Singer, songwriter Davie Furey is here with his new Celtic themed anthem ‘History’. His latest single serves as a powerful and poignant boost and stirs a sense of courage and morale in anyone listening to it.
Boasting sharp and acute lyricism and inventive instrumentals, he’s not letting anything slow him down and this latest single serves as a battlecry for this message.
Paying homage to the classics, The Killers, Thin Lizzy, and Horseslips, Davie Furey has managed to put his own spin on ‘History’ while creatively channelling his inspirations.
The track pushes a narrative concerned with confidence and positivity, an iconic anthem that would fit perfectly into a large crowd setting. Furey’s smooth, husky vocals fit perfectly within the arrangement with the opening procession and the striking guitars placed front and centre. With this Furey given ample room to play.
It’s clear Davie Furey will continue to push the boundaries and stick to the beat of his own drum. As he continues to genre-bend and blend classic influences into something great.
‘History’ is available on all streaming platforms now!
If you haven’t heard of YNES by now… you’re welcome. The fiery songwriter takes on the style of 00s pop with a post-punk style and attitude.
YNES’ greatest skill as an artist has always been in combining DIY artist energy with sharp and witty lyricism.
Her single ‘Better Job’ featured her fearless critique and resentment towards zero-hours contract culture, backed by mammoth guitars and extremely high energy drums.
A lyric that really stands out to me from this track has to be: ‘A better job one where I can wear a tie to work but I’m a woman so It’ll have to be a miniskirt’.
This whole song showcases what a talented songwriter Ynes is as she takes on current issues in an intelligent yet witty way with her lyrics.
On the last single God’s Little Punching Bag, YNES further embraces imperfections with help from her razor sharp tongue.
For all the instrumentals’ liveliness, it is YNES’ vocal performance that steals the show. She is a force of charisma, ‘call me what I call myself, some desperate overgrown rebel, just don’t call me ever again,’ she intones. It is this willingness to treat contradictions with a smirk rather than a shrug that gives God’s Little Punching Bag its instantly replayable charm.
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.
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?
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:
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:
With a new record approaching close over the horizon, and numerous hungry fans to feed, we sat down with City Weezle frontman and founder, Simon Fleury; chatting everything from cabin fever to Japanese pentatonic scales!
AM: What would you say are the key differences between your debut record and the upcoming No.2?
SF: This album certainly has less Primus and Mr.Bungle influence. Even though we can still hear some Patton/Primus/Bungle colours in there.There are certainly more keyboard and piano sounds on this one thanks to the wizardry ofAxel Steinbiss and CSL Parker; two excellent players/composers.CSL really encouraged me to get back on the City Weezle stuff and taught me free formimprovisation which is super fun and it had been a long time since I’d done a lot of improv.For those things I’m very grateful and, of course, for his parts on the album..
It was so much fun working with Axel, he’s super zoned in and could just do anything.He composed some really cool key lines for the album and pulled really amazing takes out of the bag; all in his stride, He’s also one of the funniest guys I’ve ever met, Germans not being funny is a post-war myth.We’ve just had a Hitler joke we put in our press kit published in a review ofGerman Punk Magazine so I think the proof is in the pudding there ;).
This one was recorded in many different places over a much longer period of time whereas«Taboo» was recorded all in the same place in the space of about a year. I think this one is definitely less chaotic, intentionally so, ‘Cluedo’ is the final track on this album and it fulfils the roleof the track that brings the crazy. Of course, there’s a bit of craziness in all our stuff in different ways.
‘She’s a Stomper’ is our most straightforward rock song and I really dig it. It’s got a veryMelvinsy feel. We haven’t really released a straight hard-hitting rock song before and thisis certainly a new feel to our catalogue.In any case these are eight new diverse tracks we’re 100% happy with and can get behindand I can’t wait to perform them live.
AM: What do you think you learnt as a musician from writing No.2?
