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!
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:
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, geographicseparation, 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.
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.
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”.
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:
MeMe Detroit’s new single brings about the classic sounds and angry vibes that you would typically get in an archetypal ‘Rock n Roll’ song.
Describing it as a ”Calling” and a ”Deep Lifestyle” within the lyrics, ‘Mean Rock n Roller’ was written as an anthem to anyone who feels pressurised to adapt and conform to societal ideals.
“Mean Rock N Roller is a bit of a tongue-in-cheek song that we had written as a bit of fun but at the same time says ‘fuck you’ to the limiting beliefs that are pressed on us by society as we grow up. You can basically be, do or have anything you want in life when you put your mind to it, so never settle. It’s pointless”.
Mean Rock n Roller can be streamed below:
With 200 gigs under her belt, MeMe Detroit has become known for her highly energetic, immense and furious live shows. However, even away from the live scene MeMe, alongside drummer Kallum McEwen, are still able to give quality music and entertainment for their fans.
They are currently rallying their fans to help put together a music video, whilst keeping them entertained with a constant supply of new music via exclusive streams on social media.
MeMe Detroit continue to gain traction within the UK music scene as they have managed to land regular airtime on Kerrang! Radio, Janice Long’s show on BBC Radio Wales and have been picked for Fresh on the Net’s ‘Fresh Faves.’
For more updates and information on all things MeMe Detroit, be sure to keep up with their social media below!
Cvlt Nation is currently streaming Nullity, the latest full-length from atmospheric doom/sludge metal practitioners LESSER GLOW in its confounding entirety. The debut comes in of the eve of the LP’s official release via Pelagic Records.
With Nullity, LESSER GLOW rips open a massively wide and confident blend of traditional doom meets melodic metal, paired with the likes of hardcore, post hardcore, noise rock, post rock, and beyond. Molding all these into one cohesive mix, LESSER GLOW stands out as a refreshing and unapologetic ally brutal take on heavy music.
Issues the band, “Nullity was a chance for us to expand ideas we began with Ruined. There was never a finite idea in mind, neither for the band nor the record, and throughout the writing process we tried to explore that; follow the excitement, pull from all angles of influence, and push the dynamics and sounds to new territories.”
Adds Cvlt Nation,“There may have been a time in human history where, as a species, we understood ourselves as part of a whole; one part of a symbiotic relationship with the planet. But those days have been lost to most of us. Now we’re a scourge; parasites that feed off the corpses of every other living thing on earth but most of all, ourselves. That idea is what breathed diseased life into the new album from LESSER GLOW, and the dissonance and wrath wash over me in waves while I listen to this filthy slab of sludge!”