With Carnaval and the accompanying break – damn the Brazilian government for making us have more time off work – I have had more family time and less music time than usual. Even so, I have managed to squeeze in some quality listening during the hours of endless relaxation and sun soaked ennui, albeit somewhat restricted to stuff I’m writing about for one reason or another. David Bowie has obviously continued to feature quite heavily, ‘Blackstar’ not being an album you can get to the bottom of in a couple of listens, but have also discovered some lovely new music besides revisiting some old favourites. I’m actually putting together a Hard Pressed mixtape/playlist of lesser known artists that I have featured here on the site, so the likes of Luna Sol, Haybaby and Blind Wives have all been getting a spin, along with a remix of Tairrie B. by Nina Mediatrix, who was gracious enough to grant me an interview a couple of weeks back that is well worth a read. Inescapably though, it is stuff I’ve been reviewing, or had thought about reviewing but just couldn’t find the words for, that has been most dominant; so here’s what’s been titillating my eardrums over the last month or so.
MONEY – Suicide Songs
I really wanted to review this stunning album by the British indie trio, but just couldn’t seem to do it justice. It is beautiful, hypnotic, uplifting and melancholic in equal measure and makes for an elegant, yet emotionally brutal record of poetically crafted songs worth languishing in for a while. Treat yourself to some catharsis, you know you need it.
Two songs which featured in stuff I reviewed last month, and were two of the first tracks that I earmarked for Mixtape Vol.1, are ‘Scars’ by Danish power trio Forever Still and the wonderfully titled ‘Placebo Button’ from the Italian grunge rockers Noam Bleen. The former is a powerful blast of fresh sounding heavy rock with an epic emotional chorus and a cracking vocal from front woman Maja Shining. Noam Bleen, meanwhile, offer up an intricate slice of 90s tinged alternative rock that shows off the band’s love of heavy tube distortion, but also finds them exploring their melodic side with a fine instrumental section; promising stuff from both bands.
The Cult – Hidden City
Isn’t it gratifying when your favourite band come back to top form and produce their most interesting record in over twenty years? What a pleasant surprise this album has turned out to be, there are a lot of really good moments and the quality is high throughout. The Cult maintain their signature sound, that tambourine is shaking away beneath the surface, but they also really explore creatively. Sure, Billy Duffy is on fire and there are riffs a plenty, but Ian Astbury also delivers some emotionally raw vocals and the songs are some of the most stylistically diverse of their career. Killer record.
While thinking back on the records I’ve most enjoyed this year, it became obvious that I listen to rather a lot of rock. No shit! Not exactly a shock I know, given that I write for an alternative rock website and run one which, while embracing all kinds of music, has a heavy indie/rock slant. However, a lot of the hard rock/metal that I’ve been getting into as a result has not always been mainstream. Obviously, some things are unavoidably so, but having reviewed, shouted out and interviewed some very small bands I have inevitably played their records over and over, and, would you believe, their music stands up and has made a fan of me. So here goes the hard rocking releases I’ve most enjoyed this year.
Romans – – = + (Less is More)
Despite not being the best production wise, due to the cost of studio time and needing to record live, I really got into Romans’ hook laden riff heavy tunes. For a part-time band confined to the pub circuit they have made a very likeable record with a good positive vibe.
Halestorm – Into The Wild Life
I fell in love with this album quite recently and have had it on heavy rotation ever since. This is what hard rock should be about, badass riffing, wailing solos and immaculate full on vocals from the superb Lzzy Hale.
Iron Maiden – Book of Souls
OK, so Iron Maiden took Iron Maiden to the nth degree with the epic scale of this album, but its the best thing they’ve done since Seventh Son. They certainly sound reinvigorated and ‘Souls’ makes for an enjoyable listen with some really fresh and exciting moments.
Of Allies – Fragments EP
I have played their EP to death since I first reviewed it back in May and will readily admit to having a bit of a soft spot for the band, but that’s only because they are really rather good. Coolly delivered, hard edged and just radio-friendly enough, ‘Fragments’ ticks all the boxes.
