Tag: ep


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!




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!


Rating: 7/10


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.




‘You’re so full of shit, why don’t you swallow it?’ – the tagline of the fiery, cynical angst of second single ‘Lost My Cool’ presented by Stand Atlantic. In the line of fresh talent emerging from Australia, the trio made waves with their debut EP ‘Sidewinder’ in late 2017 and are now set to present their newest album ‘Skinny Dipping’ on October 26th.


From the start, ‘Lost My Cool’ instantly follows a different vibe to the fast beat-prevalent single ‘Lavender Bones’. Blatantly honest cynicism makes a running appearance through the lyricism and despite some lyrics being questionable at times, they  bring a simplistic message deep from the heart – I hate you. Interestingly, it feels as if this track is much more lyrically dominated, unlike the melodic, faced paced drum rhythmed cycle of its predeceasing single. Simple instrumentals, bringing the vibe of a more generic ballad/angst crossover. Yet, we can’t forget Stand Atlantic mainly claimed their spot in the scene with their quick fire energy shots from ‘Sidewinder’, to hear something slower and simpler is actually a nice change that we should appreciate – it can only be imagined there will be more on the final release.

Does ‘Lost My Cool’ stand up to ‘Lavender Bones’? Simply, no. In a more complicated sense, the two perhaps don’t match as well due to the different nature of the two tracks. Sadness and truthful experiences brush through both, but the whole approach to this presentation is completely different in both tracks. Can both could be compared as simply two singles? Of course, but that’s up to each individual listener to decide.

Rating: 7/10


Touring with Against The Current, writing with Pete Wentz and their experiences in the UK, we asked Stephen Beerkens (Bass/Keys) from The Faim all about recent experiences in their quickly booming career.

Could you tell us your name, role in the band and favourite album of the year so far?

I’m Stephen Beerkens and I play bass and keys. My favourite album for this year would have to be the new Boston Manor record which was released a few weeks back!

You started off writing demos back home before recording in LA. Are there any unreleased demos we will hear in the future?

There are! Some of the demos that we recorded at the very beginning, before heading to LA for the first time, will be featured on our debut album.

The music you’ve created also ranges in rock sub-genre styles, is this a more natural occurrence or did you strive to have a mix of different tracks?

I would say that the diversity in our music is both something that we strive for and that comes naturally. We’ve grown up listening to so many musical influences and wanted to express all of that in our music in a way that is true to us.


You worked with incredibly well-known producer John Feldmann on your last release, what was it like working alongside him?

It was a truly amazing experience that pushed us as both musicians and songwriters. John brought us out of our comfort zones in the best way possible, to tap into parts of ourselves that we’d yet to express until that point. 

Coming from another side of the world, did you find you found new inspirations to incorporate into your music whilst in LA?

Absolutely! We learnt so much about the process of songwriting that we implement in everything we write today. We found inspiration mostly in the events that have made us the people we are today. It’s these experiences and emotions that we tap into in our writing that keeps our songs personal and true to ourselves.

As a band, you have blown up massively in the past few months, with such a fast build-up do you fear anything about the future and coming to terms with your success?

We’re just stoked that people are loving our music and live performances. We want to share our art with people all across the world, so to be able to do that so early in our careers is a real blessing. 


Playing Slam Dunk festival and now touring the UK with Against The Current , is there anything you have learnt about performing here that is different to Australia?

The crowds in the UK are definitely the most passionate crowds that we’ve played to so far. They bring a real energy to the show that makes us feel right at home.

Individually, do you feel that different locations have an impact on how you perform through different shows?

Whether I’m performing to 10 people or 1000 people, I’ll always give it my full effort. The same goes for location; it doesn’t matter where we play, putting on the best possible show is the priority.

Have you ever had any experiences where you’ve felt almost ‘starstruck’ when meeting or working with certain artists/producers?

Definitely working with Pete Wentz and learning from the advice that he gave us was a moment that I’ll forever remember.

Have you ever had any embarrassing accidents or experiences while performing or on tour?

I’ve lost count of how many times I’ve tripped over Against The Current’s drum kit during our set!

If ‘Summer Is A Curse’, then what is your favourite season and why?

Definitely Summer! It’s the best time to get outdoors, hit the beach, and see friends.


With great cinematic depth, Starset create in-depth audio sequences that takes the listener through an array of atmospheres in each individual track. With the release of their new deluxe release ‘Vessels 2.0’, how does their one recreated track live up to its previous counterpart?

Listening from a new, outside perspective, ‘Bringing It Down’ and ‘Bringing It Down 2.0’ sound very similar in their depth of vocals, instrumentation and cinematic depth, but it’s the subtle edge the new track brings that pushes these layers further. An impressive fete from the band is their ability to change the atmosphere of the track by altering the 12 second pre-chorus’ and minor tweaks in the underlayers of the tracks. In its originality, ‘Bringing It Down’ follows an upbeat rhythm and tone, something fast and dramatic whereas in 2.0, the shift is that of something darker, heavier and more layered than before. Subtracting the upbeat, more synth-oriented samples and instead leaving a stripped back simplicity already instantly changes the track, but it’s the addition of the strings Starset use through their music that truly adds a new persona. Other than a few minor string additions, some production editing and clearer vocals, there is little that has been changed. However, it’s the way in which this has been done which is perhaps the most intriguing and effective. Creatively portraying two different atmospheric approaches in the two tracks is a clever direction to go. Was a second version of ‘Bringing It Down’ necessary? Probably not, but alongside a deluxe release, it fits in rather well.

As for the music video, Starset are no strangers to creating stories. With a visual novel released and award-winning videos for other album tracks, its no surprise that ‘Bringing It Down 2.0’ is an audio-visual story written by frontman Dustin Bates. Being set in such a style is different to how their usual videos are presented. Offering audiences a warning to the misuse of technology and a doomed society, instead we are given a simplistic yet dramatic action ‘boy saves girl’ narrative (with a twist). Of course, while the story does stray from the path of their previous visuals, the classic message of the ‘Starset Society’ still reigns true – even if subtly. The story doesn’t just revolve around the saving of the ‘heroine’, instead looks at the how future technological advances such as memory infiltration devices can be turned against us. Yet, even in subtle ways the message is spread, such as the holographic figures on gravestones (a possible link to the tracks lyrical aspect) always presenting an aspect of you through death.

In terms of cinematography, lighting and editing sequences, the video fits perfectly with the music it follows. Directed and edited by Brian Cox the video offers a clear homage to a gothic horror/action mystery crossover. From external establishing shots of gothic literature styled castles to Dutch angled mid-shots presenting a homage to ‘Frankenstein’, the video is very well presented in an ominous, gothic fashion with a modernised twist.

For a new and improved re-release, Starset have done a rather impressive job. As previously stated, not incredibly necessary, but a nice addition among the other reimagined acoustics/remixes of the ‘Vessels 2.0’ release.

Rating: 9/10


‘The best way approach a track by track for this EP is to first explain that the presented order of the songs, was not actually the order they were written in. On ‘I Am Getting By’ we have a storyline threading through the accompanying videos and one that is different to what the songs are lyrically written about. We came about this alternate story when one of our band members listened and related to the songs on a completely different level to what my intention and it really was so amazing’, just one part of the in-depth description Just About Done vocalist Samantha McGee gives to describe the bands upcoming EP. Set to be released on October 19th, the Aussie outfit are bringing you something great commentated by McGee herself…

1 – Strain: Lyrically, ‘Strain’ was written out of frustration. I had finally ended a friendship with someone who was really starting to have an effect on my well-being. This person was the complete opposite to who I am, and who I want to be, so I really had to cut ties with them. Because of the nature of the song, there are some lines that are quite blunt and to the point – but that’s exactly how I was feeling at the time.

Most of our song writing goes something along the lines of: the guys write the start/ bulk of the instrumental parts and then I throw lyrics on top. Of course, no song is complete without us having a few debates on what sounds better and what direction the song should be heading – but that is how we push each other to get the best out of everyone. For example, the first verse was initially written as a bridge, but the guys were insistent that it should be the verse. To me that was bizarre but I agreed, and now we are all so happy with that decision.

We recorded this EP with Chris Vernon, who had his input on this song more than any other. We worked on the bridge together and he actually wrote the vocal line ‘You come to me, ignoring. It seems as if the world’s revolving around your head.’ We love being able to work with someone not in the band to give their honest opinions and are so stoked to have a little CV on this record.

2 – 1029: This song started off with a really strong instrumental section that was so enjoyable on it’s own it didn’t need lyrics, but I wrote some anyway. Pronounced ‘ten twenty-nine’, this track is about a relationship going through a hard time. Without giving away too much, this track portrays a feeling of not even wanting to confront an issue because you are so exhausted by the situation. There are a lot of lyrics in this track and it is always a bit of a shock to the crowd when played live as it must be strange seeing a girl sing this way, but that is exactly what Just About Done are about.

Just like the rest of our songs, we did pre-production at home first, so we could make all of our musical decisions without wasting studio time. This song certainly went through some chops and changes. Listeners can expect something very punchy with 1029, and we can’t wait for it to be out. The video is another question-posing piece of work, which may be confusing to some but rest assured that all will be revealed.

3 – Peacemaker: Peacemaker was actually the first track we wrote for this EP. Musically, there are a few different sounds that aren’t usually in our sound. We were going through a bit of a change in musical preference at this stage and Peacemaker shows that. Lyrically, it stemmed from my struggles with growing up with faith, and now coming to the fact that I don’t necessarily connect with that anymore. The line ‘wondering how to break the noose’, was initially written as ‘news’, referring to other people finding out about my decision. I changed it to ‘noose’ because it is sort of a double Entendre, which adds another element to the song and expresses my feelings towards situation more accurately. This song has become unintentionally anthemic and we often find people singing back the words to us at shows, even though it has not even been released!

In terms of the accompanying video, Peacemaker is the last to be released. It’s really hard-hitting and even after many watches, evokes a lot of emotion for all of our band. We feel the story is very relatable and hope that our form of expression, helps others who may have gone through the same thing.