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?
Among all of the things that 2016 brought to us, no matter how good, bad or ugly, collectively, it was a very strong year for new music, hence why I have had an incredibly difficult task assembling a list of just ten albums that have lived on repeat and high volume. My only regret is that there are still albums missed I have yet to listen to, by artists I am yet to discover that could’ve been exemplary. If I were to just leave this to albums I’ve heard this year, Lantlos’ Melting Sun or Black Breath’s Slaves Beyond Death probably would have romped away with this one, despite being out in 2014 and 2015 respectively. There are so many honourable mentions too that a cephalopod with hands need be employed to even fathom counting. But, lo and behold, here are the ten albums from one of humanity’s most troubling years, that I personally consider to be certifiable must-listen experiences:
10. The Maras – Wax Beach
Having never met The Maras personally, it would be safe to say that the brothers from Ontario are a little hyperactive. Not purely because they’ve released a demo, an album and a brand new EP in the space of a year, but the speed, urgency and average length of their songs might have something to do with it. Though Wax Beach could be seen as an expansion of their already superb demo, the re-recordings sound a lot denser and deranged, letting their garage punk snarls and smorgasbord of influences flourish, on what is on one hand a damning indictment on mental health services, but on the other a dizzying rush of genre-bending bliss.
9. Cruz – Culto Abismal
From beginning to end, 2016 has seen some magnificent death metal releases, but few have been quite as memorable as Barcelona quartet Cruz’s Culto Abismal. Injecting crust punk deep into the veins of death metal’s old blood, this untameable hellbeast of an album charges fast and ceases to relent once in motion. Deep growls in their native tongue punctuate the onslaught as a cavalcade of riffs over 40 minutes keeps the monster moving, the perfect balance of speed, technical ability and sickeningly heavy tone serving as Culto Abismal’s addictive centrepiece. Spain may not have the most renowned history in death metal, but on the basis of a debut this strong, Cruz sees reason for that to change very suddenly.
8. Maeth – Shrouded Mountain
With every stride that Maeth take musically, it surpasses and obliterates the last, ensuring their status as one of metal’s must-hear bands. Shrouded Mountain is their third gargantuan footprint and maintains their unique, boundary-warping compositions which straddles the planes of psychedelia and sludge like no other band before them. They also play a mean flute too, to boot. So however Maeth choose to construct their stunning, mostly instrumental journeys, whether taking you soaring through the vast reaches of space or crunching hard down into the Earth’s crust, you can bet that it will be with an energy, passion and talent that you can scarcely conceive, and Shrouded Mountain does not disappoint. Not by a long shot.
7. Bossk – Audio Noir
Always a looming presence on the UK’s stoner/doom scene, even during their split, Bossk’s first release outside of their seminal EP trilogy has catapulted their gorgeous ambient passages and pummeling riffs to unprecedented new heights. Though can be listened as an entire conceptual soundscape, the fragmentation certainly aids the quartet’s longest opus to date and makes every change of pace and tone a stellar moment. Even vocals, while used sparingly, are utilised at their most impactful, shifting what already sounds like ripping your throat out intensity, into ushering in a new Armageddon. Bossk undoubtedly stamped their authority through live performances over the decade their name has existed, but Audio Noir distills that very essence into an immensely satisfying anthology, proving that they are here to stay.
6. Vodun – Possession
Lifting its name from the homophone of voodoo, as well as incorporating aspects of its lifestyle and culture into this very music representing it, this trio from London perform an ungodly racket that’s equal parts punchy to pulse-raising. In arguably one of the most original takes on big, fuzz-saturated grooves in years, the literally spirit-fuelled Vodun drags stoner rock by its ankles and imbues it with a staggering amount of soul. Think Aretha Franklin fronting Kyuss and you’re damn near close. The presentation of the album in a semi-documentary form, with a ritualistic thread running throughout, is a neat touch and grants deeper immersion into Vodun’s already enchanting sledgehammer of force and one of the best hard rock debuts of the decade.
5. Losers – How To Ruin Other People’s Futures
With an album title that scathing, you wouldn’t be wrong thinking there is intense subject matter here. Suitably riled up trio Losers, well versed in their weaving of expansive, luscious atmospheres, frightening buzzsaw synths, distorted guitar attacks and truly thunderous percussion, unleash one of the most adrenaline-surging bouts of electro-rock charged catharsis you could ever hope to listen to. While How To Ruin Other People’s Futures features several bursts of pounding rhythms and explosive instrumentation, it allows enough breathing space for a whirlwind of ambience to take shape, for every conflagration and slow-burner, all with Paul Mullen’s dynamic vocal delivery giving a touch of humanity where chaos could spiral out of control at any given moment. A simply tremendous listen.
