To be dubbed as the Tesco Value Prodigy is perhaps a moniker of dubious flattery, yet the fearsome duo of Jon Tetsuo and Ben Atomgrinder manage it with such reckless abandon, their near-decade of debauchery truly suits it. What began life as a scuzzy electro-punk sideshow, has quietly amassed quite the rabid cult following across the UK. In what serves as their return to the stage in pandemic-era Britain, the pair agree to sit and chat with me in the beer garden of The Holly Tree in Addlestone, hours before unleashing their outrageous performance on the locals. By their own admission, they have no idea where Addlestone even is, despite driving to the northern Surrey town, a stone’s throw away from London. Our conversation not only peers underneath the veneer of their raucous act, but arguably serves as their most honest interview to date.Continue reading
Tag Archives: Punk
Introducing: Nasty Fishmonger
The fishmonger by trade is an ancient one, a guild officially recognised, ratified, protected, and regulated by the crown as early as 1212, and forms one of the Twelve Great Livery Companies of the City of London. Today, better known as the Fishmongers’ Company, or the far more grandiose Worshipful Company of Fishmongers, they still stand as a significant authority in upholding the standards, of retail and trading within the seafood industry. Safe to say, they have a lot of heritage and history to celebrate for what is commonly revered as a humble and modest profession. It is exactly the kind of heritage and lore that bards and folk musicians have thrived upon for centuries; to able to artistically recollect tales in such rousing fashion, that their own words, songs, and melodies, endure as long as the history they’re based upon. Bristol’s Nasty Fishmonger, of course based in the West Country, a realm with its own rich history and unique traditions upheld, are no exception to this mentality.
For this trio of university friends, what initially began as a one-off, tongue-in-cheek performance, has shifted and expanded into a bright, burning new star on the UK folk scene, within just eighteen months. Going from corpse paint in their local venue, to sharing the same stage with Port Isaac Fisherman’s Friends in under a year, is some real heavyweight endorsement. That’s no matter of luck either. The union and chemistry between Captain Rehab, Lizzie Blower, and Shanty Dan, generate a formidable, infectious energy so powerful, the pride of Her Majesty’s Navy would be envious. Fitting then, that their first recorded output honour the life and times of fearsome Irish pirate queen, Grace O’Malley, who infamously stood against Elizabeth I.
In their riotous live performances, Grace O’Malley has become their opening gambit; four minutes of stomping punk rhymes and sharp-tongued narration, driven by the feisty fretwork of Captain Rehab. Gentle, perhaps understated plucks of mandolin, interject beneath the already tremendous kinetic force of acoustic guitar, those singular notes so subtly adding emotional depth to this ballad, it deserves commendation for how rich their songwriting strength really is. The story begins with O’Malley’s pleads to accompany her father overseas to Spain, to share in the family’s trade forays in that coastal domain, performed with the command of a town crier, mere inches away from a full-on punk snarl or a pirate’s growl seeping into the vocals. The fact neither fully engulf the dialect, yet those ever-so familiar tones linger in every inflection, carry that rebellious spirit marvellously. Then the thumping of kick drum begins, alongside several sustains from the recorder, the harmonies imbuing a sense of romanticism and airiness, a sea breeze if you will, to the recollection of O’Malley’s brief marriages, that pumping tempo leading straight to the chorus, and into her chief role of defending the shores from English oppression. The unison at the end of everybody’s vocals, emphasising the teachings of O’Malley, has the pair of male vocals more prominent, and while maybe or maybe not intentional, serves a clever little juxtaposition and only further reinforces the pirate queen as a brilliant, but sorely forgotten figure of historical feminism.
Details of the conquest of Doona Castle, and the aforementioned confrontation with Queen Elizabeth later unravel, the duly noted refusing to bow before her, and carrying a dagger as protection, causing quite the stir for its time, and afterwards, led to her support of Irish insurgents in the Nine Years War. You could even argue that the final minute of the song, the manic adrenaline of guitar, banjo, and recorder, with the kick drum gathering pace, encapsulates an aural metaphor for battle frenzy, or at its loosest listen, some form of wardance. In any case, after such a tall tale, to create that kind of exhilaration, the kind that this fascinating character led her entire life by, is a fitting testament and tribute. And to think that only begins a Nasty Fishmonger live show. Plainly and simply, for a first single, this is a band with the incendiary attitude, and the devotion and ingenuity to translate fables and folklore, into the most rapturous, yet meticulously textured history lesson you’ll ever participate in.
