more of the experimental side which still incorporates hip-hop, rock/metal but with less heavy guitars more electronic, industrial and trip hop based elements. There are endless creative paths being a crossover artist blending genres together and that’s how I ended up with my experimental sound.  

RR: Do you think it’s a blend that has seen the right amount of love from critics/public so far?

Yeah I believe so, we are in the days of being able to create outside the box with music and visuals.

RR: Did you have a particular ‘listener’ in mind when writing Waves?

I don’t really write that way unless the album or song needs a specific vibe intended for a movie, video game, etc. I sit down focused on writing experimental music that makes myself happy first and conveys the emotions I’m feeling at that moment. As far as the overall vibes I wanted to encompass for the listener in mind would be dark, lyrical, sexy and dynamic.

Waves is out now and available everywhere! Connect with Bent Self below:

Website

A Chat With: Izakman

Interview

Rock music has exhausted almost every avenue of songwriting it has available to it but the trip-hazards and mind-bends of Lewis Carroll and Brothers Grimm’s classics is one fruit that has rarely been picked. Rock risers, Izakman, have seized the opportunity with flare on their upcoming record ‘Cyber Love’ and we got a chance to shoot some questions over to songwriter and frontman Itamar Isaak to dig a little deeper…

RR: What to you is the best rock album of all time and why?

I have several favorites, but I’ll go for the rock opera Tommy by The Who.

The album’s subject matter is heartrending and timeless, following a deaf, dumb and blind boy and his experiences with life and his relationship with his family. It has a fantastic narrative flow from start to finish. Musically and energetically, It stands the test of time. Epic! You come out of it in a different state than how you started.

RR: How did you first discover rock music?

I was first exposed to classic rock music when I watched The Yellow submarine for the first time as a child. Still, I only became aware of rock music at school when many of my friends were into 90’s grunge and metal bands. Everybody wanted to pick up a guitar, put on distortion, and shred in my teenage years.

If you wanted to be “cool” and impress your friends, you would have a skateboard or play soccer and play loud electric guitar.

RR: How would you describe the current state of rock/alternative music?

I think it’s all fragmented now because of the internet. I don’t know who the new most prominent bands are anymore because they’re so many now. I mainly get to hear about new psychedelic and indie rock bands. I guess it’s due to the internet’s data from my searches.

My latest discoveries are “UNI”, which a friend introduced me to, The Swedish band Dungen and Amy & The Sniffers, which I found randomly on the internet or perhaps I got targeted on YouTube. All are brilliant, and I hope to see them live one day.

RR: Who is your current favourite rock/alternative artist and why?

It’s hard to pick just one; recently, I’ve been more interested in discovering obscure rarities and traditional music from around the world. Nevertheless, I admire Pond for Nick Allbrooks confrontational charisma and cheeky showmanship.

Their latest album, “9”, is my favorite release I have encountered so far from last year, for its fun unapologetic energy and great emotional yet sophisticated songs from start to finish.

RR: Do you see the genre evolving in any particular way at the moment? For good or for bad?

Following psych-bands I like, such as “Tame Impala, Pond, UMO Temples”, and the Israeli “Iogi”, I think the majority are leaning towards the lusher and synthesized sound.

Production-wise, you get to hear a lot of amazing and exciting sounding stuff. But, still, artistically, I feel the approach has become somewhat escapist. You always have the exceptions like the Israeli Electric Zoo, which are more raw and rebellious in their approach. And Izakman off-course.

RR: Can you tell us about how the idea for the ‘Cyber Love’ music video came about and its significance?

Cyber Love was spawned from a feeling of alienation and deals with reaching out across cyberspace, social media platforms and dating apps and the struggle to make a true and meaningful connection.

The idea for the clip was inspired by Pina’s Bausch performance “The Man I Love”. The song expresses an individual’s frustration from poor communication. The theme of poor communication is reflected in the music video, which includes elements of Sign language, Morse and Braille, which are all used to overcome an obstacle in communication. The song may suggest that technology can be an obstacle to intimacy rather than a means to achieve it.

RR: How would you say this new album compares to 2015’s Rabbit Holes?

“Rabbit Holes” was made entirely D.I.Y. I had no method and no experience in music production before.Some of the songs I performed and mixed entirely on my own with no one else involved but for me. The song “Sleeping the Day Away” appears in different versions on both albums.