SF: From an educational perspective, I learned to write string quartet lines and it’s given me a better vision of how to approach orchestration for other instruments in the future I’ll definitely be delving into that a bit more on certain tracks.
It’s also given me a second round of collaborating with guest musicians which was also really cool and I’m really grateful to everyone who put a little piece of their magic onto this album.
AM: Did you encounter any challenges while writing/recording No.2? How did you overcome them?
SF: Yes there were many barriers to making this album not least the distance between all the personnel. It’s certainly one of the reasons why it took so long.Mixing this album at distance with Gautier Serre (Igorrr) was a lot of bouncing mixes back and forth and that was definitely the hardest part from my perspective.
But I really want to thank Gautier and think it was worth it as he did a great job, he’s responsible for the album having a great quality of sound.There were obstacles and a lot of flights booked to record this one but as with anything worthwhile it took motivation and perseverance to overcome those obstacles and finally get to the result we wanted.
AM: How would you describe the most dominant emotions coming from No.2?
SF: I’d say like most of our music it has a theatrical energy and there are moments of mystery and emotion.The most personal and emotional song for me is “Even Weezles get the Blues”. It was a very alcohol-fueled part of my life where I’d just split with my GF when I wrote that trackand was feeling the solitude of those emotions. So while it seems like a funny upbeat track it actually has a very deep meaning for me.
In a fun way, I guess it’s me singing about my problems back then, therefore the song title makes perfect sense.
AM: Do you have a general songwriting method that you stick to or does it come from within the moment?
SF: Well I have different methods of composing and I don’t like to stick to just one. Sometimes I’ll write mostly the music first and then only have one or two vocal hooks along the way while imagining what the vocals will sound like.Sometimes more recently I’ve been finding vocal ideas first and then just finding the music to suit the vocals and I think it works really well. Like ‘She’s a stomper’ was mainly written like that.
Igorrr has done some composition sections within our tracks on “Taboo”. Sometimes we’ll create things as a band in a rehearsal room and take each other’s ideas and develop them or alter them.
I have a method of composing I’m sure other bands like “The Ruins” use too maybe?It’s to record an improvisation and have the other instruments learn it and record over it.
I call it “Comprovising”! So you record an improv and the other instruments record over it in a structured manner. So it sounds tight enough to be written but comes from a completely spontaneous performance. We’ll certainly be fitting it in on future tracks.
AM: Do you have any interesting or funny stories from the recording process?
SF: We tracked the drums and guitars out in this lovely little cottage in a very remote area in the Nyre Valley in Co.Waterford, nearly Bally Macarby.
Many thanks to The Fabie Family and Henstep McGrath of “Crow Black Chicken” for letting us use the place for recording, it was a really nice little drum room in the upstairs of the little cottage called “Gypsies Cottage” – out there you get a real old Ireland feel, it’s kinda like going back 50 years in time.
A pub with a shop attached to it and the people to match, it was really cool.So we were very isolated out there, no phone signal, no internet just the basic equipment I had and the tunes to be recorded.We recorded the drums in the space of two days out there with “Ai Uchida”, all credit to him he’s a great guy and an amazing drummer!
I went out there to track the guitars for “She’s a stomper” by myself and it was a completely different ball game. I started getting cabin fever as they call it. It was like the Shining except I didn’t even have my wife or kid! With no internet and no telephone connection, it felt really really weird. I stayed at it for about two days and then got super depressed, scrapped everything and came back to civilisation
But it was very fun tracking out there with the lads other than that whacky experience!
AM: Can you tell us what it was like to work with Gautier Serre a.k.a Igorrr on this project?
SF: When I decided to get making this album I hit him up straight away with the question, ‘Would you be game for mixing and mastering it?’ Cause he’d done our 1st LP “Taboo” and I think he did a great job.