Grace O’Malley is released 17/04/20, with a live stream to celebrate the single launch to follow.
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Live Bite – Johnny Deathshadow/Spectral Darkwave/Lady Rage/Prescription Happiness – The Unicorn, 28/10/19
At the beginning of the working week, and as the final countdown to Halloween, the outskirts of Camden houses Halloweek, a series of gigs and events hosted by curious free house The Unicorn, a mostly modern featured, open planned boozer, with opinionated locals who very clearly voice their disdain for live music as I scrutinise the bar, and a decently sized function space and stage for where tonight’s events would unfold.
I grab a beer, perch upon one of the many stools facing dead opposite the stage, and await tonight’s openers, Prescription Happiness. The inset and outset play out as moments best described as voices inside your head, akin to the Gene Wilder tunnel scene from the original Chocolate Factory film but eerieness switched for overwhelming dread. Initially their sound evaded an immediate touch point, their music oft feeling reminiscent yet totally their own. Half of their set borrowed from modern metal staples, Sempiternal-era Bring Me the Horizon and Slipknot being immediate reference points, but the other half an eyebrow-raising concoction of Korn, Incubus and most solid hard rock bands. However on record, there’s more of a Tokio Hotel comparison and that also becomes evident frequently. Without a shadow of a doubt though, these are boys with thick tones, and their breakdowns are plenty sizeable in stature. Despite a heavy emphasis placed on the screams, the clean vocals impress far more, and draw some emo-esque comparisons into their already head-spinning influence pool. The quartet’s set ends with Quietly Falling, a tremendous groove-laden number that scratches a future radio airplay itch if it hasn’t already. Their half hour elapsed rapidly, undoubtedly heavier than hardcore, yet not quite heavy enough to tussle with the bruisers of metalcore, not that they were trying to.
The beginning of Lady Rage’s set is regrettably missed, after an awkward run-in with the Johnny Deathshadow boys face painting in the gentleman’s water closet, so I hasten to finish my business and make it back to the stage. Very much in the spirit of Halloween, a pumpkin, Beetlejuice, Harley Quinn and whom I believed to be Freddy Krueger, though I’m reliably informed they came dressed as the drummer, unleash a wall of noise that bridges that gap between Hole and The Distillers perfectly. Unmistakeable, ferocious, scuzzy, grunge-soaked, riot grrrl punk, with plenty of melodies to back it up. That’s without mentioning a bass tone with serious clout, and their vocalist, the aptly named Siren Sycho, having terrifying power behind her screams, and being able to maintain such a formidable strength consistently. Their repetoire busts out a cracking cover of Billie Eilish’s Bad Guy too, taking on the form of the Rolling Stones or T-Rex butting heads with Brody Dalle, and that is exactly as good as it sounds. Wholly entertaining enough to watch again, their set includes a guitar-bass duel, a song titled ‘Not Joan Jett,’ and another that ravages social media, while live-streaming their set on Facebook, so while not quite as angry as face value implies, these ladies present themselves just as talented as they are self-depreciating.
While also in the spirit of Halloween, though just their regular stage attire, the misleadingly named Spectral Darkwave stepped up, masks, monocles, and sunglasses upon leather clad vestments, addressing us to what was assumed to be hurtling through the space-time continuum. A name like that, you would expect perhaps some sort of gothic metal influx atop synth. Not even remotely close. Instead, what we get is far more progressive, sludgy, almost straying into doom territory at times from this trio masquerading as Lovecraftian time travellers. Musically, their assault is airlock tight as they dive through dirges often about war and the horrors of mankind, bar the odd track about elephants or the death of a red giant, each track assimilating subtle characteristics of its era or subject matter, a very clever writing touch. They bare some sonic resemblance to Mastodon or even Opeth, with a constant growl dictating their narratives, but interspersed with some light-hearted jibes between songs. It ends up endearing towards the end, something only a British band could accomplish comfortably. Some waves of synth and programmed symphonic brushes do fade in and out, giving a sense of ethereal gloom, but ultimately this spectral entity oozes sludge and a metric tonne at that.
At one point, Johnny Deathshadow introduce themselves as Germany’s most loved party band, before announcing that their next song is about cancer, and that sums up their performance pretty succinctly. Playing London for the first time in their careers, their setlist contained an excellent variety of old and new material, of blistering and nuanced paces while squeezing most of the hits in (Black Clouds, Dark Hearts admittedly a surprising omission). Their stage presence flickers between intimidating and intimate, minor sexual frictions dotted throughout their performance, and their show itself is nothing short of masterful, light choreography alone granting gravitas worthy of a band playing a thousand capacity crowd than a small pub on the fringe of Camden. Red Rain opens aggressively, the chorus of cries offsetting the white hot intensity that rarely lets up the whole show. The skull-faced quartet scorch through four of their best from latest album D.R.E.A.M. which next to Red Rain, include a stripped back yet even more fiery rendition of Legion, and a fittingly melancholy Embers. Paying tribute to their punk roots, Under His Eye ignites with the headbanging crowd as does several of the set’s second half including Bleed With Me fan favourites, the archetypical Neue Deutsche Hart groove of Apocalypse Trigger, and the ground-stomping sway of Shadow, before concluding on the exhilarating Kill The Lights, and they even finish with streamers. Blood red obviously, but such an unexpected delight at the end of a storming set.
Johnny Deathshadow jokingly remarked that the band would be dead in the water had they started in the UK, crediting the trio of bands they had shared the stage with that night, but the Hamburg group played with such passion and zeal, and with the aura of bonafide superstars, the performance felt every part special as they had intended. Poor attendance aside, this industrial metal troupe’s ascent can hopefully be a slow-burner, German gothic circles excluded, as live and on record, they are destined cult heroes in the making and a fearsome sight to experience.
Under His Eye
Kill The Lights
Track of the Week: Slime City – You And Everybody That You Love Will One Day Die
On May 6, 1988, a schlock horror spectacle was released by the name of Slime City, a gory, gross-out flick that this Glaswegian troupe have lifted their namesake from. It can be assured that they definitely weren’t named after Nickelodeon’s Slime City, that much we’re certain of. As stated in a synopsis, one of the perceived protagonists drinks an unusual liquid which gradually erodes and transforms his body into that of a slime creature. Next time your occultist neighbours offer you wine made by a dead father who also happened to be an alchemist, I wouldn’t. Anyway, it is later discovered that the only way for this creature to revert back to its original human form is to commit a murderous act, thus leading to an eventual discovery of a massacre that took place involving this creature and the dead father attempting to transfigure himself through his host. Fitting really, that a trio of existentialist punk upstarts should pen this track over 20 years after the film’s release, although death by slime creature probably wasn’t what they had in mind initially. That, and The Jam never really wrote any songs about death in their ten year tenure.
A similar parallel could also be drawn with the demise of We Are The Physics, whom Slime City descended from, also spanning a decade long career, yet their demise was ultimately far more entertaining than The Jam’s was. The reason Weller and company are repeatedly name checked here, there’s an authority and swagger in the acoustic guitar and vocals, before the electric guitar hits the overdrive switch, and interspersed throughout that harkens back to the husky, fresh-faced mod at arguably his songwriting peak. Not to mention a distinct, poignant poetic license near the song’s climax that could rival his barbed prose. Any other resemblance to The Jam is swiftly dashed as Slime City are ultimately a fairly unique beast in terms of their sound, glances and snippets echoing former bands of new wave and punk past, but absorbed and meshed together so finely, it becomes virtually indistinguishable. Much like the transformation in the movie they’re named after.
You And Everybody… ironically is led in by a choir, inside that angelic reckoning, a voice acting as gatekeeper of that grandiose barrier asking you, the listener, why must your day-to-day inflict such malaise upon you. That is then refrained in mono briefly, in true troubadour fashion, before stereo engages, electric guitar roars with distortion, and that fleeting moment of ascending to the heavens, is sent rocketing catastrophically back to reality. Although the message is categorically transparent from the song’s title, the mantra is pelted and reprised with such glee, you can’t help but be bowled over by the charm of it all. Verses duel between a restrained, reasoned argument, gentler guitar chords underslung to accompany, and more exuberant chaos, with nuance put to bed, and slogans yelled in unison, power chords and punk snarl pressed hard into your face as they’re performed. Their chorus however, springs to life as a triumphant celebration of all that is brilliant about British guitar music, the scale utilised for its hook simply unceremoniously catchy and any attempt to beat it out of your head will prove futile. The extra prong of ‘Cling to anything,’ on this hook, only makes it that much tougher to release, so you are wished luck with that one. Those three minutes do absolutely hurtle along, with a wry momentary breakdown to emphasise the unpredictable nature of never knowing when your time will elapse, Windows XP error sound to boot, sandwiched near enough dead centre of the song. One other such highlight is the previously aforementioned bridge, where some exceptionally written and executed lyrics swatch maybe just one glimmer of hope, before joyfully snatching it away once again with the inevitability of our all one true fate. No band in recent memory could honestly make death sound like so much fun.
As self-depreciating as they are, Slime City know exactly what they are doing; steadily producing a stream of witty, yet Fort Knox-tight singles that deserve to be infamously infectious, and You And Everyone… is their current pinnacle. I defy anyone to find a better hook this year. Paced to perfection, thought-provoking yet riotous and rapturous in equal measure, and from a band still very much in their infancy, here’s hoping the Barrowlands might not be far away after all for them.
All of Slime City’s music can be located on Bandcamp and all good reputable retailers, whilst they do have a Bigcartel store, they seem to be popular lads and merchandise disappears quickly from there. They tour very frequently, so they will absolutely be in a venue near you soon too.
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20 Bands And Artists With New Music in 2019 You Should Keep An Eye On
By now, the hangover of 2018 should have long subsided, and 2019 should now begin to be as familiar to everyone as much as your work colleagues, classmates, or friends you go clubbing with, are. We’ve conversed, debated and voiced our collective opinions on what the best of the best of 2018 was, and ahead, we look into the eyes of 2019 longingly, yearning for continued musical excellence as this decade draws to a climax. So bearing that in mind, the site has put together 20 bands and artists bearing a variety of new musical fruit in 2019, that you should absolutely sample, and hopefully savour and find immense pleasure from.
Track of The Week: Our Nameless Boy – All It Is
In popular cultural semiotics, the phrase ‘ the C-word,’ we all widely acknowledge refers to the often belligerent horrors of cancer. A word that strikes fear, dread and distress into the hearts of those directly and indirectly affected. The disease is now so commonplace, it is impossible to go through your lifetime without knowing someone who has been affected by it. Thankfully, due to the wonders of modern medical science, cancer is now no longer a death sentence, and more and more people everyday can say they are a survivor. Musicians especially seem to be having more and more luck winning their respective fights. Iain Gorrie, of Bristol emo brigade Our Nameless Boy, is among those battling back from life-threatening progression of the disease. Diagnosed with testicular cancer in 2015, and starting a lengthy chemotherapy cycle, alongside surgical procedures, Iain finally reached a stage where he felt well enough and strong enough to begin writing new music in earnest, the quartet announcing a new EP in Spring of this year, after several away. Titled ‘Tomorrow I’ll Be Scared Again,’ it plays not only into the ongoing worry of not knowing if you could wake up, but into the personal anxieties and adversities of the wider world we live in too. The single All It Is announced from the EP, serves as an intense aural and visual narrative of Iain’s recovery from his chemotherapy.
His vocals, sounding weary and with a degree of frailty, tell of how his treatment has caused a series of diversions in his life and how unwell it made him feel, whilst urgent, melodic alternate picking lay behind his tale’s opening. Short after we’re treated to a brief tease of drums and guitar in unison, those four snare pounds and fiery strums, lighting the fuse of anticipation towards its chorus, but not before all instruments make an entrance and tighten the pressure up that much more. A pause for breath proceeds what doesn’t come across as quite an explosion, but more an emphatic expulsion of energy, strings and skins colliding together, to add prominence to the show of positivity that Iain can conquer his cancer. With production stripped down to its barest bones, the chorus feels that much more heartfelt and encouraging for those still watching a loved one persevere in their own respective battle. Rapid snare taps keep pace and intensity in a high gear with the melodic picking returning to soundtrack the story, the tribulations of chemotherapy initially being somewhat lonesome, but allowing him to return to be the person he once was. This verse neatly ties into the track’s greatest display of strength; a bridge of unclean, near-screamed vocals backed by the punch of snares, and the occasional slam of chords, the rawness, and unbridled emotion of this moment acting as a switch, the pivotal event in Iain’s fight back and his wellbeing close to normal again. The time-lapse and series of photos past afterwards, synced to the music in the video only add to the gravitas of this bridge, with his hair returning in its duration, and watching a young boy grow up in a matter of seconds, a poignant device for anyone with lasting memories of their friends, or children. Our Nameless Boy have transformed a harrowing situation into a memorable message of strong inner resolve, and optimism in a time where hope can so quickly dwindle. Minimalist, melodic at the right times, and a masterstroke of art in a sonic and screen-based space, this Bristol quartet deserve a hero’s welcome back to the UK music scene.