I tried to capture the sound of a late 60’s obscure psychedelic record. The new album was produced in a more “old school” way – in a proper recording studio, with a live band and Roy Nizzani as the producer. Roy’s approach was modern up to date. At the same time, mine was a more classic 70’s rock, resulting in a fascinating sounding record.

RR: Are there any sort of visual elements planned for the other tracks on the album as there was for Cyber Love?

Yes, “Down the Rabbit Hole” is also accompanied by an animated music video produced by Saloniki animation studio – Addart. I developed both “Cyber Love” and “Down The Rabbit Hole” music videos with my neighbour photographer Shay Ben Efraim who also filmed them and has worked with me throughout Izakman’s activities.

The new video is inspired directly by Lewis Carroll’s work across mathematics and literature; the video follows a young mathematician lost in a mathematical wonderland pursuing the solution to a complex equation – a solution that manifests as Alice. The video showcases a new mathematical branch, Soft Logics, that challenges the binary nature of true/false limitations.

Cyber Love is available everywhere on 27/01/22

Connect with Izakman down below!

Website

A Chat With: Heart Through Sacrifice

Interview, Metal, Rock

Albums accompanied by a full-length graphic novel is always going to invite intrigue and the debut project from prog metal outfit Heart Through Sacrifice delivers such curiosity and then some. Speaking with the man behind it all, we caught up with Doug Rimington to find out more…

RR: What to you is the best rock album of all time and why?


For me, it was Stone Temple Pilots – Core. This album I can still listen to from start to the end and love every minute of it (possibly the nostalgia glasses!). Great vocals, great lyrics, music that fuses jazz with grunge… and the first songs I learnt from music sheets were from this album.

RR: How did you first discover rock music?


A good friend introduced me to all this stuff, my family was quite poor when I was growing up, but this guy always had new tapes and cd’s to share. He introduced me to STP, TOOL, Rollins Band and many others.

RR: How would you describe the current state of rock/alternative music?


I think there will always be the ‘overlords’ of marketing and sales who rule any scene, but thanks to the world of independent distribution, social media etc… it is now possible for people to create and put out their own music… whether anyone hears it, is another question entirely…

RR: Who is your current favourite rock/alternative artist and why?


This is a tough one, the closest thing I might get to this is probably Spiritbox? It’s amazing what they did over lockdown, releasing fantastic music videos and building up a massive following, helped greatly by Vocalist Courtney La Plante’s 1 take videos show casing her skill and passion for singing.

RR: Do you see the genre evolving in any particular way at the moment? For good or for bad?


It’s hard to say at the moment, I think before the pandemic, things were turning back to the live performance side of music – how to make a good live show without relying too much on backing tracks etc… But now I’d say it’s going back again to focussing more on the recorded side of music. With NFT’s taking hold, smart musicians have found another venue to make a living so will live shows suffer? Maybe…

RR: How did the Heart Through Sacrifice project come about?


I’ve played in many bands, all have been great learning experiences but all fell short of expectations in some way. The last band, Voodoo Diamond, we spent so much money on the recording and then it all imploded after money became such a problem to take the band any further. I couldn’t let my music life end like that… so I decided to do something myself with the goals of it being epic, cinematic, doing it all (apart from singing!) myself and also to bring some positivity in any small way to the people involved.

For the shows we did, all tickets sales went to charities including the Rain Forest Trust and the British Heart Foundation. If I can’t make enough money to live on, I can at least put it to some positive use somehow…

RR: How did you decide that you wanted to produce such a colossal record?


The end product of this had to be bigger and better than anything I’d done before and mostly, something I could be proud of. I was tired of EP’s and singles. I wanted a full epic album that you’d listen to from start to the end and felt like you’d been on an adventure! The music was written before the story but totally inspired it as when listening, I saw in my mind this fantastical world, a battle with an evil beast and a fiery heroine warrior!

RR: Did you have any key inspirations behind the instrumentation of the album?


It was a combination of Devin Townsend’s extensive catalogue, Machine Head, Chimaria and Caliban… basically Prog, Thrash and Metalcore!

Be sure to follow Heart Through Sacrifice on Facebook and Instagram and to check out his new album on all digital streaming platforms!