Plus I trust his ear. He’s a guy who’s been making top quality albums since I met him so I trust him on that front. He knows how to balance things well and get really great sounds. So I was delighted when he agreed to do it.Even though we did all of this at distance bouncing things back and forth and I haven’t seen him in ages I’d still consider him a friend. He was always super supportive of us and even jumped in a van to drive us around Europe for the Taboo tour.
He threw in a few little sprinkles of sound on No.2 where he saw fit and I think it worked out really well that way.
AM: How was City Weezle originally formed?
SF: Initially, I met a really wicked prog guitarist, Sylvain Ducloux, AKA ”Cloux” in ATLA music school in Paris where I was taking courses and he made this really insane prog guitar album called “Full Fool” and he invited me to do some vocals on a few tracks.
That was my first time participating on a professional quality recording – up until then I’d just done my own demos on my 8 track where I’d play all the instruments for the most part. From those demos, I had a bunch of tracks that I wanted to make a fusion band with and I selected those tracks to make the 1st demo of CW with “Cloux” on guitar, Eric Carrere on drums and Maxime Gilbon on Bass.
Eric Was playing with Cloux at the time and he’d done drums on my Demos too.Max and I used to mess around playing covers of queens of the stone ageand Primus with this other summer.I feel lucky that I’m still very close friends with those guys to this day.They’re great people and great musicians.
AM: How did music first enter your life? Do you have any standout memories?
SF: The first song I remember hearing as a kid is that “Dire Straits” track“Walk of life”; I must have been about four, it was on the radio and my mother was cutting celery. Every time I heard that song after that I would get the smell of celery and, vice versa, every time I’d get the smell of celery it’d bring that famous keyboard line of that song into my head. I only really started getting into music around age nine or 10 when I got into Nirvana.
Before then I’d had a few of those Now compilations.Discovering Nirvana was obviously a life-changing moment as it was for us all.Shorty after I got into Metallica and Alice in Chains, another pivotal moment was discovering Mr. Bungle Age 16; I’d discovered Zappa shorty before then.
There was also a legendary singer song writer named “Warwick Embury”. He wasn’t famous but he really should’ve been.. He was good friends with Donovan and had come from the really thriving music scene in the UK to live in Tipperary, Ireland.
I imagine he wanted to get away from the hustle-bustle of London and found solace in Tipp.English guy, real deal rock and roll legend who used to come round to our house and sing tunes and improvise lyrics and he was super fun and entertaining.He was a very fun, very cool guy, real heart and soul of the party.He wrote great songs and he was a massive influence on me too.Unfortunately he’s passed away now but he left a lot of great happy memories.His music lives on. I’d advise anyone to go and check out his stuff. Really great songs.
AM: I’ve seen that you’re a Francophile and also becoming fascinated by Japanese culture! Is this something that you think has ever leaked into your music or could do so in the future?
SF: Yes that’s 100% accurate I’ve always been into the french language and now I’m a fluent french speaker. I learned it from having lived over there for years. That’s where City Weezle was initially founded and I still have great friends over there.
Yes it’s worked its way into our music a bit. On our latest album No.2 on the 3rd track Maestro Mafioso, at the intro of the song I have some lyrics in french and I sing them withPedral and Mina of “Vladimir Bozar ‘n’ ze Sheraf Orkestar” one of my favourite bands!
We also do a rock cover of a french pop song “l’amour a la plage” there’s a version of it on the “Lysergik tea party” EP; there’ll definitely be some more french stuff in future!
Yes, it’s only now I’m starting to learn some Japanese and am very fascinated by Japanese Culture. I feel very lucky to have two great Japanese members in the band and really looking forward to gigging over there with the lads and learning more about the culture.Musically I’ve only learned the Japanese minor pentatonic scale and I wrote a really cool sounding intro with it once – we might break that out of the bag and make it something hopefully. Look forward to learning and hearing more.
AM: How do you believe that City Weezle fits into the prog scene?