4. Youth Code – Commitment To Complications
Certainly one of the most talked about bands of the year and for excellent reason, the Los Angeles duo’s sophomore offering builds upon the vintage analogue synths and drum machines of industrial’s heyday and cleverly sprinkles the zest of their own hardcore upbringings into the formula. The results are nothing short of spectacular. The growth from their debut is undeniably evident, not just as tempos vary and tones are more exploratory, but their whole sound is gigantic on this album making every notion of rage and every raw nerve amplified tenfold. When beats vibrate your skull and melodies claw into your brain like Youth Code’s do, it instigates that addictive property that all EBM enthusiasts have been raving about all year.
3. Noisia – Outer Edges
After mentions for half a decade, then seemingly nonchalantly announced three months before its release, Dutch drum and bass production maestros Noisia have compiled their second studio album, far more abstract and experimental in approach than the trio’s previous Split The Atom. While you will find the same mind-altering, visceral bass lines associated with the Noisia name, it’s the deeper, darker and noticeably slower beats that become the show stealer here. Often quirky in nature and exquisitely composed to emphasise the very best of every minuscule detail, the heavy gestation period for every track, especially the beats-driven numbers, brings a world class finish to what could filter through as an oddity, but arrives as a masterpiece in sound design and further reason to immortalise Noisia as the one of the best the genre has ever seen.
2. The Qemists – Warrior Sound
In the six years since the Brighton drum and bass rock outfit’s last album, they’ve been honing their skills to create dancefloor anarchy on the live circuit, a tenure that has seen their reputation skyrocket as one of the UK’s best independent live acts. Now that energy has finally metamorphosed into The Qemists’ strongest, most consistent blockbuster yet. Fixing both live vocalists as permanent band members, has only benefited the original lightning strike of a production unit, and makes every word have purpose against the backdrop of all-out mayhem. Unforgettable, unbelievable and unflinching in the pursuit of perfect crossover bombshells, Warrior Sound is a sonic shockwave explicitly targeted to induce pleasure at an intoxicating level.
1. All Hail The Yeti – Screams From A Black Wilderness
Three years on from their scorching debut, the Los Angeles metalcore mob return with a follow-up that is perpetually more terrifying in every imaginable way. Spinning narratives so gripping and ghastly, the lines of fact and fiction dissipate into black mist as imposing, monstrous roars with some mightily impressive clean vocal support coalesce their strength as bloodthirsty wordsmiths. Though horror and the occult is the given flavour, Screams… exhibits a previously unseen versatility in All Hail The Yeti, in that their sound features much broader influences from rock and metal, that fires on all cylinders and mellows in acoustic gloom. A hard-hitting, yet gruesome landmark of metalcore, All Hail The Yeti have once again established that they are one of the most essential bands in modern metal.
If you liked the look of this list and want to hear more, then here is a handy Spotify playlist for you (except Maeth, whom you can find on their Bandcamp page):
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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
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.
9. Allusondrugs @ The Black Heart, Camden (w/ Fizzy Blood, This Years Ghost and Snakes) – 03/08/16
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.
8. Youth Code @ Electrowerkz, Islington (w/ Shallow Sanction and Evestus) – 14/10/16
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?
7. Jean-Michel Jarre @ The O2 Arena, London – 07/10/16
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.
6. Petrol Bastard @ Resistanz Festival (Corporation, Sheffield) – 25/03/16
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?
5. Monster Zoku Onsomb @ Boomtown Fair, Winchester – 12/08/16
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.
4. Toska @ The Boileroom, Guildford (EP Launch Show w/ Eschar, The Deadlights and Steal Rockets) – 27/02/16
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.
3. Lionize @ Desertfest London (Camden Underworld) – 29/04/16
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.
2. Kowloon Walled City @ Camden Underworld (co-headliners w/ Minsk, also w/ Bossk and Wren) – 03/09/16
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.
1. Placebo @ Wembley Arena, London (w/ Minor Victories) – 15/12/16
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.
I hope you enjoyed my selection, and if you agree with these choices, or enjoy the writing that’s on this site, then you can show your appreciation through a like, a follow or subscribe to the site using the link below:
While this is the very first of the end of year posts for this site and officially the first time anything like this has been on the site before, it gives me great pleasure and happiness to write a piece, giving a greater emphasis on an artist that has been a constant for this year. Limitations are boring and if locking a piece like this solely to any artist’s accomplishments in one year, it doesn’t grant the necessary freedom to write something engaging enough. So take this as a love letter to the one artist or group of artists whose music has been cherished through thick and thin this year, and would like to dedicate this year’s piece to self-proclaimed ‘suicidal synth-pop’ artist Forrest Avery LeMaire a.k.a. Mr.Kitty.
If you want to talk about 2016 for Mr.Kitty, then it hasn’t been as active as past years. Despite playing numerous shows over in the States, we were expecting what was to be Mr.Kitty’s sixth album in as many years to be released in October, making him certifiably in the conversation as one of synth-pop’s hardest working artists around. Sadly but understandably, the album was put on hold until next year as health concerns became a priority into the latter half of the year. But that does not speak for the quality of the music that Mr.Kitty has produced over his six-year plus lifespan as a recording artist. Far from it.
Channeling the mechanical heart of classic 80’s electronica and the drum machines of the great original goth movement, into chilling dreamscapes and darkened dancefloors, narrated by the oft distorted and reverb-drenched lullabies and shrieks of Forrest; the output of Mr.Kitty is an emotional outpouring of a vulnerable soul against an array of unforgettable analogue synth dialects. His first four albums form part of a quadrilogy of works known as the Dark Youth collection, spanning both light and darkness which broadcasts and touches upon many subject matters in that time frame, moving and macabre. It also serves as the perfect window or measuring post to show how much Mr.Kitty has grown and matured as an artist. But every release is its own separate universe, with its own atmosphere and a complete anthology of melodic masterpieces.
Arguably the greatest of his works is Dark Youth’s final installment Time, which although is one of the darker albums of that collection, is uncompromising in its vision, truly emanating the rawest feelings of every song, no matter how black its subject matter. How so many of these songs contain the musings of a mind much darker than you can imagine, but are entangled in some of the most memorable synth-pop written this decade is a true wonder and testament to Mr.Kitty’s abilities as a songwriter, let alone a fascinating juxtaposition. Although we have had snippets of a new album this year, how Forrest has tirelessly spun such outstanding retro-contemporary electronic webs together year after year is commendable. Each one is more enchanting and enrapturing than the next, and there is absolutely no hesitation in saying that everything that Mr.Kitty has created is consistently among the best music heard all year.
So if Mr.Kitty does get to read this, thank you so much for your music, with love and kind regards,
Five Essential Mr.Kitty tracks:
The vast majority of everything Mr.Kitty has ever produced can be found on his Bandcamp page, and if it can’t be found there, then it can be found on his Soundcloud page instead. Though unconfirmed, a 2017 release window is pencilled in for A.I., to be Mr.Kitty’s next album of which this site will take great interest in. You can shop here if you are in need of any t-shirts or the likes in the near future.
And finally, you can find all news and the means to give him a virtual hug right here:
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2016, probably not just in my own personal opinion, has been a fantastic year for music releases so far depending on how far you’re willing to commit yourself to the kaleidoscopic universe out there. To name but a few of my favourites would include The Qemists, Youth Code, Autopsy Boys, All Hail The Yeti, Mask of Bees, Lowflyinghawks, Amplifighters and Weekend Nachos, and at this point, some music media outlets would like to take the chance to reflect on what has already come before and sum things up in a handy little list for you. The Soundshark isn’t some music media outlets. What The Soundshark has done has compiled a list of 30 forthcoming releases in 2016, of varying genres, and from mass appeal down to the underground to better illustrate why 2016 will remembered as a truly incredible year of music. There could be your new favourite band waiting here or an album announcement by that band you like you may have missed, who knows?
Let’s begin shall we?
Ironically, it almost seems like 10,000 days since we saw the last Tool album. Well, 10,000 days is the equivalent to 27 and a bit years, so not quite that far yet, but it has at least been a decade since the previous album from the LA masters of progressive metal. And understandably, there’s a lot of hype growing towards it, as on and off progress continues to be made, and has been for at least three years, not owing part to the now resolved lawsuit that had hung heavy over their heads for a lengthy period of time. There’s also an awful lot of impatience. So far, the only trace of new material we’ve had is a two-minute long instrumental jam, tentatively titled Descending, which by the band’s own admission is only a fragment of a song in progress. Yet the memes, anger and remarks persist. So I thought I’d offer an alternative to those dismayed by the lack of answers or have grown tired of waiting, by rounding up eight excellent, lesser known bands to listen to in the mean time whilst the new Tool album materialises:
It seems a complete mystery to me over how the phrase high-functioning is always perceived, or used in negative connotations. You would think that you were able to describe so many more items or activities in society as high-functioning in the way they are able to perform or fulfil that purpose to an exceptional degree. That tends not to be the case. While you could say that autism and Asperger’s could be fulfilling their role as a disability with flying colours, in making people’s considerably harder for them in a social and personal capacity, understandably we take that as an unfortunate and often horrific set of circumstances. Sadly, it is still often stigmatised, purely by those who don’t understand or are afraid of things not of the norm. But they are all human beings at the end of the day. They all have the same right to life as you, me or anyone else. They simply have to live life in a different or more difficult manner. Genetics is a strange thing. Which maybe makes the task of decoding what High-Functioning Flesh means all the more trickier. Is it labelling people who are capable of extraordinary prowess? Or is it that our own skin or being within ourselves, is a social disability or disease we all struggle with without realising? This is all speculative of course, but judging by their title of Human Remains, forthcoming from their second album, there’s an inkling or two you can take from it. Amongst the wave of troupes reinstating the old blood of industrial’s heyday, this duo from Los Angeles melds a warm, squelchy sequence of keys against the cold mechanical precision of programmed beats, whilst they dictate through the discourse of harmonised aggression. Defiantly old-school in practice, they take the scathing disenchantment of punk’s youth, piece it together with sheet metal from industrial’s proposed collapse of society, and drop a tab of techno to bring it to life, but not overclocking the construct. Human Remains sounds slightly more refined from a production standpoint compared to their previous works, smoother-sounding audio flowing from the keys at the inset, as a bouncy bass hookline interspersed with brighter stabs of synth create an optimistic tone in the track. The continual looping and manipulation of a voice recording and eventual introduction of tightly compressed percussion through out the first minute carry on this ideal, right up until the vocals break through. Then all projected optimism is stripped clean away, given the ghoulish subject matter of the lyrics. It feels like a battle between the expanding vibrant glow, characteristic to the building layers of analogue synths, and the harsh monotone truth of the spoken word, acting as the shroud of darkness, effectively warped by the phasing and pitch-shifting placed upon it. How this transforms the mood from a beautifully blended, 80’s nuanced discotheque floorfiller into a greyed cold wave manifestation of dread and sociopathy, is astonishing and more than a little uncomfortable. But my presumption is that what makes High-Functioning Flesh all the more of a spectacle. Their music is more than just a renaissance period for electronic musicians. It’s a wake-up call. Rather than seamlessly weaving the timeless ambience of three decades past with a fierce beat, they’re taking paranoia, fear and loathing and turning them into a occasionally understated, brutal sensory attack to shatter the illusion of day-by-day modern life. From what I’ve seen and heard, these guys are one of the most cleverly calculated punk bands in the business right now.
Human Remains will be released as a single on 26th February (also my birthday) and is taken from their yet to be titled second album forthcoming on Dais Records. Whilst you keep a look out for that, you’ll be pleased to know they are prolific, with their previous EP and demo available from their own Bandcamp page and first album Definite Structures is available from Dais Records own store. Most respectable music retailers still apply.
Go tell them how their music makes you feel:
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I don’t know how often boxing or boxing terminology crosses over into music, or at least has a hand in naming bands, but it seems kinda few and far between. To my knowledge anyway. Perhaps most famously an example being the outstanding Glassjaw, whose output helped define the landscape for post-hardcore and its endless ilk today. I’m sure there’s half a dozen bands or so that are called Southpaw too, one of which I know are pretty good. Any more for any more? I got the Prize Fighter Inferno, The Boxer Rebellion and Title Fight (well, can be applied to boxing), but I think that’s all I came up with after some serious thought. I’ve never heard of an iron jawed guru though, unless that refers specifically to one of the greatest of all time, like a Floyd Mayweather or a Muhammed Ali or something. Part of me wishes it was something to do with having a mechanically reconstructed deity, but that’s my imagination going walkabouts. Onto the topic at hand though, Iron Jawed Guru is actually the namesake of a West Virginia based instrumental hard rock duo, whose primary objective is to conceive the most electrifying musical stampedes imaginable, solely based on just a guitar and drums. Last year saw the birth of the Caldera EP, a six-song sledgehammer that introduced those who tuned in to a cavalcade of white-hot riffs and a gallant drum performance, with enough speed and force to blast your stomach out through your spinal column. Their first full-length album Mata Hari continues that trend, remaining as unrelenting, never taking its foot off the accelerator for a second. While only seven songs in length, the rapid fire bursts of stellar hard rock action are an absolutely storming affair, with undeniably the most fun reaching the album’s climax Vesuvius. It seems they left the longest track until last to illustrate the best of their impressive toolset. Vesuvius opens like walking calmly into a saloon, seeing through the viewpoint of vigilante justice, sizing up every antagonist in the vicinity while keeping hands close to guns. The guitar and drums are an excitingly tense interplay, keeping a fine balance of riffs and groove in an almost Western blues-inspired tone, if such a thing exists. Confidence and charisma simply oozes out of their musicianship, two men possessed and intent on making all hell break loose and having the balls to butt heads with the Devil as he emerges. But much like the volcano itself, the pressure builds up too much and it begins to trickle over with the pace increase, before spurting white hot magma in every conceivable direction. If this was that Western saloon shoot out, justice by the bullet load would be unfolding as the lone gunslinger lets the occupants taste three inches of lead, from each furious guitar lick and snare bash. And there’s a lot of them in the space of the final minute. All in all, it’s a terrific thrill ride that showcases the talents of two incredible musicians, who are aiming for that lucrative title fight and have all the credentials and necessary ability to be a dominant force, and hoist that belt high above their heads.
Mata Hari is out now on Grimoire Records, which can be obtained on a digital and physical capacity from their Bandcamp page, and I highly recommend doing so. Otherwise, Caldera can be bought from their own Bandcamp page and also well worth your investment. You can find their music in most respectable music retailers too if you wish to do so that way.
Go buy them the equivalent of a social media drink:
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Something somebody said recently struck me as it made an awful lot of sense. Exactly when do you stop saying, ‘Happy New Year,’ to one another? Or at least when does it become acceptable at the least. I honestly don’t know, but for now, I’m still considering it an appropriate time to talk about my favourite songs of last year. Seeming I’ve made a habit of it, and I finally have time to sit down and write about them.
2015 was a challenging year as it more or less marked my transition from degree student to having to fend for myself. Sometimes it sucked, sometimes it didn’t. But something that I didn’t previously have was a companion, somebody that I hold very dear to me and somebody I look forward to what the future holds for the both of us. As such, she has had an impact on deciding this list, just as much as the rollercoaster of emotions I’ve gone through in the past year has. Like I’ve said before, I do these lists for biographical reasons, to show where I’ve been and what’s happened in years gone by. Music and memory are powerful things.
So my rules for the list are as follows: I don’t always pick songs from this year to put on the list, it involves literally anything I’ve listened to in the past year that I’ve enjoyed frequently enough (that said, there are a lot of 2015 entries on this list which makes a change), but I try to avoid putting more than one song by the same artist in. Some of my past lists had more than one or two. You can find them on Spotify if you want to.
I would like to make an honourable mentions list, but there were far too many to include on this year’s list, so I’ll skip that formality this time. Just so many good moments or songs to include the entire list. And if you would like to listen to this list uninterrupted, commentary-free, then head on over to the Spotify playlist instead.
Righty then, on with the show…
Well, 2015 has reached its close, December slowly fading off into the distance as we leave behind a year of fantastic music and a year of fantastic bands, in the public knowledge and waiting to be discovered. What awaits us into the next calendar leap year? Hopefully more of the same and whatever craze next to infect the minds of the impressionable as it cracks the charts. I’m pretty sure 2015 was the year of big room house, or bass house, or whatever. I didn’t care enough to pay attention. But what I did care about, and what I very much care about, is hearing the rumblings or public declarations in some aspects of 20 under-the-radar, underrated, unsigned and underground bands making music in the new year that I’m excited about, and hopefully I can make you excited about too. After all, this is what I want to do for life. If I can’t make you excited about emerging or unearthed music, then I may as well quit here and now.
I’ll give it my best shot. So, in no particular order, 20 bands with new material in 2016, you might want to pay attention to: