We had the chance to chat with Neil Sanderson from Three Days Grace about touring, Africa and even chilling with Mick Jagger! Check it out below!
We had the chance to chat with Neil Sanderson from Three Days Grace about touring, Africa and even chilling with Mick Jagger! Check it out below!
Alt-Rock risers The Faim have just announced their biggest tour to date, taking the stage in 2019.
Taking off in Australia the band travel across the UK and Europe before finishing in February.
THE FAIM HEADLINE TOUR 2019
11th January Amplifier Perth
12th January Vision Studios Perth
17th January Enigma Bar Adelaide
18th January Wrangler Studios Melbourne
18th January The Gaso Melbourne
19th January The Lair Sydney
20th January The Milk Factory Brisbane
25th January 2019 Joiners Southampton
27th January 2019 Globe Cardiff
28th January 2019 Exchange Bristol
29th January 2019 Haunt Brighton
30th January 2019 Bodega Nottingham
31st January 2019 Key Club Leeds
2nd February 2019 Think Tank Newcastle
3rd February 2019 Rebellion Manchester
5th February 2019 King Tuts Glasgow
6th February 2019 O2 Academy Birmingham
7th February 2019 Underworld Camden
8th February 2019 Melkweg Upstairs Amsterdam
9th February 2019 MTC Cologne
11th February 2019 Musik & Freiden Berlin
12th February 2019 Headcrash Hamburg
13th February 2019 Fierwerk Munich
14th February 2019 Zoom Frankfurt
15th February 2019 Chelsea Vienna
17th February 2019 Naumans Lepizig
18th February 2019 Hafenkenipe Zurich
19th February 2019 HT Factory Milan
20th February 2019 Les Etoiles Paris
Spoof style bands often don’t stay around for long, they put out a few songs then disappear into the ether of the ‘could have, should have’ complex. However, its not often that you see a spoof style band sell out the Club Academy Manchester, which is exactly what was witnessed on Friday 12th October. Evil Scarecrow (9) are lost in Antartartica, with nothing but a 13 track set, a stage prop igloo and some other friends to help them. So Evil Scarecrow, why did you go to Antartartica, the coldest place on earth?
Despite being a band since 2002, Evil Scarecrow made waves with their early 2014 Bloodstock set, enticing a huge turnout, with a pretty entertaining sight of scuttling metalheads, another sight to witness at their shows. Opening the set with ‘Way To Die’, featuring on their newest album Antartartica, its clear the band have a very enthusiastic audience ready and waiting. Donning their classic ghostly stage makeup and new stage additions, following tracks ‘Skulls Of Our Enemies’ and ‘End Level Boss’ have little extra personalised touches to them. From giant drum playing skulls to a literal boss level fight with Link from Legend Of Zelda, the dynamic quintet are dedicated to their stage performances (as are the loyal stage crew with the daunting task of such a performance). Through the bands more popular tracks, older releases still remain true through the set with ‘Robototron’ and ‘Blacken The Everything’ making appearances in the gigs set. To make it clear, the audience knew what was coming, personalised robot costume heads floating among the audience there’s no denying that some old hits had to make the cut.
Yet, through the spoof tracks, silly antics and jokes, there truly is a deep side to the group. ‘The Ballad Of Brother Pain’ saw a darker side of the band and stage, while the audiences fuelled the beautiful ballad with torches and lighters. On a slightly warmer, more serious note, it is quite respectable how the group can tone down the tracks, getting the audience to sing and move through the saddened acoustic guitar and slower vocal aspects. Another song deeply routed in what the band describe as ‘politics and love and stuff’ (very important) is ‘Cosmos Goth Moth Gong’, something even fans were brought into with each respective left and right side chanting Cos-Mos-Goth-Moth-Gong in perfect timing.
The question remains, what would Evil Scarecrow be without possibly their most well known track of all, ‘Crabulon’? With people holding inflatable crabs at the show, this song is clearly a hit and it must be said, it was performed extremely well. Not only were the audience in perfect synchronicity with each other, scuttling left and right but so were the band, managing to play almost perfectly with the distracting amusement of the raging crowd in front of them. Even managing to upkeep the energy and stage movement with a literal raging crab behind them, its quite a sight, an impressive sight indeed. Most of the band-audience interaction is already known, but this still doesn’t take away from the extreme connection between the two. Whether its recently added dance battle or a friendly shouting of ‘EGGS!’ and ‘HOWEVER!’, you really can’t beat the interaction these guys have with their audiences. Hell, the band even got the audience to shout ‘you bastard’ at temporary ‘goose’ keyboardist Chucky The Bastard and honk at him. Bonus points must be added for that inclusion.
As much as the band may want to appear jokey and spoof-like, they do have an air of seriousness deep down. Yes they play 10 minute song ‘Antartartica’, a track they aren’t even sure why they made so long’ to ‘close’ the set, but the skill to which they play and set their stage design, setlist and interactions are that of a serious band. Closing on the Antartartica singles ‘Polterghost’ and ‘Hurricanado’, the band (and audience) are swept away into a spirling cylinder of spinning movement. Literally.
Evil Scarecrow aren’t for everyone, but they are sure as hell a fun band to watch. Can you rate them on the same level as incredibly professional, super serious strict bands? No, but who would want to? Lost In Antartartica was far from a cold spell and if anything brought a true warmth to the show. Eggs!
Following up a debut release is tricky, with added pressure of living up to your last release while keeping a similar structure to please an existing fan base, how exactly can you do it? This is the idea ND based band Glass Houses are ready to explore. Following up from their 2016 debut ‘Wellspring’ the tried-and-true band are bringing a new wave with their new single ‘Lost Choices’
An instant and a clear dominating factor of the tracks outreach is its strong drum beat basing as an extremely strong foundation for the track. Alongside the heavy rock-laden riffs and basslines, every aspect of the instrumental musicality is evident. Musically this track is incredibly strong, however in terms of vocals and lyricism, there is a noticable difference. The lyrics and vocals are very good, but sadly it’s almost as if a wave of generic sound washes over exposed sections of the track. While the hardcore edge of the second verse and the lighter stripped back touch of the tracks bridge bring a spark of new life to the band, the first verse and even parts of the chorus fall victim to something already heard. Yet, as a bridge combining the two sides of the track, the bridge itself is one of the most promising features of the track. Melding together the light singing with the emerging intensity of the unclean vocals, there begins a formulation of a musically stripped back, yet hauntingly present instrumental background with the inner personal depth of the lyrics protruding. If anything, that is the one focus to look out for in the track.
It can be said that ‘Lost Choices’ is perhaps different to the bands previous singles, in a good way of course. Sparks of life set this track alight and its finding these that can bring the track up to a whole different level. Make sure to check it out on its release on the 19th October or pre-save the track at the link below!
Chicago pop-punk rockers Sleep On It have dropped a brand new track ‘Disconnect’ earlier today.
The track marks the first new music release since their debut of ‘Overexposed’ and its a pretty good tune. After days of teasing,, it’s finally here – listen to ‘Disconnected’ below!
Dirty Sound Magnet are no strangers to touring and bringing back their must-see set, they put on a pretty interesting show at Fuel Manchester.
There’s something intriguing about openers Sylvette (8), the way they meld together as a quintet that plays so differently, yet flows so well. You see, despite a rather temperamental PA system on the upstairs of a vegan restaurant, the groups individual dynamics were pulled through. Not everyday do you witness a rock band with a violin player (excluding Yellowcard). While their set did have some faults, a large majority of this comes down to the system around them, certain points each individual rhythm melded into a inescapable plethora of unsettling noise, however this was largely infrequent and the rest of their set was enjoyable. A tight band who know how to synchronise well together (and save themselves from a fall at the back of the stage!)
With a very small discography of music, second supports Stray One (5) didn’t have many options for their set, filling the gaps with cover/original mashups and tracks from previous bands. Can you fill the room with the same energy as the band before as a duo? Its safe to say that it is most certainly more difficult. Yet, they pushed on with their set – even playing unreleased tracks. The highlight of their set were the bands own tracks, but with the sound system not being at its best and the energy flow quickly declining, perhaps this wasn’t the best night for them to perform.
On the other hand, headline act Dirty Sound Magnet (9) brought the full fire of funky rhythms, unstoppable sound and a tremendous wave of sound, a mix to impact the audience almost instantly. Touring the UK is no new idea for DSM, with the band appearing again in the country (and Manchester) for the second time this year and they know how to bring it full pelt.
The crowd was rather small, with just a handful of people in a small room, but did this stop them? Not at all. Its hard to find a band comparable in terms of energetic approach when it comes to DSM, with such high energy never diminishing through the full set, one does wonder how they do it. Tracks high in popularity such as ‘Western Lies’ and ‘Homo Economicus’ brought out the energy, both from the band and the crowd, even with little dancing lines forming around the room. A downside to the performance however was the technical difficulties that had ravaged the night already, leaving elements clashing instead of flowing like in the recorded tracks, or some aspects just not working or being heard whatsoever. The majority of downsides to the set is placed on the overall sound system, not the band as an entirety as for most of the show, for the execution of their tracks was almost perfect. Practising and performing for 10 years is definitely shown in their performances. Even the final track of the night, despite this being played as an instrumental, this was perhaps the most intriguing and experimental tracks of all, with Stavros (Guitar/vox) running and jumping around the room getting everyone up and dancing along. Quite an interesting way to end a show, a memorable way as well.
Dirty Sound Magnet faced some issues at the show, but they didn’t let that stop them. The energy, power and dedication of this band comes through every element and watching them only solidifies this more. Definitely a band to see live, the rest of the tour dates can be found below!
1. What’s So Great, Britain?: The music video is a metaphor for having an idealistic view of what ‘Great Britain’ is and then being forced to realise that maybe not everything you think and know, is necessarily true. It’s about coming to terms with it, learning and changing your worldview accordingly. We were all graced to be born on this planet together and no border or names of countries will ever change the fact that we all live side by side, shoulder to shoulder, no matter what gender you are, what country you come from, or what religion you believe in. We need to be better at understanding and supporting one another, especially in these times of strife and uncertainty.
2. Headbutt: The song was written about toxic masculinity and how males are pressured into feeling like they always have to “one up” each other. In the video we wanted to portray different types of males and how sometimes you don’t realise just how toxic your actions can come across to other people. It’s time to be more socially aware and realise that people love the real you not someone you think you need to be. Life’s not a competition it’s a path that we all take together so let’s help not hurt each other along the way.
3. Where Did I Go Wrong?: This was the first song we released from the record. It’s about feeling lost and wondering when that happened, feeling like age has caught up with you and how maybe it’s time to settle and get a ‘real job’. It’s so easy to compare ourselves and end up, especially thanks to social media, feeling like it’s a big competition.
4. Great British Summer: It’s about the fact everyone is so miserable in the winter and when it’s raining/cold. My next door neighbour constantly moans about everything when he’s not outside watering his flowers so he as well as all of us need some Vitamin D.
We’re pretty sure that like 99% of Britain suffers from SAD (Seasonal Affective Disorder). During the long winter months we pine for a bit of sun to cheer us all up. Don’t worry you’re not alone, thats why we wanted to write this song. Though it may be dark and gloomy now, in a few months time we’ll all be complaining about the heatwave again.
5. The Getaway: I was reacquainted with a friend of mine at from our school years. We were working on a building site together and he was telling me how he was getting along and what situation he was in. He always had big plans at school and now life had been shackling him down. I could relate on so many levels, it’s hard to keep a dream alive when you have to also progress in society and make sure you are “stable”. When we were speaking on our lunch break, a lot of other workers joined in the conversation and we established that we all work for the little wins/dreams we had when we were young. The holidays. The nice car, the house by the seaside. All these things everybody wants but in reality can’t achieve because of the unachievable dreams and disproportion of wealth in this country.
6. 0121: This is a letter from me to everyone who has ever told me to stop doing what I love. It’s to everyone who thinks just because I haven’t made it “famous” that I should “get my ideas in check”. I don’t do music for fame or fortune. I do it because I love it. It’s a ghost I will never give up because as a man it helps me say things which I otherwise wouldn’t be able to. I love what I do and am aware it may make me strange or different but I never fit in any way. Why start now?
7. What You’re Thinking: We received a couple strange reviews for our last album. They weren’t really attacking the music as a such they were attacking me. Stereotyping me as some sort of ultimate “Lad” who has no respect for anything. It took me by surprise as these people had never met or spoken to me before. From then it didn’t matter what the truth was as their opinion had been made. But to be honest, I’ve never been one to give a fuck either.
8. Already Dead: Working around lost of people from different backgrounds in my job, I’ve noticed that everyone is stuck in this dense and damaging stereotype of first world problems. It’s a satiric view of the moans and groans I hear by my colleagues/friends daily. There are literally children in Syria who are scared for their life surrounded by constant danger and “Jon’s” worried about his iPhone not having a scratch free screen.
9. No Money, No Monday: Every self-employed person’s day-to-day life. Chasing clients for money they owe you for the work you’ve done and they still haven’t paid. As someone starting out you often work for nothing or very little and it’s damaging. Get paid what you deserve and don’t let people take the piss with this “work for experience” bollocks. No Money? Fine, I won’t be turning up on Monday then.
10. Peaceful House: A song was written about living with someone you love and how challenging it can be. It puts relationships to the test and really pushes you both to your limits. Little quirks you used to enjoy and laugh at becoming serious ammunition and the environment becomes toxic. A lot of people today live in a house share or are renting with a partner and it’s a constant battle to hold one together when there is so much outsider influence with social media nowadays.
11. This Sounds Cliché: The song was written about a break up which had no real conclusion. A lot of things were ultimately left unsaid and as a result, communication broke down. The song is about just how hard it can be nowadays, especially for young couples, to hold together relationships with the influence of social media and temptation. We think that values moving forward and evolving is positive but, as humans, we must not lose the ability to communicate face to face
12. On My Own: This is the rawest and most real thing I’ve ever written. My partner left and my world just spun out. Time froze and I didn’t even tell anyone for 3 days. I was sitting in my bedroom finding it hard to breathe and saw no way out. I picked up the only thing in the room I felt could sooth it and It was my acoustic guitar. The vocal take was done in a horrible state. But still, to this day I never edited it or re-took it. It was too raw and real and I wanted that to come across. It’s hard for men, women are superior creatures to us. They understand and know things we take years to learn. They have a knowledge, emotional depth, and understanding that we are yet to grasp. To admit that is to acknowledge your flaws as a male and to realise it’s great to feel. It’s what makes us human. It’s what makes life this rollercoaster we all want that front row seat for. Never be ashamed to show how you feel and you’ll find that people (especially other men) will surround you with positivity and a welcome embrace. We all feel it, we aren’t these bulletproof emotionless beings your fathers told you to be.