TAKING BACK SUNDAY to play Tell All Your Friends in full this upcoming UK and EU tour!

HOLD UP. This could be the best news we’ve heard – not only has the UK seen some pretty hefty bands this year already but to hear the epitome of TBS’a discography played in full?! It’s a dream come true.

You can catch TBS on their tour for the following dates:


13 – BIRMINGHAM Institute

14 – GLASGOW Barrowlands

15 – BELFAST Limelight

16 – DUBLIN Vicar Street

18 – LONDON Troxy

19 – MANCHESTER Academy

20 – BRISTOL Academy

23 – AMSTERDAM Melkweg

24 – COLOGNE Gloria

25 – BERLIN SO36

26 – HAMBURG Gruenspan


[REVIEW] Pioneers – Insecurities RELEASED TODAY

Released today, Pioneers have concluded their debut EP, Insecurities, with an established and solid sound that forcefully pushes them into the metal core scene as the ones to watch out for. Formed in 2016 in Southampton, Pioneers have garnered attention for their impressive display of energy on stage and weaved thematics reminiscent of Architects. Bordering upon industrial, Insecurities shows the passionate fury that the five-piece have come to master over the three years of conjunction, with instruments chemically fusing and boiling over in timed breakdowns, synchronisation and combative fluidity bound by creative talent. It’s an alchemic masterpiece for their debut release, and the momentum to rise in its stead will take Pioneers to undoubtedly deserved lengths. Album of the year? It’s a contender.

The 9 track album is one that builds an epic suspense, harbouring and releasing its acrimony in indefectible timing. It manufactures anticipation like a machine, using distortion and truculent styles of drumming techniques. Opening with an elongated intro, Insecurities builds upon atmosphere with the use of heavy drumming ricocheting from a weighted bass. Checkpoint brings a gnarly breakdown worthy of a circle pit, but ultimately has a balanced alignment of instruments that pulls throughout. What Pioneers have managed to achieve throughout Insecurities is equitable stabilisation that displays talent of each vital note that comes together to create this overall ominous ambience surrounding their combative technique. The mixture of pugnacious and clean vocals give Insecurities a narrative, generating pertinent bridges that ties it together in solid structure. A favourite taken from Insecurities is Shadow Link, pushing forth the use of guitar to open the track and slow down the tempo for an infectious intro.

The album varies in tone, experiments and pushes boundaries within their chosen direction. Insecurities feels like the love child of Fear Factory’s The Industrialist and Architects Holy Hell, layering nostalgic hints towards nu-metal like sprinkles on a cake. It could easily be considered an essential feature in any metal playlist, bringing a combination of fundamental components that metal fans have become accustomed to over the years. Taking a hybrid-style approach, Insecurities is a must listen, and the creativity that Pioneers have displayed is nothing short of astonishing.


[REVIEW] Trophy Jump – haphazard, MARCH 29TH

Croatian quintet, Trophy Jump, are about to release their upcoming EP, haphazard on March 29th that’s teasing an overall nostalgic vibe, toying with convivial senses. Growing as a band since formation in 2014, haphazard displays a combination of wistful tones characterised by their influences such as Rancid and NOFX in a contemporary mannerisms of the current punk rock scene.

Kicking off the album with Comfort Zone, the perky and light melodic nature is captivating, lyrically infectious and heavy on the bass. The short run-time of the track is teasing, leaving more to be desired, but quickly moving into the next track, Not That Kind Of Guy. The most appealing aspect of Trophy Jump’s haphazard is it’s lively chords, complimented by a sturdy, bouncy bass line that steals the spotlight. It’s a well-rounded installment for Trophy Jump, offering upbeat and nearly nostalgic tones representative of when the scene exploded on social media back in 2009. Chicago Kid, one of two of the longer running tracks of the EP, is by far a favourite. Experimenting with melodies and harmonies, it moves in linear motion with fluidity and providing more insight to the chemistry and talents of each instrument. It really does give the EP more depth, playing with different resonances in well-constructed verses. Taking this progression into the next track, Trophy Jump feels like an entirely different composition by the time you read the end of the EP, establishing themselves in their sound and dominating their talents. Remete Hills ends their installment, verifying their dynamic configuration.

haphazard is currently available to preorder via Horn and Hoof Records, Croatia’s JeboTon and Punk & Disorderly Records. Due for release on March 29th, the EP was recorded, mixed and mastered with Dominik Kisić, and the design art by Korana Jelovac.

pop punk

Criminally Overlooked – The Importance Of Bass

Bassists. The most vital role in any band composition, yet overlooked as much as hidden sugars in your cereal. A band forms with a guitarist and singer, finding a drummer and then filling in the bass as and when it becomes necessary. The industry filled with names of guitarists, vocalists and even drummers, with only a handful of bassists cutting it. Les Claypool from Primus, Flea of the Red Hot Chili Peppers, Tool’s Justin Chancellor and John Young of Dream Theatre. They’ve become known for their style of playing, their funky bass lines and the way they beef out the tracks bringing depth and girth. It’s crazy to think that an instrument that brings a level of intensity to tracks, that moves them with fluidity and is literally what attracts your neurological sensors.

Researchers at McMaster University in Canada have found that one of the reasons that basslines seem to cease into the melodic architecture of the song, placing high frequency notes more poignant is because lower tones are easier for the brain to understand. If the bassline isn’t moving in fluid motions and creating an overall structure of the track, our minds find it difficult to comprehend the motion and rhythm. With our brains instinctively syncing with these lower frequencies, bassists are acclaimed for their talent of keeping the low tone frequency rhythm in tact. If a drummer was to hit too early or late, or a guitarist was to cut a chord short, it’s less likely that we will recognise, but due to the low end registry, we’re able to detect cadence of the bass with more attention that can throw us completely off track. It was noted due lead author Laurel Trainor hooking up participants to an EEG to monitor their brain activity while they heard stimulating streams of two piano notes – one high-pitched and another low. Researchers would sometimes play one of the note fractions too early, effectively proving that participants were more likely to recognise the errors that occurred in the bass notes. It was also noted that when the participants were asked to tap their fingers to the unpredictable note rhythms, the subjects were much better at adjusting their tapping when the lower tones began to arrive early than they were with the higher frequency.

In 1980’s History of the Science of Music, Robert Challoner wrote “the bass part… is in fact, the foundation upon which the melody rests and without which there could be no melody.” Establishing and defining the chords that sets the songs melodies – while it doesn’t always define the chord’s root – it frequently commands the role. “You know, the piano player can play a C chord, but it’s only a C chord if I play C on the bass,” Sting, vocalist and bassist of English rock band The Police, says. “If I play something else, it’s a totally different chord. For instance, an A. So, you control the harmony. If you are also a singer, you control the top. So, everybody performs within your parameters.”

As if that wasn’t enough to provide you with enough evidence that bass is a vital role in successful music writing, Northwestern University researches found that bass-heavy music is far more likely to provoke feelings of power and drive in listeners. The study that discovered this were made to listen to pieces of music with altered bass line. Dennis Hsu, one of the studies authors said “we chose to manipulate bass levels in music because existing literature suggests that bass sound and voice are associated with dominance.” Reporting feelings of influence, subjects also chose more power-related words on a world completion test aiming to assess implicit, or unconscious, feelings of power.

Criminally overlooked, bassists often fits into the background of our day to day music, but is essential to shape and structure our favourite tracks. It doesn’t avert song writing either, with Paul McCartney and Roger Waters of Pink Floyd primarily being bassists and making it into the hall of fame with their writing talents.


[REVIEW] Colt 48 – Negatives EP

London hard Rock duo, Colt 48 are gearing up for the release of their EP, Negatives this month. Due out on March 29th, the duo released Disconnected last month that has gained a lot of high praise for it’s well structured brilliance, encapsulating hard rock vibes sprinkled with a nostalgic early noughties nu-metal undertones. In anticipation of the release, their EP launch party takes place this week on the 15th to a sold-out crowd at London’s The Hope and Anchor.

With Disconnected already in the spotlight, the 5 track EP was created alongside Colin Richardson, and produced by Chris Clancy, both armored with impressive portfolios including names such as Slipknot, Machine Head, Mutiny Within and Wearing Scars. Discussing the EP, vocalist and guitarist Adam Jerome says “Negatives i s the work we’re most proud of to date.”

Lyrically incorporating personal dealings, Negatives explore their metal influences alongside their previous heavy riffs and stentorian beats. Opening with previously released Disconnected, Negatives has a lot on offer as it moves into its second track, Scapegoat. Instrumentally fused together by distortion, the sound of ricocheting drums takes the center stage as it motions the tracks in fluid movements, changing the overall temperament with ease. Out Of Habit displays it’s huge bass and lyrical mastery on a pedestal, carrying it into The Fire and expanding upon its influence by creating a monumental breakdown. The five track EP holds onto its metal influences throughout, conjuring a plethora of expansions blossoming in originality.

Negatives is due for release on March 29th, currently followed by two shows in Leeds supporting Stand Alone and Black Orchid Empire, and in London supporting Glamour Of The Kill as well as Camden Rocks Festival this June. 

You can keep updated with Colt 48 via their Facebook, Twitter and Instagram.


[REVIEW] Belgium based progressive-rock band RAKETKANON – RKTKN#3

The experimental and progressive rock group, Raketkanon are releasing their upcoming album, RKTKN#3 this April via Alcopop! Records. Hailing from Ghent, Belgium, Raketkanon are pushing boundaries within the scene, creating soundscapes and ambience alongside experimental approaches to a distorted-style guitar method. In a complete twist, Raketkanon include an invented language, adding mystery and intrigue to their music. RKTKN#3 brings a dark progression in their rock career, and with influences such as Tomahawk, Melvin and Thorns, Raketkanon makes experimental melodic, catchy and rife with synth.

The nine-track long album features some of their most empirical material yet. Momentarily caught up in a classic style of rock, into a dropped bass line distorted combatively, ‘Ricky’ opens the album with offense. Played like rolling waves, fluctuating fluently between chords, the developmental track captures their melodic and cadenced tempo in an alluring mixture of rock and roll and industrial.

‘Fons’ brings a metal-meets-industrial, accompanied by oscillated vocals, moving in tempo. Speaking about the album, vocalist Peter-Paul Devos says: “We don’t want to be just a metal band, or a hard-Rock band, we just want to make music that we think is beautiful and sincere. I think we managed to realise that on this project.” The interpretation approach of music has well and truly worked for Raketkanon on this album as they explore their instruments to their full potential, combining them in unorthodox ways to create a track that works so well bound together. ‘Melody’ is a perfect example of their enriching inspiration, perched upon a andante flow. Explaining the methodology behind their fictional dialect, Devos says: “but even with songs that have real lyrics, if you explain them it removes their power. If you limit that power I think it’s a shame for the listener, and you’re taking something away from them. Our music is more about the instinctive emotion that you feel when you listen to it.”

Encapsulating the beauty behind the interpretation, the next track ‘Hannibal’ translates machinery in a dystopian visage of anarchy. Plucking from adagietto-esque bridges, it flexes it’s punk muscles featuring cacophonous vocals. The album is barely linear, shifting in unconnected rhythm and sound. The unpredictability of the album offers a multitude of experiences with each track. Passing the midway point of RKTKN#3 it shifts into rhythmic rendition, with clean guitar picking and moving into darker avenues using slight changes of notes. As well as ‘Robin,’ sixth track ‘Lou’ starts slower in speed. The synthesizer truly takes the spotlight, adding ambience to reverberating basslines, moving the track into a combative state of distortion and unrelenting screams.

‘Harry’ brings along a fast-paced futuristic punk impression, using digitalized vocals to really push the boat out there. “Over the years, Lobe [Vlaeminck, synths] has explored the world of his instrument a lot more. The thing with the synthesizer as an instrument is that it has so many possibilities – if you play it right you can make a lot of amazing and magical things happen sonically.”

‘Ernest’ holds a much more classic feel, that of a Rob Zombie soundtrack of industrial rhythm. Wrapping up the album, Raketkanon fuels their melodic talents layering harmonic vocals atop the raucous drumming of Wilde, that really brings this album together. While the bass and synthesizer add to their progressive sound massively, the spotlight of the album well and truly gleams over the talent of drumming that’s visible in RKTKN#3. Closing with ‘Mido,’ Raketkanon ends this chapter in a perfectly sheathed soundscape.

RKTKN#3 is due for release on April 5th and will be available across streaming services. The band will also be hitting the UK to tour in May, bringing their enticing experience along with them.


RCKLSS reveal video for EVERY TIME following SO CYNICAL EP release

Hailing from Brighton and formed of four members, RCKLSS is the new pop rock band to hit the scene, combining their efforts into being the new go-to band for light-hearted, heavy pop. Previously going by the name Reckless Intentions, the band toured relentlessly with their first EP ‘Lights’ under their belt. The touring efforts and expanding talent lead the guys to changed the band name to RCKLSS and have since left their past creations behind to focus on their growth with newly-inspired RCKLESS. Being described as enticing, playful and progressive, RCKLSS are ones to keep an eye on, especially with the newly released EP So Cynical.

Since the release of RCKLSS’s debut EP, the band have released a video for their single, ‘Every Time.’ The track combines the heavy influence of rock with melodic pop undertones, moving in fluent rhythm along with harmonised vocals. The young talent brings a catchy and tongue-and-cheek lyrics that truly stay ingrained in your mind well after listening. Following a happy-go-lucky video, the track promotes movement in it’s hearty bass and fluctuating power chords, much like their influences of All Time Low and Pierce The Veil. Front man Graeme Costello explains “‘Every Time’ is a song about contrasting the degradation of a relationship against the carefree times, and wanting to move onto something new and less toxic.”

RCKLSS released their debut EP So Cynical last week but are not short of unreleased material. With the video for ‘Every Time’ being the latest addition to their portfolio as a band, RCKLSS are full of plans to expand and grow within the scene over the next few months.