Luna Sol – Blood Moon
This was another pleasant surprise that I got to review a few months back. These sinister tales of Rocky Mountain life are given hard stoner rock treatment at the hands of David Angstrom – heavy ass bass lines, blistering guitar breaks and hard driving riffage. Good record. Fucked up video.
Blind Wives – Recovery Positions EP
This was another EP that got a lot of extra plays when I came to interview the band, which is also part-time, but no less accomplished. Recovery Positions has some interesting well constructed tracks; there’s a strong indie/punk influence to their sound, but there are some good heavy riffs, and in Luke Pickering they have a versatile front man who plays some cool guitar and can sure carry a tune.
This series of interviews began life as an investigation into the difficulties faced by young bands on the UK music scene. The intention was to produce an in depth article with some sound bites from the groups included in the Five British Rock Bands that Could Use a Break piece (https://hardpresseded.wordpress.com/2015/08/06/five-british-rock-bands-that-could-use-a-break/), but the interviews have proved so damn interesting that it seems only fair to publish them in full. Each band has a slightly different perspective, so although the questions are repeated each group’s responses are equally revelatory.
The third band interviewed was Of Allies, who were formed from the ashes of Lavellion and In:audium and immediately gelled into a slick unit with a highly accessible heavyweight sound, overflowing with memorable hooks; when you wake up with a band’s songs replaying in your head they must be doing something right! Instrumentally they are very strong, with pounding riffs aplenty, tight rhythms and interesting arrangements, and in vocalist Rich Nichols they have a talented front man, in spite of his reliance on Halls and Lockets! (Watch the making of ‘Fragments’ at https://www.youtube.com/watch?v=Oym9N_t–Qk and you’ll get it!).
There’s not a duff track over their two EPs and the material is such high quality that this band deserve to be massive. There’s just enough radio friendliness to demand airplay but more than enough intensity to give them a very hard edge; they seem to understand the role of a bass player better than a lot of bands! Despite inhabiting similar territory to other alternative rock acts that know how to write a hook, they have managed to develop a signature sound which sets them apart, giving them a freshness and an air of excitement.
Like the other interviewees, they all have full time jobs; Rich, Tom and Dan all working in education, while Nick runs a marketing company with his brother. Even though they face similar problems to Blind Wives and Romans, Of Allies seem to be a few steps ahead and should their next release build on the obvious talent on display in their first EPs they could well be ready to start breaking through. Here’s what they had to say:
What is making the music scene so difficult for new bands?
I think this is a combination of factors to do with the amount of bands emerging and a downturn in physical music sales. It’s not like in the old days when a band would be spotted by an A&R guy in a small club and be signed to a major label on the back of their talent alone. Labels in particular want to see physical evidence of projective success to reduce the risk of losing money and the scene is jam packed with bands trying to inch out ahead of the pack. This, combined with the cost associated with being in a band nowadays, can often mess with a band’s morale. It’s important to have someone, like a manager, who can ensure the band’s best interests are always at heart to avoid the pitfalls associated with the modern music industry.
How competitive is the current scene?
Short answer, very. There are a lot of really good bands emerging within the British rock scene at the moment and obviously everyone’s trying to achieve similar goals. Fortunately, the vibrancy of the scene has made it into somewhat of a community and I’ve found that bands these days are more eager to help each other out than ever before.
Do you see the internet as a positive aspect to life in a band/the scene?
Yes and no. Yes because it gives bands more control over the ability to market themselves and put themselves out there to a much wider audience than would have previously been possible. It also enables you to find out about and get in touch with other bands and venues more easily. The negative aspect is fairly obvious. The drastic incline in illegally downloaded music has heavily impacted the industry as a whole and individual bands at ground level. Something I’m staunchly against. Without the internet however, we certainly wouldn’t have got as far as we have done so far.
Do you have jobs? If so, how do you balance the time?
Yes, we all have full-time jobs. Balancing the time is very difficult and requires a great deal of commitment. With the band at the level it’s currently at, the workload is equivalent to a full-time job in itself, so the balancing act can be very tricky. I think our passion for music and Of Allies is something that drives the four of us to continue to see it as a primary focus.
How often do you rehearse?
We rehearse once a week when on a touring schedule and sometimes a bit more if we’re writing. We also have weekly band meetings to discuss the “business” aspect of things like booking gigs, making videos and doing interviews like this! Pizza is always involved.
How many gigs do you get a month? Is it difficult to get a gig or is it limited by other difficulties?
Generally we gig one or two times per month unless we have a tour. I don’t think it’s difficult to get a gig but it is difficult to get a good gig with a promoter who works as hard as you. Over time, you come to develop a network of like minded individuals who are all pulling in the same direction, who you know have the same work ethic as you. Over the years we’ve found more and more venues and promoters who think like this.
Are you making any money? If so, how?
Haha, yeah. We’re very lucky to be making money, but we certainly don’t take a salary from the band. Most of the money comes in through EP sales, merch and touring. Every penny we make goes back into touring costs, recording costs, video production, marketing and all the other costs associated with being in a band nowadays.
What do you think of streaming services?
I think they are a necessary evil. I personally am a bit old school and prefer to buy physical copies of music as I think the package including the artwork has more artistic value. There’s nothing better than a double gatefold Pink Floyd vinyl is there? I think when music is reduced to digital files some of the magic is lost. Having said that, the ability streaming services give you to reach wider audiences and keep people excited about new music is awesome. It’s easier to find out about new bands using things like Spotify and it’s cool how you can find a new band and immediately share it with a friend and they can share it with their friend, blah blah blah. I suppose it all depends on your level of musical snobbery. And it’s still better than just stealing it, innit?
How do you promote the band?
We all look at Nick and say “have you promoted the band recently?” He generally mentions something about stats and interaction, by which time the rest of us have entered into a debate on where we should order our pizzas from. Nick loves his stats. Generally we use all the usual social media sites such as Facebook, Twitter and Instagram. We also have ofallies.com which serves as a hub for all of them. We also use more old school methods such as posters and flyers to promote a gig as we think there’s still value in that as Facebook invites can become white noise.
What are your short term and long term plans?
We’re currently in the process of beginning to write for a debut album, which we will be recording next year. We also have a few gigs lined up in Leeds, Camden and Hull. Long term, our primary focus is to promote the album and hopefully start to earn a living from making music!
Each band is giving me their perspective on the difficulties they face at the ever tougher, no success – no money, arse end of the music biz. It’s eye opening stuff and really shows just how much impact the internet has really had, besides highlighting the importance of supporting new bands and giving them a chance; after all, today’s new talent is tomorrow’s headliner. In between, however, there exists a kind of twilight zone which sooner or later comes to a point where you either accept your position in the hierarchy, give up or just keep pushing for that one big break. Romans seem to have taken quite a philosophical attitude, which I find admirable, but it is actually quite depressing to hear about the futility of the predicament of these young bands.
Romans are a four piece alternative rock band from the Midlands, whose recent album, – = + (less is more), is stacked with melodic hooks and hard rocking riffs with an upbeat vibe. They’ve certainly put some nice songs together showcasing some serious guitar talent; check out the smoking solo on ‘Mary’. Each track on the album is curiously named after a person, because, according to Tom, in the interest of keeping things simple, during songwriting he asked the others to shout out the first name that came into their heads; which despite being just a bit of fun, has actually served to give the songs an air of personality.
As with Blind Wives, the guys in Romans balance their time between band and work; Tom working as a Stock Administrator for a Skate Company, Mike for a stage and sound equipment distributer, Will as a personal trainer/life guard (also studying to become a Teacher) and Josh at a local Fish and Chip shop; which they tell me is “Far from glamorous, but it pays for us to do the stuff we want to do in the band. It’s hard to find companies that are flexible for things in a band, I’ve been very fortunate with my employer, not everybody gets as lucky though.” The overall sensation with Romans is that they are interested in music being fun and this really comes through in their hard groove; there’s an infectious positivity to their well arranged songs, and given more resources to help develop the production side they have the potential to achieve so much more.
What is making the music scene so difficult for new bands?
This is always a funny question, because I feel that not only has it never been harder to become noticed, it’s also never been easier. I’m fully aware that makes no sense whatsoever, so bare with me on this. The introduction of The internet and social media has lead to a complete flood of bands in every genre. Bands are trying to clamber over one another just to get a gasp of air, while the others are doing their best to drag their competitors back under the water in order to get their own foot hold and a chance at breathing. But, with that being said, it’s amazing that there are now so many platforms for these great bands to showcase what they’re about!
How competitive is the current scene?
As far as the ‘Scene’ goes, we’re a midlands based band, and as far as we’re concerned there are some incredible bands out there, you just have to put the time in to seek them out. We aren’t a group with an abundance of band ‘friends’ so to speak. We’ve always been thrown on different styled line ups because of the type of music we play, which has enabled us to meet some great people, we aren’t competitive in that sense, we just like to play with ace bands. We played with Palm Reader a few months back, and it instantly made us want to get back in the practice room and tighten every screw in our performance. Just for the record, Palm Reader are fucking incredible and deserve your time and attention.
Do you see the internet as a positive aspect to life in a band/the scene?
We have so many platforms on which to promote our band that its hard to know where to start. Twitter, Facebook, Youtube, Instagram, Band-camp, Spotify and the list goes on and on. It provides anybody with the chance of creating their own music and unleashing it on a ‘New Product’ hungry world. While its easy to look at it like a drowning pool, we shouldn’t forget that this also brings forward the opportunity to provide free (to a certain extent) publicity to you and your band. To almost anybody around the world. It has become an actual possibility to become a rising act overnight, and in some cases, you don’t even have to leave your bedroom to manage it! So, i can’t give you a solid answer on this, as I feel it does work both ways.
Do you have jobs? If so, how do you balance the time? If not, how do you survive?!
All four of us work full time, so balancing work is possibly the hardest part of being in a band, that, and keeping all four members happy all the time. We recorded the majority of our album in our practice room, which is essentially a shed in the middle of a field. Studio time is so so expensive, that it just wasn’t possible to book two weeks off work, and then spend literally thousands of pounds on making a record in a top end studio. If we could have, then believe me, we would have, but it just wasn’t possible. It was nice to have our home comforts and record, but we couldn’t ever really immerse ourselves in the whole experience as we still had to work and carry on the 9-5 life whilst recording on top. It was a really positive experience, it made us better players as the majority of the album is recorded live, but in an industry that favors crystal clean, precise and essentially shit hot production, it may in some respects not worked in our favor.
How often do you rehearse?
We practice twice a week. Sundays and Wednesdays. We have done ever since the band started. Unfortunately we practice as a three piece on weekends as our bass player has other commitments then, not ideal, but, it’s part and parcel of being in a band. It’s like being in a long term relationship with three other people. You have to learn about how each of you tick and work to your strengths. If we have a show coming up, we’ll up the practices in the run up to the date.
How many gigs do you get a month? Is it difficult to get a gig or is it limited by other difficulties?
Again, this is nowadays limited by our private lives a little. Tours and shows up and down the country are becoming harder to take, time off work keeps us out of pocket, so its about taking the right shows. We’ve played some of the best shows this band has ever had through 2015, and I think it’s due to us learning to take the right things and not just say yes to the first email in our inbox. We were younger and had less to worry about when the band started, but I’m now 26, and looking to put a deposit down on a house early next year, leaving work at 12 O’clock to go and play in Leeds, doesn’t help pay for that unfortunately. I wish I didn’t love playing and writing music as much as I do, my bank balance would be a lot healthier, but its something that I don’t think I’ll ever be able to shake, I just have to think about the bigger picture a little more than I did 5 years ago.
Are you making any money? If so, how?
Romans have been going for 5 years. No member of this band has ever made a penny, but we’ve put thousands and thousands of pounds of our own money in. We’ve never had a label, management, booking agent, or anything of that kind. Everything we have done has been self funded, which is probably a testament to our love of playing music with our friends. We have T-shirts on sale, but they just fund themselves, and any ‘profit’ made from those goes into a small kitty for petrol money and back into making more shirts. If we were in a band to make money, we’d have stopped years ago. And to be honest, if your in a band just to make money, you’re more than likely going to end up disappointed.
What do you think of streaming services?
Honestly? If you’d have asked me a few months ago I’d probably be giving you a totally different answer, but with the release of our album, its been a real eye opener into the world of streaming. The most obvious example for us is with our physical sales. When we’re at shows, we find it so much easier to move copies of the album as opposed to online. I totally understand why people wouldn’t pay the money for a physical, when they can pay a monthly fee and essentially have it for free. People work hard for their pay, and its hard to let your money go. But coming from a band’s standpoint, we’ve not even covered 5% back of the overall costs of recording, printing and then releasing our album. We make nothing back from the streaming sites, so although its brilliant that people can get hold of our music so easily, it makes self recording and releasing music even more un-sustainable. So again, we probably share a mixed view on this side of things too.
How do you promote the band?
Facebook, Twitter, Bandcamp, Instagram, Youtube and through word of mouth. We’re definitely at a stage where if you aren’t up with the competition regarding social media platforms, you run the risk of being left behind. It’s still possible to run up a buzz about your band through shows and word of mouth alone, but its becoming more of an online based set up nowadays.
What are your short term and long term plans?
To make sure whatever we do, we have fun. We used to have these grand ambitions of playing Reading and Glastonbury, huge Tours and sold out shows, which I suppose we still harbour a little, but as we’ve got a little bit older and a little bit wiser, we know that if it stops being fun, you’ve got to stop. So for us, as long as people keep turning up and asking us to play and write music, and we’re having fun doing so, that’s all we’re fussed about. It’s really easy to become very negative about a lot of the things going on within music at the moment. With the introduction of the internet, everybody now has a voice, everybody’s a pro, and everybody will let you know exactly what they think. As long as you’re having fun, and you don’t mind RIFFROCKER3764 saying your music is shit, you’ll have some of the best times of your life. Just enjoy the ride and whatever comes along with it!
I recently did a piece on ‘Five British Rock Bands that Could Use a Break’ which highlighted young British talent at the hard end of the music industry. This piece came about from reviewing the bands in question and a personal interest in where and how future talent will come to the fore. As a follow up, and after having read an article by Hannah Rose Ewens on Vice about big bands that still had day jobs (or night jobs as the case may be), I decided to contact the bands to find out a little more about just how hard the hard end really is, so as to shed some light on what you have to go through to make it. Blind Wives have very kindly given me a superb interview offering startling insight into what it’s really like on the music scene and just how little money is finding its way down the food chain.
Blind Wives are a three piece from Lincolnshire, in the UK, who play a delightful mix of noisy, indie tinged, slightly poppy, vaguely punky, alternative rock. They manage to sound pretty individual and have a great dynamic to their sometimes quirky, sometimes aggressive songs. Lead guitarist/vocalist Luke Pickering works as a sound engineer (and a part-time lecturer), which as well as saving some valuable cash on production, gives them a little extra artistic freedom to experiment soundwise. They do this to good effect on recent release ‘Recovery Positions’ whose guitar sound meanders between dirty transatlantic, hard pack riffs and downbeat fuzz, whilst maintaining a melodic feel with hooks a plenty. The rhythm section of Charlie O’Neill and Will Clark, who work with the mentally disabled and in retail respectively, are extremely tight, shifting effortlessly between the measured and the frantic on the unpredictable tempo changes coming in the twists and turns of their intricate numbers. All in all,Blind Wives make for enjoyable listening and if they continue the development they’ve shown on their latest release, their first LP will be a cracker. Anyway, here’s what they had to say about the tough end of the UK music scene.
What is making the music scene so difficult for new bands?
It seems the best way to get noticed now is to establish yourself as a strong, head-turning live act. It’s live shows which bring people together, get a ‘buzz’ and word-of-mouth going. So the ongoing closure and therefore lack of small venues I believe is one of the biggest issues for new bands trying to make waves. I would argue the Internet has had a massive effect too – it provides people with that instant gratification of finding new music without having to venture out, pay entry for a gig, and then watch a half an hour set.
How competitive is the current scene?
I think whatever music you play, the pool is always going to be overcrowded, but it’s a bit weird for us as we’ve never really managed to fit into a ‘scene’ as such. We’ve been on metal bills, plenty of math-rock bills… lately we’ve got better at finding and playing with acts that are on the same wavelength as us, swapping gigs, shouting out on social media, spreading the word – so I think it’s more a case of helping each other out, rather than ‘competing’, at least in our experience so far.
Do you see the internet as a positive aspect to life in a band/the scene?
The internet is brilliant for all the stuff I just mentioned! We also really enjoy having a say over the marketing, design and promotion of our own stuff, and being self-sufficient would be more difficult without the Internet. It’s difficult… there are pros and cons with everything. People can discover you easily, but then forget you 5 seconds later as they’ve clicked on something else – and a lot of the best music doesn’t necessarily hit you straight away.
Do you have jobs and how do you balance the time?
We all work, yes. We don’t make a profit from the band, so currently it’s a labour of love! We are all thankfully in flexible positions with our jobs, which means we can put the time in to make it worthwhile – there’s been a few changes in that department in the last year or so and it’s resulted in the best year for us as a band. We’re saying yes to a lot more gigs, essentially!
So, how often do you manage to rehearse?
It really depends on how many gigs we have around that time… so if we have a tour or weekender coming up, we might rehearse twice that week. If we’re just focusing on recording on the other hand, maybe every 3 weeks!
How many gigs do you get a month? Is it difficult to get a gig or is it limited by other difficulties?
Lately we have had more luck getting gigs by making friends and swapping gigs with other bands of a similar genre. We don’t have a lot of luck just emailing places out of the blue. Going to gigs, helping each other out and making contacts seems to be the way to go. As for how frequent we gig, it really varies – a couple of months ago we had 4 shows in a week but lately because of holidays and work related stuff we haven’t gigged in a month.
Are you making any money?
We don’t make any money from the band putting it simply. Occasionally we will sell a lot of merch or get a nice pay from playing a gig, but when you weigh up how much you spend on getting that merch made up, CDs duplicated, petrol, food, practice money…
What do you think of streaming services?
Simply put, artists aren’t being paid enough, and I don’t think enough bigger artists speak out about it. It’s brilliant for discovering artists – for example I’ll use Spotify to see if I like the sound of a new album, and then if I like it enough I’ll go out and buy it. Perhaps they should limit more the amount of plays you get for free, or charge more for membership.
How do you promote the band?
By playing as many gigs as we can, and utilising all the usual social media outlets.
What are your short term and long term plans?
We want to push the video side of things, as we’ve just released our new EP and feel all 5 tracks could potentially have some visual accompaniment! Not to mention our 2 music videos are for a song we don’t play anymore and an old recording of a new song, respectively. We’re also intent on getting on the back of a bigger band for a tour probably early next year. Finally, there’s an album to write.
In the current musical climate use of social media has become an imperative marketing tool for, well, pretty much everyone really (me included!), and like U.S senators the adherence of musicians to Twitter is somewhere in the region of 100%. So, since I started this site and started being much more active on Twitter, I have been getting more and more musicians following me and whenever possible I’m featuring them. So here goes the latest batch. Enjoy!
Tairrie B.
For those who don’t know, she is the voice of metal band My Ruin, one of the guest vocalists on the Teenage Time Killers project and a totally badass rapper. Also, from my contact with Tairrie so far, she seems like a really fucking cool human being – sharp, honest, intelligent and extremely courteous, oh yeah and her husband plays a mean guitar. Here’s a remix of the first track from her recently released and thoroughly enjoyable rap album ‘Vintage Curses’, a free download of which is in this link to my review. https://hardpresseded.wordpress.com/2015/08/18/tairrie-b-vintage-curses/
Blind Wives
This is another band I’ve also had the privilege of reviewing and have previously featured in an article on upcoming bands. They play a cool blend of indie, rock, punk and pop and write some fine tunes. Well worth checking out.
Gavin Mikhail
Bit of an internet sensation this talented singer songwriter. He has a fair whack of original material but also seems to like getting behind a piano, stripping down a song and putting his own spin on it, his cover of Death Cab for Cutie racking up over a million views. He’s also covered a whole slew of British artists as diverse as Bon Iver and One Direction.
Romeo Crow
Super positive singer, songwriter, producer, film maker, family man, already has a stack load of followers and is infectiously upbeat. What I listened to was blues tinged pop/rock with some fine guitar playing. Head over to his site and he’ll give you six songs; be inspired! http://romeocrow.com/about/
Neal Hoffmann/Amphibic
Neal is a singer songwriter fusing his love of indie pop and Americana into his own atmospheric sound.
Color Theory.
Not really my thing but if you like your pop music heavy on synths and melodies with easy on the ear vocals this may well be for you.
Faded Paper Figures
I will admit to starting out with the intention of checking out a couple of tracks to see how they sound, expectations were low after a long day, but six tracks in and I was still uncovering surprises. Their brand of instrumentally rich electronica heavy indie is kinda quirky and makes for interesting listening, no two tracks sound the same and they have a real ear for a hook; cool vibe.
METHEDRAS
Slightly chaotic thrash that is not afraid to experiment with song structures and tempos, with an impressively tight rhythm section and plenty of hard hitting riffage. It’s nice to hear a band put a twist on the traditional bay area sound and make it sound fresh and exciting – well worth a listen.
The Uppercuts
Good time British rock band playing an upbeat blend of punky rock n’ roll with a hint of SKA. It’s an enjoyable listen as it’s all very boisterous and good fun, live shows must be a riot!
Leah West
Easy listening country tinged acoustic rock/pop with an atmospheric laid back vibe. Leah has a lovely voice and composes a nice straightforward tune with a penchant for romantic storytelling.
In my capacity as a contributing writer for www.alreadyheard.com, an alternative rock website in the UK, I’ve been lucky enough to review some really interesting stuff, as well as some pathetically indulgent musically limited shit. Among the non-shit are a whole bunch of upcoming British bands suffering at the hard end of the music business, where lack of money and/or record company support means that a DIY philosophy is prerequisite. Not only are these bands writing their own songs, but they are often using crowdfunding (pledgemusic), producing themselves and in some cases doing their own marketing and booking their own gigs, which is all very admirable but is obviously not a sustainable model. Without significant record sales, top drawer live opportunities or some real financial backing from a record label, bands like these are living on borrowed time and their talents will be confined to an eternity on the pub circuit. Ok, I’m the first to admit that none of these guys are the finished article and the artistic direction of their videos leaves more than a little to be desired, but each one them has talent and all have potential to develop given the right support. Check them out below – with links 🙂
Romans – upbeat hard rock; very succinctly summed up on the “About” of their facebook page – “We like riffs”.
All the bands featured here, which is just the tip of the iceberg of the underground/independent scene, are available for streaming on Deezer (and probably Spotify but I couldn’t be arsed to troll their user unfriendly interface to see), where I also have an ever growing playlist of upcoming bands from around the world: http://www.deezer.com/playlist/1328065347
Hard Pressed 