A Chat With Chameleon Lady

Interview

With their new EP, ’11 Waverley Road’, dropping on this very day, 3/12/21, it was our pleasure to catch up with indie-rock outfit Chameleon Lady’s voice-box Cam! Diving into his own music habits and the band’s strong family ties, here’s our chat with Chameleon Lady…

RR: What to you is the best rock album of all time and why?

The best rock album of all time is such a tricky question. I grew up with The Black Parade by My Chemical Romance and the unbelievable American Idiot by Green Day. Personally I’d have to chose one of them as they really introduced me to the genre. 

RR: How did you first discover rock music?

Apart from buying the albums Black Parade and American Idiot by My Chemical Romance and Green Day I suppose it was earlier rock. Bands like The Beatles, Meatloaf. Bat out of hell was regularly on in the house. 

RR: How would you describe the current state of rock/alternative music?

I think it’s in great shape. There are so many new and exciting bands coming through with different and unique sounds. It’s such an eclectic mix. 

Check out the band’s latest hit single – ‘Home (The Highlands)’

RR: Who is your current favourite rock/alternative artist and why?

I love Fatherson. A Scottish band from Glasgow. They are just brilliant. 

RR: Do you see the genre evolving in any particular way at the moment? For good or for bad?

I think the only way is up. I can only see the genre evolving into something bigger and better with new and more interesting sounds and talents. 

RR: Can you tell us about the band dynamic? I understand there are a lot of family bonds there!

So there are a lot of family bonds. Myself and Tom are brothers, Caitlin and Robbie are brother and sister, Kenny is their dad and Michael is their cousin. Although a lot of people would suggest this is a nightmare it works really well for us. It allows us to have a very tight knit bond that other bands just don’t have. Our creative and performance chemistry is off the charts and that can only be a good thing. 

RR: What did you learn about yourselves as musicians from writing the new EP?

I think we all learnt that we aren’t actually half bad as musicians. It’s always difficult starting out and getting your foot in the door but this EP has really elevated our sound and understanding of our music. It’s been such a positive and fun experience. 

RR: What was the main source of inspiration from the new EP? Did this differ from your usual songwriting process?

Our usual songwriting process is very collaborative. One of us will bring a song or idea to a meeting and we all discuss and add our inputs from there. We have always done this but this time round we got more creative and experimental in what we were doing. We tried to dive deeper into the emotions and feelings of the lyrics and music. And we think we have struck gold this time round. 

Follow the band down below:

Website

Ajay Mathur’s new release ‘Anytime At All (Aftermath of Silence) – The Moment of Clarity.

Rock, Rock n Roll

In November 2021 Ajay Mathur released his mix ‘Anytime At All (Aftermath of Silence)’ with both the intimacy of acoustic and the beating drum intro this has become one of Mathur’s highest played songs on Spotify. The song, which is from his upcoming album, has followed from his already successful single “I Need You Now” released in August 2021. Mathur is a Grammy-nominated musician, an impeccable achievement for any singer-songwriter. He grew up in India, now residing in Switzerland where all his musical ideas come to life.

The track itself, ‘Anytime At All (Aftermath of Silence) most definitely is one that never gets old, written shortly after John Lennon’s death, it is dedicated to the legendary musician. The lyrics came from within Mathur’s emotional trauma felt by Lennon’s death, relatable to that of what fans felt all over the world. Although this wasn’t the first time Ajay has been exposed to death, having lost both of his parents when he was just a toddler, he exerts this pain and emotion into his music which can be felt through his vocals.

Written from the perspective of someone who was nearby when Lennon was tragically shot, from both the lyrics and instrumental you feel the unreal sense of disbelief. Moving forward to 2020, the world is in the grips of a pandemic, locking us inside. Ajay spends this time in his home studio, listening to his favorite records, some of which are The Beatles and John Lennon of course. This moment brings inspiration and motivation, he picks up his guitar, following that Anytime At All (Aftermath of Silence) infiltrates the room. At this point, Mathur has finally found the emotional strength and the right instrumental to create his song.

Ajay felt that he needed to convey the clarity that he himself felt when he revisited the song in April 2020. He reached out to a friend and pianist Michael Dolmetsch, who was someone Ajay always wanted to work with but never had the chance to. Michael instantly understood what Ajay wanted to exert through his music, from this he created an elegant grand piano instrumental. Ajay went on to work with many other musicians to create his touching track. Steve Birrer added pedal steel to enhance the fluidity of the track. After Ajay recorded his vocal, the song was mixed by Grammy award-winning engineer Austin Asvanonda, who had worked with the Rolling Stones.

He also worked with another award-winning producer/remixer Philip Larsen who has successfully worked with musicians like Human League, Britney Spears, and Lady Gaga, among many others. Philip created the more contemporary version of the song, which was released with the single. Ajay chose the timing of the release to fit with Lennon’s birthday on October 9 and the anniversary of his death on December 8.

“People exit our lives for many different reasons – end of a relationship, geographic separation, death by illness, carelessness or maliciousness of others – and we are forced to face the void. Recognizing that they are never really gone is where we can begin to find peace and comfort. “Anytime At All (Aftermath of Silence)” describes that moment of clarity, that the people who have touched you deeply are always going to be there with you. All you’ve gotta do is call.” – Ajay Mathur

Ajay understands death, along with the emotions that come with it, he wants others to acknowledge that there is a sense of clarity when you realize although that person is not physically there, doesn’t mean they aren’t there with you – as his song suggests all you’ve got to do is call.

Ajay Mathur Website / Artist pages

Official Website

VEVO

A Chat With: Ajay Mathur

Interview

Ajay Mathur represents a glorious cross section between the annals of rock music both classic and modern alike. With a wealthy and expanding discography already in the public domain, eyes turn to Mathur’s latest project: single ‘Anytime At All (The Aftermath Of Silence)’ and we had the chance to chat with the man himself to dive deeper…

RR: What to you is the best rock album of all time and why?

Oh, that’s a very hard question. There are several rock albums that I consider exceptional and influential. Some of them are ‘Axis Bold as Love’ by Jimi Hendrix, ‘Dark Side of The Moon’ by Pink Floyd, ‘In the Court of The Crimson King’ by King Crimson, ‘The Soft Parade’ by The Doors, ‘Led Zeppelin III’ or Queen’s ‘A Night at the Opera’. If I have to choose my favorite album of all time, it would be The Beatles’ ‘White Album’. The White Album is full of gems. It’s down to earth compared to the psychedelic spiced Sgt. Pepper and it gets heavy as hell, when these guys decide to rock it. The White Album also has a personal context for me. It is said that most of the songs on the White Album were written in Rishikesh, India when The Beatles were there at the Ashram practicing meditation. That’s where I met them as a 14-year-old kid. That encounter possibly sparked my interest in learning to play guitar and make my own music. Before that encounter, I was interested only in drawing and painting.

RR: How did you first discover rock music?

Even though I grew up in a family of musicians and artists and was exposed to Indian classical and Bollywood music, somehow, I gravitated towards pop, blues and rock and roll that was occasionally played on radio shows in India. Maybe it was also a little bit of rebellion against the Indian music of the grown-ups. I grew up with an older cousin and I was fascinated by the way he and his college friends got together on our terrace and sang songs by The Beach Boys and The Beatles. To me it was magic. It was my cousin who then showed me my first three chords so I could play ‘Sloop John B’. That got me started playing the guitar and singing. The rest is history.

RR: How would you describe the current state of rock/alternative music?

Rock and alternative music is thriving as an art form, but unfortunately it doesn’t get the exposure it deserves in the mainstream media and the record industry. Nevertheless, rock and alternative musicians are creative and resilient. They are here to stay.

RR: Who is your current favourite rock/alternative artist and why?

War on Drugs, especially their album ‘A Deeper Understanding’, Greta Van Fleet, Garbage and Dave Grohl’s Foo Fighters are my current favorites. They all rock, have a unique sound and a distinctive style of song-writing. I also think Alice Cooper’s ‘Detroit Stories’ is phenomenal. Alice Cooper at 73 is as indestructible as ever.

RR: Do you see the genre evolving in any particular way at the moment? For good or for bad?

The genre evolves all the time, reinventing itself. In my opinion, that’s not a bad thing at all.

RR: What was it like working with Austin Asvanonda on the single?

Working with Austin is a great pleasure. He not only mixed the single, but I also worked with him on the whole album ‘Talking Loud’ which should be released in Spring 2022. Austin is a pro. Even at his young age – he is 24 – Austin has a remarkable level of patience and dedication to creating great soundscapes and mixes. He has the gear and the ear and was even able to decipher my abstract and at times cryptic sound suggestions. On the single, I also got to work with the British sound magician and remixer Philip Larsen which was a really uplifting experience.

RR: How did it feel to win The Akademia award for best pop rock song?

It felt great! Winning an award is always a great moment when you know that your work has been well received and acknowledged by a jury and people well outside of your circle of friends and fans. It’s a boost to your self-confidence and confirms that what you’re doing is good.

RR: Do you think the landscape of rock music would look any different if Lennon was still with us?

I wish I knew the answer to that. I know that John Lennon was a creative force and at the time he died, he was still in his best form. Just listen to ‘Double Fantasy’, the album released shortly before his death, and the fantastic song material on the album. I’m sure that John Lennon would still be a major artist and acting as a voice for his many social causes if he were still with us.

Anytime At All (The Aftermath Of Silence) is out now and available everywhere!

Follow Ajay down below:

Official Website

VEVO channel

Soundcloud

Apple Music

Tidal

Movment is Regenerating the Punk Era From Behind A Mask

Punk

Movment is rising back into the scene with their second album Transformation, they have released just a snippet of it with their EP We All Must Go. 

Remaining ambiguous the duo has trademarked their white masks, their act revolves around performativity and connecting the consciousness to the lyrics. The ambiguity is felt throughout We All Must Go as it speaks on the journey of life, how we all have the same fate but follow paths of where no one knows the end. The pair are not only creating rock music but regenerating punk, as well as having elements of grunge that create the grit felt in We All Must Go.

“We All Must Go is a song with a simple message – we are all eventually going to leave this life. But it not particularly negative, it is about embracing the light. It’s an inquest into the journey to the big black river that awaits us, where it’s going, nobody knows…”

The band wants to show their perception of the world, but also wants to invite their audience to do the same, to speak up for what they believe in. From the guitar riffs to the electronic synths along with the angered vocals they can be placed into the neo-dirt punk genre, conveying rebellion through their lyrics to question the agendas of the 21st-century. 

We All Must Go follows on from the two acclaimed singles Propaganda and Leave Me Alone, both of which have caught international attention from Brazil to South Africa and beyond. Both of the singles have beckoned the arrival of We All Must Go and the album Transformation. Movment is pushing the voice of millennials and anyone who questions 21st-century agendas to the forefront, making them extremely thought-provoking.

You can experience the album on all platforms on 2/12/21.

Check Out Movment below:

Website

A Chat With: Alan Dweck

Rock

With a history of globetrotting, a penchant for the visual arts and a pallet of some of prog and classic rock’s finest; Alan Dweck is already a name of intrigue. Combine this with the emergence of a remaster of his hit track ‘Before’, accompanied by an otherworldly visualiser, and what you have is a handful of conversation starters. We got chatting to Alan to see what’s what…

RR: What to you is the best rock album of all time and why?

AD: A hard one. There are so many genres and sub genres that make up Rock music. One album that has always spoken to me is Pink Floyd: Dark Side of the Moon. – You can listen to it repeatedly and discover greater and greater meaning. From the lyrics that ooze with empathy and insight into the human condition to the superlative musicianship and arrangements sympathetically built around deceptively simple songs. It has a consistent feel, sounding smooth whilst at a deeper level an inner anger bubbles and scratches just below the surface.

RR: How did you first discover rock music?

AD: I grew up with music all around me. As a child I found myself searching for a special sound amongst the bubble gum and the glitz that populated the airwaves. As a teenager I discovered Soho and in particular the Marquee club, the rest is history.

RR: How would you describe the current state of rock/alternative music?

AD: Fractured. We’ve lost the commonality of shared experience in a myriad of different colours. Subcultures and genres are now so small that they touch too few to result in a truly shared experience. We once listened to Radios and CD / Record players in a room with our friends. We now hide our music in our ear pods so that no one else shares them. Music has turned from a social experience into a personal one. On the other hand Spotify and other music sharing services put so much in each of our hands that it’s truly amazing. We can easily listen and discover to so many musicians all over the world. Problem is it’s probably too much and hard to know where to start. So we often end up getting fed something that sounds like what we listened to last time – So if we are not careful we can end up just listening to the same things. That’s restrictive not expansive. Meanwhile the musicians are ripped off whilst these services, internet service providers, hardware manufacturers all get rich from the people’s desire to listen to music. We listen to more music nowadays than ever before, yet the musician and creatives get less than ever before.

RR: Who is your current favourite rock/alternative artist and why?

AD: An Australian Guitarist called Geoff Achison because of his jawbreakingly beautiful phrasing and immaculate control over his instrument. And in the end the way he uses this amazing technique to express intense emotion.

RR: Do you see the genre evolving in any particular way at the moment? For good or for bad?

AD: As mentioned above, I see splitting and fracturing everywhere. There’s good and bad in it. On the good side there is lots of choice and many, many musicians out there for listeners to discover all playing in carefully curated styles that can be categorised to help listeners find them, On the other hand it’s too wide and more choice leads to greater confusion and less commonality in what we all listen to, That results in fractured music styles and ironically an ever smaller reach for musicians who quickly feel stuck in their genre.

RR: How did the ‘Before’ video visualiser come about? Any particular inspirations at all?

AD: I dislike videos of people doing things to music. I also dislike what I call the Celebrity mug shot kind of video: Lots of shots of the artists in different places, singing and generally trying to look cool. It all serves a cult of celebrity rather than a song or a genuine artistic expression. Whilst I do love much film music the normal subtext is that the Visuals are primary and tell the story whilst the music tells the viewer how to feel. I want to turn that on its head. I want the music to be primary – ie The music tells the story whilst the visuals should support it and enhance how the listener feels. The visual should support multiple viewing in the way that the music supports multiple listening. That is why all the images in “Before” are abstract, they are also all extracted from a single visual “the hand” which we see in full right at the end.

I guess I am trying to capture the magic we used to experience when holding a great album cover whilst listening to the music. The music came first and the cover second but the cover and artwork also became part of the experience of the album’s music. If you look carefully at the “Before” video you should find that in an abstract way it represents the message and story behind the song. I wanted something that the viewer could look at many times and still get something out of it. I also wanted the Hand visual to be the takeaway – the video to be an extension of the picture. But I guess it’s really in the hand of the audience and I just hope they like the experience. I am doing some more videos in a similar line. For some other songs and I also intend to use these videos in different ways for my live gigs. … Watch this space.

RR: How important is the visual aspect to your work to you?

AD: Music and Visuals go together like fish and water. I’ve always worked with artists and used visuals to inspire my playing and writing. In my old band we used to have an Artist painting a huge canvass whilst we played. When a strong piece of music meets a strong visual, the combines statement is so much more powerful and moving than with either music or visual can achieve on their own.

RR: What musical inspirations have you picked up whilst travelling?

AD: In many ways I’ve come to see similarities in different music styles and traditions that transcend their diverse roots. As a result I’ve grown an appreciation of what I suppose we would call world music. Drones and complex rhythms scales and microtones are all present in different forms across cultures. In many ways labels, even large labels like “Rock”, “Blues”, “Country”, “Pop” actually restrict us from opening our ears, by shutting us away from different scales and different uses of rhythm. I have grown an appreciation of so many different music types, from Arabic through Indian, Chinese and Aboriginal. Don’t get me wrong, I still love Rock and Blues music, it’s in my very core, but I also think that other cultures produce music that is equally valid and expresses powerful feeling. In the end it’s all music and for me “Good” music is music that touches an emotional core and moves me. That can come from anywhere in the world and just requires a musician to express it.

Follow Alan Dweck down below:

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News From The Rocky Road: Tunetables

News, Uncategorized

With the resurgence in popularity of physical media, you’d think more companies would be offering storage solutions for records, tapes and CDs. Sure, you can pop down to IKEA and get yourself a generic shelving unit, and these are fine, but what if you’re looking for something a bit more special? That’s where UK-based company Tunetables comes in. Their idea, quite simply, is genius. What they’ve done is taken the design of musical-instrument flight-cases (you know the sort – you’ve seen them on countless record covers and in countless photo-shoots) and build these into bespoke storage/tables for your precious music collection.

There’s a good story behind this. Rob Chappelhow, the man behind the company, is clearly a music-fan himself. He got the idea for Tunetables after visiting the Joe Strummer exhibition in Covent Garden. In Rob’s words: “Set out under an acrylic plinth was Strummer’s personal tape cassette collection…his musical heritage and inspiration perfectly showcased. It was totally spellbinding. I soon started to conceptualise how I could create my own version of this…a personal time capsule of life-affirming music. I wanted something that could be inherently useful, something that I would see and use every day, and that would be a talking point for like-minded music enthusiasts.”

Check out Tunetables below:

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