‘Tomorrow I’ll Be Scared Again’ is released on 1st March on Beth Shalom Records, preceded by an EP launch show on the 28th February. All their music can be found on their Bandcamp page.
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The Soundshark’s Top 10 Albums of 2018
As the world begins to stir, gently putting the gears back into production, and steadily adjusting weary eyes to the bright new horizon of 2019 (I mean, it probably won’t be that different, other than some cases of lingering hangovers, apparent nationwide incense about a vegan sausage roll, and more than likely international condemnation of whatever Donald Trump does next), we at least have a period longer to contemplate how good a year of music 2018 really did provide us with. However the longer it took to mull over how a good year of music it was, the more frustrating it became to whittle down and distil the ten best. It’s very safe to say EVERY album about to be mentioned was in contention for a top ten position. Tantrums happened and tears were nearly shed. An iron resolve and persistence eventually paid off, and in the settling dust, lay the final ten chosen to represent the best of 2018. Just one of them became the victor and declared ‘the undisputed favourite.’ Continue reading
The Soundshark’s Top Ten Albums of 2017
I’ll be among the first to admit that 2017 is now a fading memory in long and short terms of immediate recollection. After all, we’ve reached a quarter of the year in already and only now do I find myself reflecting on and scrutinising the year past, since coming to terms with my current situation. Of which I feel is moving in a more positive direction. That said, while my own personal presence took a negative slant in the seventeenth year of the new millennium, musically, there was such a creative surge of magnificence which resulted in many, many excellent albums being released. Also one such reason for this list being delayed as it is. So, with ever-so-slightly wistful eyes, The Soundshark casts its spotlight on my ten favourite albums released in 2017, and for your listening indulgence:
Futures Are Changing, But Their Futures Are Still Black
The following account is of factual events that took place on the 27th October 2016, between the hours of 7 and 10pm. No details of this account have ever been made public. Until now.
I’m early. I’m not often early for a lot of things. In fact, I’m so early I have to wander up and down the street and take refuge in one of the cheapest London pubs I’ve ever set inside, waiting for to validate my invitation. But a little after 8pm, a gentleman sporting the Black Futures insignia arrives outside Wandsworth Town station, I weave the password into my conversation with him and he presents me with a blindfold, and told to await transport to the secret location. Of what I know of Black Futures media, their imagery resembles some kind of VHS propaganda reel, but nothing that was to resemble the theatricality of what was about to happen.
Once enough attendees had gathered, the chauffeur asked us to enter the transport and put on our blindfolds. In the brief journey towards the venue, around about 5-10 minutes in length, there was music playing under the guise of Black Futures Radio; short instrumental MIDI renditions of songs, interspersed between stingers and amusing interjections from its monotonous host. I seem to remember the best one about ‘having a funny feeling in my nether regions,’ or something similar at least. Little were we to know at that time, that what was unconsciously infiltrating our ear drums was a mere taster of the sonic assault to come. While the radio provided some light relief and entertainment, it didn’t stop the feeling of foreboding, being driven around on London streets, in a vehicle full of strangers, to a location you knew nothing about.
At the location, I just about made the shadow of gates opening before the path, and driving down to what looked like an abandoned film set of sorts. Outside, flanked by personnel in hazmat suits taking photographs of every attendee, heavies in suits instructed us to place our phones in envelopes or we would be refused entry. Happy to oblige, I did so without first telling my other half that I wouldn’t be able to be contacted for an unspecified amount of time. You can imagine how that went, especially after telling her the last thing that happened was that I was just given a blindfold. Anyway, we were directed left into a room, filled with more hazmat personnel and two giant dispensers filled with ‘social lubricants’. The drinks could only be dispensed by ringing a bell, or honking a horn, dependent on which you wanted. The folk in the suits and googles remained silent throughout, pulling glasses from underneath which they kindly filled and only once pouring half a litre of gin, to top up the more popular of the two dispensers. Yikes. The room itself had little in the way of furnishings with two sofas, in a room filled about thirty odd people, but was filled with very curious paintings, photographs and instruments around. It seemed elaborate, like a lot of thought had been put into the decoration of this venue, deliberately like some kind of scientific experiment and we were the test subjects.
After a period of time for guests to mingle with one another, the room opposite in the hallway is unlocked, and we are welcomed inside a studio, outputting a frequency that feels like its properties could brainwash onlookers if exposed to in the right circumstances. Maybe that was the idea. But beyond the mixing desk and monitors, lay drums, microphones, a keyboard and a guitar, and a curious wall in the background which had a screen display inside what resembled a large sewage pipe opening. The door is then closed, the frequency is shut off and with the onlookers and myself all making ourselves as comfortable as possible, the producers known only to the world as SPACE and VIBES slowly emerge from the darkness and start the show.
With their first song, distorted, crunchy guitar opening up proceedings and thunderous booms of bass, before erupting into an apocalyptic big-beat bombshell that would bring a tear to Liam Howlett’s eye. The scathing refrain of ‘ten minutes to the end of the world,’ is unnervingly relevant, given the earth-shattering size of the music that surrounds it, and the visual element of strobe lighting in the performance really enforced the urgency and magnitude of their two-pronged attack. After three and a half minutes of electrifying energy, the storm subsides and you could be mistaken for thinking for more of the same is on the way. But this is where things begin to change, instead revealing a whole new dimension of influences that made for a truly mesmerising listen. Straight into now brand new single Karma Ya Dig!?, waves of reverb and delay wash over both sets of vocals and synths, unveiling a strangely soothing psychedelic ambience that certainly caught me by surprise. These two gentlemen’s vocals also harmonise so well together, that the phrase ‘I’ll see you on the other side,’ has lingered ever-presently in my subconscious since this day. A pseudo-industrial stomp gets us underway with a near punk-like sneer taking vocal duties, marching us towards a titanic guitar riff that wouldn’t go amiss in Britpop’s heyday and an overall vibe that feels reminiscent of The Chemical Brothers, albeit slowed to a pace you can headbang to. It certainly affirms that the big beat era of dance music circa 1990 onwards, has had a profound effect on this material. As if today’s electronic music producers and a punk band recorded together in a garage. It’s gritty, intense and energetic but without sounding lo-fi or unpolished. Astronomically far from it.
I must admit, that while their eight song set was nothing short of inspiring, it moved in a blur. I recall one track that had a dancehall style beat, some later present indie rock style influences and one track that which reminded me firmly of Does It Offend You, Yeah?, which in their own whirlwind of genre-smashing, is nothing but a compliment. They are an absolute sum of the parts of the people that work as the unit. SPACE, an in-demand punk and hardcore producer, with a reputation in the desert rock community to boot, and VIBES, a multi-talented instrumentalist and electronic music producer, that works with an abundance of live acts in and around London. Their union has formed something undeniably unique, and witnessing the translation of their chemistry together in the flesh with such a striking and impactful live performance, and the interactivity before the performance even took place, has made me fall in love with these gentlemen and get overexcited over what was to come. It truly was a privilege to be invited along and be part of this undoubtedly intriguing and involving movement.
The opportunity to see it for yourselves, lies on the 5th October at Bloc in Hackney, 8:30pm start. Prepare for an immersive dance experience unlike any you’ve ever encountered. If you want a further testimonial, I left that night with new friends, whom I realised I shared a closer connection to, than just being attendees to this exclusive performance. And I’m often a painfully awkward individual. If that isn’t something that asserts the power or the spiritual significance of the Black Futures experience, then I don’t know what will.
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Track of The Week: Dye The Flux – Lunacy
This has been a moment years in the making. A moment arguably in the making since the 31st October 2013. The date when Dye The Flux released their first EP ‘SHARK!’ to a room of 50+ people at the University of Surrey. A moment so vivid it shall no doubt live on in my memories. But this is not about living in memories, Dye The Flux have always been all about looking forward, hence why since the release of their terrific debut EP, they were already laying the groundwork for the next release. A release that experienced multiple complications before it reached this point. While quickly reaching the upper echelons of Guildford’s incomparably diverse live scene, an unfortunate wrist injury to their bassist, backing vocalist, and founding member Ieuan Horgan took them out of performing, and almost performing together again. Tasked with either his replacement or calling it a day, the boys instead went in separate directions, waiting out a year’s gruelling rehabilitation, of which a complete recovery was eventually made.
Finally returning to the stage with new material in hand, two years since their last appearance, and with a new drummer in tow, Dye The Flux’s live return was an emotional one, built on frustration, anger but sheer joy in persevering in the face of adversity. Yet it seemed as soon as they were return to the stage, they seemed to disappear off of it just as rapidly. To continue writing for could’ve been labelled their fabled sophomore EP. Admittedly, there has always been the tenacity and work ethic of this talented four piece that has never stopped them doing what they’ve loved. So despite a second drummer departure and months of songwriting and production with acclaimed producer Jason Wilson, we arrive here a little under four years later, at the first glimpse of their second EP ‘FOX’ and the welcome sound of four warriors, who only know to fight or die and have returned to tell their tale.
As has become their calling card, sizeable, urgent chords lead us in alongside punchy percussion, instantly pulling you into a fast-paced fistfight that’s as captivating as it is ferocious. Bright, clean vocals put the madness of society and the human condition to rights, delivered with a confidence and a smirk that is endlessly pleasing amongst the raucousness of the riffs bombarded at you. Perhaps an indirect nod to the notion of insanity, but the refrain of ‘Lunacy,’ frequent throughout, partnered with both the wah-infused hammer-ons and rapid snare bashes is such a powerful hook, you’ll be humming it for weeks. Whether it can be called a chorus or not, stripping it back to a single guitar, rolling off riffs near-effortlessly, while vocals harmonise, backed by drum rolls that sound like cannon fire, serves as just as powerful a hook, steadily increasing tension as it does so. And the intensity only shifts from gear to gear. Chords gather pace, interspersed between quick, fiery licks, and you can physically feel the danger level heightening with every note change. The tipping point is reached at the solo; a passage of double-time picking, with the second guitar throwing authoritative blows to the face and snares and cymbals issuing a countdown to chaos. Bass soon matches the speed of the fast picking, a feat technically impressive in its own right, and after tremendous restraint, the thrashing beast that has threatened and been teased for the course of the song is finally unchained. It really serves as an excellent metaphor for lunacy in motion, the loss of inhibition and the inevitable loss of control we could find ourselves in, inside and outside of a live environment. This is only agitated by the new found snarl in the vocals, a pummeling of aggressive chords and guitar gallops, and drums keeping the adrenaline pumping, while showcasing a far greater technical prowess than we’ve seen before. And we end on the note of four musically skilled gentlemen looking far more feisty than we saw three minutes ago.
It’s truly difficult to pin down an exact comparison point for sound, former Surrey stalwarts Reuben being the closest reaching example, yet passing instances of Deftones, Incubus and even Biffy Clyro, glimmer and fade just as quickly in Lunacy alone. But any claims that they embody any of those bands, does not do them any justice. What music they have created over the last four or so years shares a certain hardcore sensibility with any of those bands for sure, but their sound is ultimately theirs and theirs alone. Lunacy is cathartic and at times, nerve-shredding, but one of the most thrilling three-minute bursts of music I’ve undoubtedly heard this year. All it shows that Dye The Flux are hungrier, harder-working and as passionate as ever, and as a band constantly looking forward, and with the breadth of talent they possess, we can see that the best is certainly yet to come.
Lunacy is taken from their second EP ‘FOX’ which has yet to be released, but you will find it available once it is, on their Bandcamp page. You can purchase Lunacy on Spotify and iTunes in the mean time. Live dates are also yet to be announced. Right now, you can listen to their previous EP ‘SHARK!’ on their Soundcloud, and can only get your own physical copy from them in person. You could probably get a digital copy from them too if you asked them nicely, but I’ll leave that up to you. Buy a shirt whilst you’re on their Bandcamp anyway.
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