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.

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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.

Join the Existential Expedition Club right here:

http://www.facebook.com/BlackFutures
http://www.twitter.com/BlackFutures

And if you want to join The Soundshark Subscription Club (that’s not really a thing, but you know…) then consider giving me a like, a follow, or by actually subscribing to the site via the link that should appear on this page:

http://www.facebook.com/IAmTheSoundshark
http://www.twitter.com/The_Soundshark

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Randay

Without wanting to cast bull-china shop aspersions off the bat, dealing with emotional abuse is more often than not, a difficult ordeal for those affected, but it’s a far more common place subject matter in music than most realise. Arguably the most famous song on the premise, Gloria Gaynor’s I Will Survive, a classic, near four minute disco romp, detailing the breakdown of an abusive relationship an unknown female character found herself in before finding the strength within herself to leave the perpetrator, is considered timeless as no doubt its chorus will be forever etched on the walls of the musical Pantheon. Its optimistic tones and grandeur made this such an uplifting listen, that in some respects, it could be considered easy to forget the subject matter entirely. Just as famous an example, widely acknowledged to be one of the most misinterpreted songs ever, is The Police’s Every Breath You Take, a portrayal of a stalker-type obsessive whom claims ownership over their past lover, never allowing them to move on. The calm, soothing demeanour of its music, along with the misconstrued lyrics of Sting’s impassioned croon has oft been taken as to be a love song for decades, before being publicly debunked by the Police frontman himself. In that respect, thank goodness for pop artists of the new millennium, such as Ke$ha, whose titanic but transparent ballad Praying released this year, brought to life the torment and nightmares faced under her captive producer, after arduous legal proceedings and years in the media spotlight for this reason alone. While currently building a loyal following of his own, Montreal pop sensation Randay is taking the same page from his contemporaries and making the message loud and clear, as well as highlighting another tale of emotional abuse in the process.

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Putting aside the lyrical content for just a moment, Manipulation serves as an impeccably produced electronic pop number that teases crossovers into the EDM and electronic house forays, all to give his sultry charm room to soar. Repeatedly plucked guitar chords, with a very marginal overdub of synth open up the song, give it a cooling ambience, a calm mood and a steady tempo, as we then phase shift into the song’s main body. Enter a realm of pounding bass pulse, dampened hand claps and understated but beautifully layered synth harmonies that bulk out an otherwise minimalist atmosphere, that all lend themselves to Randay’s honeyed tone marvellously. There’s a small touch of hi-hat added to the mix as the verse progresses and a slight delay on the vocals, on which the echo sounds particularly effective against the beat, utilising the less-is-more approach well on a primarily vocal-heavy song. However it is at the chorus where Manipulation is at its strongest. Where once Randay had a lot of vocal processing on previous tracks, stripping the first chorus down to almost entirely vocals, bar delay and some minor ambient synth, has really given his voice a chance to shine on its own merits and it makes the chorus and its hook all the more memorable for it. Quickly building up the drop underneath the vocals, slyly introducing an acoustic guitar amongst the claps and keys, brings a short rush of excitement as you feel a gear shift about to transpire. But while the music doesn’t quite burst with the bombast you would expect from a modern dancefloor filler, the subdued nature of the drop actually fits really well with the overall tone of the song, whilst still having a beat and a bassline for even the most casual of club goers to move to. Throughout, there are little tweaks, production effects and instrumental additions so subtle, you’ll barely notice them at first, that make the song feel all the more complete, and there are more moments along the way where Randay’s vocal talents are isolated but ultimately accentuated as a result of intentional songwriting. Manipulation’s climax brings that memorable chorus hook against the beats, and Randay delivers it with such authority and empowerment, perhaps channeling an inner Gloria of his own, that you begin to realise the potential star power once the music retracts and his voice is left once more on its own, besides the thumping of bass and a melancholic but deeply fulfilling piano chime to close.

Sadly, I was informed that shortly after this song was written, Randay found himself on the receiving end of his own words, and I do extend my sincerest best wishes to him, and hope that he has found peace and closure from such terrible circumstances. But let that take nothing away from what he is capable of vocally, and his ear for piecing together pop music with a punch. Randay has all the tools necessary to become a breakout star and the blossoming process is well under way with the advent of Manipulation; a smartly produced, electronic dancefloor curiosity. with equal parts passion to attitude and a rightful claim for a spotlight to call his own.

Randay is soon to release a brand new track in the coming weeks, having just entered the studio to record vocals for Manipulation’s follow-up. A second album is also due to be announced at some stage in the near future. For everything else currently out including his first album Renaissance and recent remixes of Manipulation, you can find them all at most respectable music retailers.

Can’t get enough of him? Then here’s some social media links to follow for you:

http://www.facebook.com/OfficialRanday
http://www.twitter.com/Elektro_Randay

And if you can’t get enough of what I do either, then you can give me a like, a follow or subscribe to the site using the link below, always appreciated:

http://www.facebook.com/IAmTheSoundshark
http://www.twitter.com/The_Soundshark

And one more thing, if you do feel you are in a place where you feel like there is no escape or nobody to talk to, and you can’t channel your inner Gloria Gaynor, then I urge you to call whomever your local crime line, victim support or mental health charity is. Be brave. The Soundshark has faith in you. You can do it. You can get through this.

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.

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Credit: Yulia Hauer

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.

Write them a love letter and tell them I sent you right here:

http://www.facebook.com/DyeTheFlux
http://www.twitter.com/DyeTheFlux

And if you ever feel like doing the same to me, then you can do so with just a like, a follow or by subscribing to the site, that would be the best love letter of them all:

http://www.facebook.com/IAmTheSoundshark
http://www.twitter.com/The_Soundshark

Chris Kelly & Nicole Gibson

Normally, any piece highlighting new and emerging musical talents on this site begins with a tale, an anecdote or even a little music history, eventually tying the two subject matters together in a philosophical or whimsical manner. Such may not ring so true this time round. Instead, this begins with honesty. Truth is, this site has been out of sync, almost out of touch, with the pulse of brand new, underground, independent, and unsigned music for some time now, that what little reputation has been building has dissipated from existence. To put it simply, and to quote Jesse Lacey of Brand New – life is a test, and I get that much, so much so that all motivation and production of content stood frozen solid in time. Whether it would ever thaw again, remained a worry for the best portion of four months. But something that kept the tiniest of embers ablaze, was the genuine warmth of kindness. Despite absolute silence, PR companies and musicians alike continued to reach out to the site. I rarely contact artists or their correspondents preemptively, so to have a one-way overflowing direction of content without ever asking for it, goes beyond words and has kept the gears in a functional state in lieu of their dormancy. The ember truly came to life however once Nicole Gibson of the titular Montreal duo came into contact. Her authenticity and heartfelt words, with regard to what this site has accomplished so far, were a moving read and most certainly a reflection on her songwriting partnership with Chris Kelly. Hell, they’ve just been nominated for Best Adult Alternative Song by the Hollywood Songwriting Contest if that’s any indicator.

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The pair have an incredible work rate, releasing weekly covers of recent music chart entries on YouTube, but their own songwriting endeavours, of which their debut EP is due for release in the coming months, captures their chemistry, versatility and sheer talent better than someone else’s words can. Their most recent single, Ghost of You shows the upbeat, poppier side of their capabilities, both Chris and Nicole’s contrasting, reverb-touched vocals, in a realm of grumbling bass, understated percussion and airy electronics, delivered so refreshingly, and with a hook so catchy, you wonder how it is yet to crack the airwaves. Arguably however, it is Out of The Dark’s moodier, minimalist soundscape that has a far greater impact and establishes exactly why the pair have a songwriting nomination in tow. Immediately, Nicole’s dulcet tone welcomes you in, as does the slight melancholy of piano keys and programmed but subdued kicks and snares. There is a marginal breeze of ambience ever-present also, but it all culminates in a formidable emotive vehicle, for the lyrical premise of never giving up hope. The tale is not complex, but it doesn’t need to be. They are simply the right words for the greatest effect. Their voices unite for the chorus, emanating true passion and belief in their message, with Chris’ solo bellow between each line sounding almost pained, but powerful nonetheless. Piano also gently builds behind them, furthering the big, emotional right hook of a chorus; it’s ultimately a subtle touch but again contributes massively to tone and overall delivery. Chris takes the lead for the second verse, showing his softer, soulful voice, with the now more prominent piano accompanying him, right up to a second chorus where after we are treated to a wailing guitar bridge, adding an extra ambient dimension without being intrusive. The song closes on its chorus, yet there is a refrain with only vocals and piano just before, that may rank among the most tear-jerking 15 seconds you’re likely to hear all year. No doubt Chris Kelly & Nicole Gibson have a prosperous career ahead of them both, with their attention to detail transforming the insignificant into the extraordinary. But it is their authenticity and emotional resonance in their music, that will make them stars. To borrow a quote from the duo:

‘In order to never quit, you have to see hope, and in order to see hope, you have to never quit.’

Thank you, Chris. Thank you, Nicole. It’s taken some time, but it feels like the site can come out of its own dark. And this masterpiece has been instrumental in guiding it through.

Chris Kelly & Nicole Gibson have a fabulous YouTube channel which houses all of their various covers so you can see how wonderful they are as musicians. They’ve also just launched their own website, in case there is any other content your heart desires you wish to view. As already mentioned, their debut EP is due for release really soon. Keep your eyes peeled.

In the mean time, give them a like or a follow on their social media right here:

http://www.facebook.com/kellyandgibson
http://www.twitter.com/KellyandGibson

And if you feel like doing the same for myself, then you can do so by giving me a like, a follow, or by subscribing to the site using the button below, and we can give each other a virtual hug:

http://www.facebook.com/IAmTheSoundshark
http://www.twitter.com/The_Soundshark

20 Bands And Artists You Should Listen To In 2017

It seems very few people utter a breath about 2016 any more. Probably for good reason, it seemed very much like a culling of revered figures and idols of popular culture, let alone a universal gasp of disbelief at what idiocy we may have unleashed on the world. 2017 isn’t really fairing any marginally better in that department, by a hair strand at best. But whisper it: The music is fantastic. If you want to invest in it of course. Admittedly, this list was compiled at the inset of 2017, but as the halfway stage of this year rapidly approaches, it still holds as an all-star ensemble of killer bands you may have overlooked, some yet to release their brand new material and some you may never have heard of. It seems like a solid enough foundation for this article to still exist, while maintaining some resemblance of relevance. That, and you may be reading this, looking for some new music to listen over the summer. Let’s get started, shall we?

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The Soundshark’s Top 10 Favourite Live Performances of 2016

So this is a first for the site, as somebody sworn to never do live concert reviews, a run-down of ten stand out live acts that I’ve seen over the course of 2016. And I’ve seen a lot of them. It’s pretty self-explanatory really, only I’m not exactly reviewing them, just highlighting why they made this list. This isn’t limited to headline acts by the way. The only exception that I have made is to try and limit festival appearances, as there were numerous bands seen in the space of a day at some festivals that could’ve made up lists of their own. And I have had to discount one entry that should be on this list, that of being The Offspring and Bad Religion at Hammersmith Apollo. The reason being counting individual performances, both were absolutely superb on the night, more than satisfying the inner 13 year-old in me and being hard torn to pick a favourite, just makes it easier to disallow it altogether. Sorry, no joint entries for this one. Without any further ado, here’s who played stellar live shows in 2016:

10. Raveyards @ Camden Underworld (supporting Perturbator w/ Dan Terminus) – 08/06/16

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Credit: Eva Vlonk Photography

Bands like Raveyards perfectly demonstrate why you should always try and check out the support bands for a live show. Knowing nothing of them, walking into Underworld with half of the stage consumed by mesh netting, projection screens and one of the most elaborate live musical setups I’ve ever seen was an eyebrow-raiser. Every component of an electronic music performance was in their control and performed in real time, with their expansive shadowy atmospherics and gigantic beats, matched with a kaleidoscope of visuals made for a spell-binding spectacle. Spectators seemed happy to have the space back afterwards, but Raveyards’ attention to detail alone has to garner recognition.

http://www.facebook.com/raveyards
http://www.twitter.com/raveyards
http://www.soundcloud.com/raveyards

9. Allusondrugs @ The Black Heart, Camden (w/ Fizzy Blood, This Years Ghost and Snakes) – 03/08/16

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Always a band on the cusp of greatness, the Yorkshire grunge revivalists played a packed Black Heart and showed everybody why they are one of the most talked about live acts going in the UK right now. Switching between slower psychedelic pinches and frenzied fuzz slammers, all delivered with their inescapable talent for writing infectious hooks, I went into this show, having had some personal bad news that day and left with joy and an affirmation of life once more afterwards. They near had to be dragged off stage after a storming 45 minute performance, but such is their allure and brilliance of their music.

http://www.facebook.com/allusondrugs
http://www.twitter.com/allusondrugs
http://www.allusondrugs.com/

8. Youth Code @ Electrowerkz, Islington (w/ Shallow Sanction and Evestus) – 14/10/16

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Credit: Nick Fancher Photography

If there ever was a band that embodied controlled chaos, then Youth Code is that band. Marking their debut in the capital city with their revisionist approach to industrial and EBM, there is no wasted movement from beginning to end of their set, both Sara and Ryan screaming and launching themselves across the stage in a frenetic display. Despite a breadth of luscious synth arpeggios and skull-rattling drum machines, it’s their sprinkle of hardcore, that makes every word screamed at you personal and elevates Youth Code’s all-out sensory assault to an absorbing war dance you never want to end. Can you say: the next Ministry?

http://www.facebook.com/youthcodeforever
http://www.twitter.com/youth_code
youthcode.bandcamp.com

7. Jean-Michel Jarre @ The O2 Arena, London – 07/10/16

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It kinda goes without saying, that when you go to see a concert from somebody widely regarded as the Godfather of Electronic Music, as a pioneer whose forays into music and technology span 40 years and a former world record holder for the largest outdoor concert ever, you’re in for a spectacle. And having missed the chance six years previously to see him, he did not disappoint. Ever the showman, touring through his greatest hits and his frankly superb Electronica project, his inspiring ability to flawlessly recreate every nuance of his work, live, to a visual extravaganza that evolves much like his compositions can only cement his legacy as one of the most influential figures in modern music.

http://www.facebook.com/jeanmicheljarre
http://www.twitter.com/jeanmicheljarre
http://www.jeanmicheljarre.com

6. Petrol Bastard @ Resistanz Festival (Corporation, Sheffield) – 25/03/16

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I do wonder how many people have said at a Petrol Bastard show, that the duo played their dream set list. I certainly can. Opening up Resistanz Festival in Sheffield’s Corporation was a 45 minute performance piece about masturbation, drinking and violence set to an unrelenting techno, gabba and drum and bass soundtrack… and it was some of the most fun I’d had all year. Forcing crowd participation with a tide of inflatable penises and unforgettable slogans, and with a little help from Johnny Ultraviolence, this crude, colourful riot was impossible to ignore and left many smiling from ear to ear. Plus how many gigs let your girlfriend try to sexually assault one of the band members with an inflatable penis?

http://www.facebook.com/petrolbastard
petrolbastard.bandcamp.com

5. Monster Zoku Onsomb @ Boomtown Fair, Winchester – 12/08/16

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Out of the inconceivable number of bands and pass times at Boomtown Fair, these guys could’ve been easy to miss on one of the smallest stages around. But once in range, you couldn’t escape from them and those onlookers in attendance never wanted this madness to end. A troupe of Australian musicians specialising in belting rave tunes, spanning a whirlwind of tempos, spliced together with B-movie references galore and occasional 60’s surf guitar, happily run amok in their 45 minutes on stage. Choreographed dance routines, inviting an adult baby on stage and what may have been a declaration about being in Eurovision 2017 only added to their unique brand of electronic dance carnage.

http://www.facebook.com/mzofanpage
monsterzokuonsomb.bandcamp.com
http://www.monsterzoku.com

4. Toska @ The Boileroom, Guildford (EP Launch Show w/ Eschar, The Deadlights and Steal Rockets) – 27/02/16

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Possibly the only headline band I have ever seen without knowing a single thing about, was also one of the most astounding. Made up of three quarters of melodic hard rock starlets Dorje, Toska sacrifice none of that intensity and churn out wave after wave of instrumental metal bliss, hurled at such force you’d think there was an earthquake. The energy they emitted could’ve powered large city blocks and their respective talents are hypnotizing to observe; simply everything about their performance was immense in stature, given their debut recorded release. They made crafting invigorating, progressive music seem so effortless and it was an absolute pleasure to watch them at work.

http://www.facebook.com/officialtoska
officialtoska.bandcamp.com

3. Lionize @ Desertfest London (Camden Underworld) – 29/04/16

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In what is somewhat a recurring theme on this list, I went to watch Lionize, only knowing that they were Clutch’s in-house band and left absolutely speechless. Imagine if James Brown had fronted a balls-to-the-wall rock band and invited Bob Marley along as a touring member and that merely scratches the surface of what these gentlemen can do on stage. Ferociously charismatic and passionate beyond all belief, Lionize toured a myriad of genres and had tremendous fun doing it, all with every attendee transfixed at this true powerhouse of a performance. I’m surprised the Underworld didn’t burst having to contend with holding these guys back, one of the most impressive modern rock bands alive today.

http://www.facebook.com/LIONIZEMUSIC
http://www.twitter.com/LionizeMusic
http://www.soundcloud.com/lionizemusic
http://www.lionizemusic.com

2. Kowloon Walled City @ Camden Underworld (co-headliners w/ Minsk, also w/ Bossk and Wren) – 03/09/16

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Credit: Maria Louceiro

Credit where credit is due, Bossk were also spectacular on this night, but for a band that had never stepped foot in the UK before and had come to the end of a near two-month tour of Europe, emotions were always going to be high for these guys. Kowloon Walled City’s use of conveying so much intensity and feeling into their tone, while being pulverising in the same capacity, makes every note gripping to behold and very, very few bands can even touch them in making sludge sound so breathtaking. Spanning seven songs across 45 minutes, this set made a titanic statement as why Kowloon Walled City could be considered one of the best bands on the planet.

http://www.facebook.com/kowloonwalledcity
http://www.twitter.com/kowloonwalled
kowloonwalledcity.bandcamp.com
http://www.inthewalledcity.com

1. Placebo @ Wembley Arena, London (w/ Minor Victories) – 15/12/16

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What more can be said about Placebo? Never has a band resonated with me emotionally and spiritually as Placebo has and likely I wouldn’t be where I am today without them. Hell, I wouldn’t have a degree for starters. But there could be no more fitting show for them to play in their hometown on the 20th year of their inception. The atmosphere was electric and applause rapturous as the band strode through a terrific career-spanning set, that touched many through melancholy but lifted everyone through liveliness. Lyrically they have few peers and musically, their grunge-embezzled attack sounds as fresh as it did in June of 1996. Arguably, one of the UK’s greatest cultural phenomenons.

http://www.facebook.com/officialplacebo
http://www.twitter.com/placeboworld
http://www.placeboworld.co.uk

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