SF: We initially come from the underground scene in France where Igorrr, Pryapism Vladimir Bozar and all these bands were kind of our contemporary’s. I think our music is quite diverse and will remain so we can be appreciated by the open-minded members of many different types of audiences.
I could see us opening up for any band we’d cite as an influence and fitting the bill very well,I think we fit in many places; we’re a fun band and we put on a fun show! It should fit right in everywhere. (Probably not in all-metal show line up but we’ve done it before and didn’t get murdered by an axe-wielding maniac, but who knows? Maybe next time it’ll happen 😉
AM: What is the main mission statement of City Weezle?
SF: Our mission is to keeppeople entertained as fuck and bring this super fun music to as large an audience as possible in this lifetime all while sharing the love of the music we love and the influences we channel through our music.
I believe it was Frank Zappa who said “Music is the Best”.
Ok! Fine! I’ll Step into the Light! der Mist have convinced me. As long as the Light has lots of der Mist songs being played on a constant loop, then I’ll step in if I must.
It’s a nice feeling to feel welcome in a song. It isn’t der Mist’s aim to alienate, but rather to welcome you in with a pat on the shoulder and a tin to crack open. The Glaswegians, who remind one of both LCD Soundsystem and Franz Ferdinand, seem keenly attuned to what makes a good tune. I doubt they could write out the exact formula, but you get the sense that they know what they’re doing.
That’s a great thing, by the way. Indeed, it’s a hard balancing act to sound at once in control, yet also nowhere near intimidation. You wouldn’t put on ‘It’s Alright’, a track also from their new ‘Step into the Light’ album, to show off your super in-depth musical knowledge. You’d whack it on at a gathering, where the mood needs to stay friendly and fun. If someone touches to aux when I’m trying to Step into the Light, I’ll scream bloody murder.
You wouldn’t be foolish to think that der Mist have a bright future ahead of them. A pathway lit by catchy melodies, embracing chord progressions and some incredibly mixed drums. Maybe their future is bright due to their own Light? But if it’s the same light I’m stepping in to? I’m not happy about that, I want all The Light to myself. Let me step in!
Formed on the 1st of November 2014, In Signs are a 3 pieced rock band who are based in Kyiv, Ukraine.
Their favourite genres are grunge and alt-rock and their music is readily available on Spotify, Apple Music, Youtube and all other major streaming platforms.
The band have kicked off 2021 with a bang with their new song ”Knock Knock” which is accompanied by a lyric video.
“It’s so important to be true with people who listen to your music and this is our main goal. There are a lot of artists nowadays but not all of them are doing art. We want to prove that music is not about money, it’s about the passion of your life. I’m a closed person and making music and writing lyrics is a perfect way for me to communicate with people.”
Arsen, frontman of In Signs
For all things In Signs, be sure to follow their social media below:
When you first lay eyes on this very abstract and insightful music video by the ever-challenging artist Inhibit, you are faced with a black screen that fades into a face full of scars. A frightening thought, right?
Describing himself primarily as a poet, Inhibit has studied the piano since he was five years old. Based in Brussels, the 21-year-old boasts an unusual background as a former racing driver and qualified lawyer – highly retrospective of his peculiar and unpredictable style of music.
Plastered with scars on his face and his back, ‘The Quest’ depicts Inhibit as a complete outsider who walks around a city wearing a mask though, upon revelation of his true face, everyone he approaches turns and runs in disgust.
Hurtling towards 400,000 YouTube views in less than one month, ‘The Quest’ sees InHibit examining the hypocritical reactions of those around him to his real persona, when how he is treated when not hidden behind a mask.
Watch the Eye-Popping Video to The Quest here:
Composed by the artist himself and featuring his keyboard and vocal skills, the video too was his own creation, featuring his own scarification designs and storyboard. His first book is to be released shortly, as well as a collection of his poetry.
For all things Inhibit, please be sure to follow their social media below:
Taking lockdown as their cue to gather their collective talents, West Midlands-based Four Crooks took to a remote farmhouse to write and record their new EP, and are now unleashing the results to the world.
Four Crooks consist of vocalist and guitarist Dave Morris, Guitarist Eamonn Russell, Bassist Toby Barnet and Drummer Dan Quinton-Jones. Having actually met over a bar altercation, Eamon and Dave shared a common Bond in music and how it should be performed.
They formed a band with Toby and Dan and took advantage of the lockdown to record a new, hard-hitting EP.
Black Magic by Four Crooks is led by the title track, a meditation on the addictive qualities of women and substances of all kinds – both a warning and a celebration of everything that can get you high and take hold of your senses.
The Black Magic EP also features Feel Alright, a song of redemption which sees someone working their way through a difficult relationship and walking out with their head held high.
Paranoia, a thudding, far heavier track looks at how it really feels to be trapped mentally with feelings of anxiety and doubt.
All in all, Black Magic is a trio of tracks that are honest about mental health and relationship battles.
For all things Four Crooks, be sure to follow their social media below:
“In my mind, it’s a basic study of humans on different levels, almost from an Alien National Geographic kind of perspective. Here is Earth, a most beautiful place and here are the alluring creatures who call themselves human beings. Let’s observe them when they are just in their bodies. Now look how they change when they interact with other groups’ – like a typical lab observation, right? Which is interesting in itself; but then of course, we have to look at how amazingly powerful humans can be when they disengage from the drama and plug into something bigger than themselves. I find comfort in all of it, when I can step back and observe us the way a newcomer might.”
Writer, guitarist, bassist and synth player across the new EP, Adrienne Vanderocker collaborates with producer Brandon Eggleston and several noteworthy guest artists such as Federico Pol Jr (Joe Cocker), Peter Holmström (The Dandy Warhols, PIA), and Brendan Bond (Black Pumas) in her new psychedelic EP ”The Good Punk.”
This includes four new tracks (as well as a bonus instrumental) which take the listener on a whole journey of genres from psych to electro pop, touching themes on sex, voyeurism and duality, which solidifies Vanderocker’s role as one of the most exciting recent alternative indie acts.
Among this EP, we are essentially taken on a journey of the human experience and our own battles with desire in our lives. This is highlighted in the track ”Cult for you.” Described as ‘earthly pleasure’ by the artist, the ambience and echos within the song take you on a lesson on the basics of human desire in the most spiritual form possible.
We are then taken into ‘‘Endless City” which brings the human experience out of the singular and into the city at night. It paints a picture of an environment full of the highest highs and the lowest lows, where people become ”lock boxes for sins, secrets, or resilience, or heroism, and they also become the most open, revealing, expressions of themselves on the flip of a dime.” This Endless City is also the place to get mind altering substances which keep us in a state of euphoria. It is emphasised that people on the outside wouldn’t get it, but those experiencing it would get it the most.
“Taking Notes” almost makes you feel like you are at school again. Here, Vanderocker takes a different route with a ”deep funky groove” explaining how as humans we have to push ourselves to almost reach our potential.
I was setting up a kind of 70’s vibe as the foundation and Pete ended up putting some really cool guitar work, creating this brilliant soundscape over the piece. In case anyone wanted to enjoy this piece without the narrative, we included a bonus instrumental on the EP”
Finally, the psychedelic journey ends with the track ”Supercell.” Vanderocker describes the tune as something which ”takes a look at how powerful humans are when they come together for a cause. Of course, it particularly speaks to all the unrest and upset around the massive corruption and ongoing systemic racism.”
Vanderocker explains that when writing she ”was just thinking about that superpower gene that kicks in when change happens.” When she found out what a supercell was, she says the track ”couldn’t have been more perfect.”
The EP can be streamed here:
This Ep further shows us the wild artist that Vanderocker is and will continue to be, for all things Vanderocker be sure to check out their social media below: