Tag: heavy


Real Friends have cancelled their shows in Australia, Europe and The UK to help focus on their mental health.

Dan Lamberton posted the following statement below:

Hello everybody, Dan here. I wanted to let you all know that Real Friends will be cancelling our upcoming international appearances in Australia, Europe, and the UK.

This has come recommended by both the band and my psychiatrist so I can have time to continue learning to live and deal with my diagnosis of bipolar disorder. Since coming home from recording, I am sober, on new medication, and undergoing an intensive outpatient group therapy program per the recommendation of my therapist.

I am continuing to better myself so that Warped Tour this summer will be a fresh start for not only me, but for Real Friends as a whole. We all want to be the best possible versions of ourselves as individuals and in turn be the best possible version of Real Friends.
We appreciate your support and understanding, and we want to note that this conversation about mental health will continue, but for now I’ll be continuing my treatment, and we’ll make Warped Tour something so special for you all. Thank you all for your love and support.”



British rock bands are far from scarce to say the least. Amongst a plethora of bands all fighting to reach the top, there are very few that actually find a way stand out. However, when dug out among the crowd, you will find some great bands, and our newest recommendation: Chapter and Verse

Chapter and Verse bring an indistinguishable dark alt-rock power kick, spread across their current EP and single releases. With a concrete foundation in every song created by drummer Ash Morton and Bassist Jonny Hopwood, and cleverly layered guitar riffs added by Darren Gosling, the music itself already acts as cleanly executed basis. Lead vocalist Daniel Carter helps top off each track with a distinct vocal tone, helping them run forward with their atmospherically full releases. ‘The Wolves Back Home’ EP already features the bands strongest contenders ‘Slave’ and ‘The New Breed’, but also includes the slower hidden gem ‘Electric Tongues’, the more softly emotional side of Chapter and Verse yet to be released further.

Not only is their music exceptional, but their live shows are nothing to dismiss either. Everything you hear throughout their intense discography can be replicated live, if not even better than the recorded production. From fantastic harmonies to excellently exuberant stage presence, the British quartet have the whole package.

Currently leaving their mark on the British scene, the band are consistently touring, having already performed with the likes of Courage My Love and Dream State in the previous 6 months alone. Not a track that has been produced has given any indication of a let-down and it is highly anticipated that their future music will only push them further. If you don’t see or listen to Chapter and Verse now, you certainly will soon.


‘Breakup music for tough guys’, at least that’s how Miami formed rock band Phantom Drive’s describe their latest self-titled EP. The question is, with every scene saturated with ‘breakup music’, do they have what it takes to standout among the lot?

Well, the debut creation this quintet has created is a long shot from revolutionary. Interestingly, alt-rock, grunge tinted ‘Beautiful Liars’ is the highlight of the EP, while giving an overall approach to the rest of the album. A gritty attempt creating 3minutes 30 seconds of a rather fun listen. ‘Better’ captures the release’s catchy hooks, choruses that will stay in your head a little longer than 5 minutes and good musicality that mainly sticks around. Yet, track ‘Say What You Will’, while having the good quality and same gritty attempt, just doesn’t live up in terms of song structure. If anything, it just falls flat. Even ‘Brand New’ falls a little low at times. By no means are these tracks terrible, or even bad, they just sadly don’t bring a new intriguing listen to set them apart. Debut releases are hit-and-miss. Phantom Drive already have the catchy musicality set through tracks ‘Better’ and ‘Beautiful Liars’, and just need to expand further.

Phantom Drive have their EP ready and released, but what else can really be said? Phantom Drive just don’t quite have enough to launch themselves into the music Jetstream just yet. Maybe with their next release, maybe not.

Rating: 6/10


Rhyl pop-punk band Everyone And Anyone are set to head to the studio this April to record their forthcoming release. We had the chance to get E&A’s input on their planned recording process and what listeners can expect!

Heya! Could you give us a little introduction as to who you are and what you do in the band?

Rob: Yo yo I’m Rob and I sing and play bass in the band.

Gary: Sup I’m Gary I sing and play guitar in Everyone and Anyone

Scott: I’m Scott and I play lead guitar

Aaron: My name’s Aaron and I play drums in E&A

You’re planning to head into the studio in April to record a new EP! Can you tell us bit about the plans for that?

Scott: yeah we head to The Ranch in Southampton on April 15th to record. Really looking forward to it!

Aaron: things are sounding colossal

Rob: fantastic word colossal well played mate.

Gary: In terms of writing I wouldn’t really say there was that much planning because the writing process is always on going for me so it’s really just been a case of the band putting our heads together and making the drivel I write in my bedroom into real songs.

You will be working with Neil Kennedy on this new release, what is it about his work that drew you to want to record with him?

Rob: the first big show we ever played was with Creeper and we were chatting to Will who sings in that band and he was telling us about Neil and The Ranch and that it would be a sick match for what we were looking to do so when we knew we were heading back out to record we looked into it

Gary: in a nutshell the guy produces bangers!

Scott: for me it has to be his involvement with the Creeper and Boston Manor records. Heavily into Boston Manor me

Aaron: Neil’s production is fantastic, he also worked on Lizzy Farrall’s EP which bangs

This will also be your newest material since ‘A Page From A Journal’. How do you feel you have evolved as a band since its release?

Scott: we’ve definitely had a good year since that EP came out supporting Reel Big Fish and Anti Flag at the Ritz in Manchester gave us a real insight into the big leagues and it was surreal.

Rob: yeah we got to play some real cool shows with sick bands since APFAJ came out. A highlight for me was playing at the other end of the country in places we’d never been to before and having people sing my lyrics back at me on stage. Absolute madness that.

Aaron: we evolved into a Charizard!

Gary: as for the evolution of our music I personally wanted to create a middle ground between our last 2 EP’s but this third one has definitely evolved into its own beast

Are there any things you will be doing differently this time compared to the recording of ‘A Page From A Journal?

Rob: A big difference for me is that in the past we’ve released all our music on a diy basis but we’re actually gonna be working with other people to put this record out which is super exciting. It’s cool to have somebody hear what you’re creating and be pumped on it and want to get on board.

Gary: there’s also the line up change but we’ve fallen on solid ground so we’re more than ready to smash out the bangers.

Aaron: real everything recorded live!

Scott: yeah we absolutely loved working with Dann (bae) on our last ep and he taught me loads of nifty guitar tricks but it’ll be cool to get back into a big studio again and get that big studio feel.

Will you be creating any studio diaries documenting the recording/producing process of the new EP?

Rob: Ya damn right we will!

Gary: expect the regular updates vlogs etc

Rob: we wanna get some live streams on the go too there’s a lot of downtime when you’re not recording your own parts so expect bants in an abundance

Scott: we’ve got a bunch of go pros and stuff so it’d be a morale sin not to like

Aaron: Mario Kart tournaments and me talking about hip hop probably

Rob: we’re basically going on a little group holiday I’m taking my slider flip flops and everything I’ll be rocking the old sock and slides for the entirety of our time there.

Are there any hints or clues you can give to fans about what any of your demos sound like?

Gary: up tempo pop punk as you’d expect from us but we’ve got some new tricks up our sleeves

Rob: it’s basically what you’d expect from us but it’s had a 10 minute caffeine power nap and it’s ready to bench press a medium sized car

Scott: jumpy and aggressive sums it up quite nicely

Aaron: everyone’s upped their game the demos sound sick!

To all the new and old fans you’ve acquired, is there anything you would like to say to them?

Gary: please lower your expectations haha jkzzzz cheers you guys are all sick

Aaron: thanks to everyone old and new there’s nothing better than hearing your positive feedback and hearing you sing along at shows, love ya

Scott: mainly thank you for listening and following us it means a lot to us to see people excited for our future and singing lyrics back to us in places we’ve never been before it’s something I’ll never forget.

Rob: Like the rest of the boys said cheers for sticking around, ya rule! It’s been a cool ride so far but we’re 100% just getting started the best is definitely still yet to come!

Scott: And don’t forget to vote for us for the Slam Dunk Festival competition we’re running a giveaway on our Facebook page check it out for some free stuff!


The British pop-rock crossover genre is slowly becoming less known amongst the modern scene. Shows are getting smaller, as are audiences. Yet even the snow and cold can’t keep some fans from rushing to see their favourite bands, such as Milestones playing Birmingham’s The Asylum 2.

Known relatively well in the Birmingham pop-punk scene, local rockers You Know The Drill were billed as the starters for the night. Be it the misery of the weather or the lack of an audience, they started with a slightly lacklustre performance. Yet, from midway of their second track, the true pop-punk energised style of the collective we know was unleashed. Of course, with one EP and another due to come, the performance of unreleased track ‘No Ambition’ held up well both on stage and through those listening. You Know The Drill played a good lengthy support set and even though they did miss out their much loved Taylor Swift cover, still gave a fun and lively performance.

Better Days were up next, bursting through with tracks from their previous release. While it took a while for fans to get into the music, lead vocalist/guitarist Graeme Costello managed to forward a spark to the audience with their plethora of enjoyable tracks. Stage presence also kicked up well, despite a few almost disastrous collisions amongst members! Following a few issues of a lost bass, the band didn’t actually have too many issues performance wise. Filling the accidental tuning issues with improvised stage banter, the set did appear a little unplanned, however, this didn’t set the 4-piece back, if anything, highlighted their ability to add a few lighthearted touches to their set. These days, Pop-punk is often referred to as a ‘dying genre’, but Better Days helped prove there is still a collective presence out there.

Midway through their headliner, Milestones left no room for errors. Yes, they may not be the most well known band in the scene, but with such lively, excellent performances, they’re on the way for certain. Opening with ‘This Is My Life’, the band managed to kick off the show with a slower track, rather unusual but working in their favour. Milestones definitely bring back a reminiscence of the early eras of British rock bands You Me At Six and Mallory Knox. Yet through their early 2006 pop-rock style track ‘Bittersweetheart’, their dedicated ecstatic performance came through strongly. In some respects, it’s understandable that the band had more fire and vibrancy during their newer tracks. Nevertheless, older fan favourites such as ‘Call Me Disaster’ still emerged through the set and weren’t tossed aside, still keeping up a strong energy. Even the slowest of tracks ‘Shot In The Dark’ still has an unmistakable charm about it, being stripped back but still having a slower, well reformed energy.

‘Red Lights’ isn’t just an album of fast paced pop-rock angst, but also features heartfelt ballads that come through just as strongly live as they do on recording. Emotion throughout the setlist was never diminished, not once. Stripped back melodies of ‘Hold On’ sent waves through the room, whereas even the slowed down beginning of single ‘Paranoid’ added a different interpretation to the albums tracks. More importantly, the emotional connection, especially between vocalist Matt Clarke and the audience was recognised. Between songs, there was a slightly awkward atmosphere, but this was quickly made up for between songs with everyone getting deep into the music of each track and the band jumping endlessly around the stage and onto the barriers.

Of course, with any crowd in Birmingham, one ending track is never quite enough. Finishing with their hopeful ballad ‘Against The World’ saw a collection of fans come together in a lovely singalong. Yet, despite ending on a beautiful track, in hindsight, Milestones probably knew a demand for an encore was coming. Unexpected and unplanned, demands from the audience led the band to perform an old rendition of ‘Hindsight’, not quite as polished as the other tracks, but in their defence it wasn’t planned. If anything, it formed quite an entertaining performance that didn’t quite go horribly wrong, but certainly was a fun finale either way.

Milestones know how to perform and connect with their audiences. Between songs, they do lack a little but this is easily made up with their connectivity with the audience throughout their tracks. Definitely go catch Milestones at a show near you, you’ll thank us later.

Gig rating: 4/5


Beating the ‘sophomore slump’ curse of a second album is a scrutiny many bands face after a critically acknowledged debut release. However, following on from Casey’s 2016 effort ‘Love Is Not Enough’, the awaited, revealing new album ‘Where I Go When I Am Sleeping’ is now up to attempt to build a new height for the melodic-hardcore crossover.

Undoubtedly, Casey have put out a beautiful creation. The flow of the album sticks through the 12-track creation, sweeping through the emotively inclined lyrical stories as told by lead vocalist Tom Weaver. ‘Wavering’ takes the bands more energetic hardcore elements tinged with weaving moments of old-school emo roots influenced by the likes of Touché Amore and La Dispute. Moreover, the wavering hardcore additions are scattered within the record, with raw cleans fueling over half of the albums vocals. ‘Phosphenes’ and ‘Fluorescents’, two of the bands main singles, bringing a crossover of melodic-hardcore packed with a softer emo genre root. As the singles hold much of the albums heavier aspects, this leaves the hidden astonishingly ambient gems left to be discovered.

‘Where I Go When I Am Sleeping’s’ ethereal components within the truthful storytelling opener ‘Making Weight’ almost brings a prologue to the overall album. The flowing lyrical vulnerability describes the story of Weaver’s mother finding him passed out in the bathroom from his, at the time, un-diagnosed colitis. The simplistic track leaves room for the depth of the track to be realised, and ends with a drawn out note, almost as a link to the next story of ‘Wavering’.

Yet, one thing that must be mentioned in the creation of this album is the intensely subversive backing. Every pattern from the softly added drums to the atmospheric, melancholic laden guitar riffs courtesy of Liam Torrance and Toby Evans that line each individual track. Too often bands use their instruments to add a filling, some extra seconds to an already over saturated track, whereas Casey use theirs to tell a story. Instrumental bridges between tracks can be risky, but the links of ‘&’ and ‘Morphine’ intensify an already intense narrative. It’s sections like this that prove the powerful talent Casey have by not even using lyrics to portray a feeling or emotion. Title track ‘Where I Go Where I Am Sleeping’ falls onto the longer side of the albums instrumentals, yet cleverly brings an enhanced line of beautifully dynamic guitars with a subtle build-up of drive and emotion through Max Nicolai’s drum additions. Even the addition of Adam Smith’s basslines creates a density that darker tracks such as ‘The Funeral’ and ‘Flowers By The Bed’ would have possibly fallen flat without.

Raw vulnerability through releasing deeply personal emotions is a risk many bands choose to avoid. Yet, one thing Weaver has learned is ‘the best way to not stress about it all is to be open and honest’ and this is a phrase that is truthful for each and every aspect of the album. To find an album with such intense emotion in every singular point is hard, and Casey have put out a remarkable effort. Casey’s second release is far from a drag, and if their furthering career is anything to be based off this album, they have a great future ahead of them.

Rating: 10/10