This week in new music: post-hardcore heads SOLACE landed back on our radar with their new single ‘Nothing Was Never Anywhere’. This colourful followup to their debut EP, with its awesome accompanying music video, is available to hear on Youtube.
The track begins with soft dynamics and an eerie vibe that calls back to the ambient music that inspired it. The opening is complimented by a feedback-heavy and riff-filled drop: but we’ll get to that later. From the curiously unique sonic qualities to the gut-wrenchingly raw guitar tone, this track oozes style and sophistication. Whether you enjoy shoe gaze or are partial to a bit of sludge-metal- there is something in this record for you. I first listened through the track on my old amp whilst the sun was going down and instantly knew that this song was the perfect soundtrack for peaceful moments like that. The vocals are tastefully submissive, leaving room for the cool dissonance and feedback of the guitar. Paired with the Smashing Pumpkins-esque drum groove, the result is something rather special.
SOLACE music video shoot for Nothing Was Never Anywhere
I was thrilled at the chance to chat with SOLACE front person and songwriter Matt Lister about their approach to this track and the overall creative process surrounding its creation. The track came together as an amalgamation of musical concepts that they experimented with over the lockdown period
The demo was more electronic and nothing like our previous EP, but slowly as we started to play through the progression it started to transform into something more like you hear today’
Matt Lister
Matt adds that they were influenced by a mixture of ambient music and post-hardcore that they had been listening to. These inspirations are hugely apparent in the record: it is a difficult genre to pinpoint, I felt the track was more of a journey through multiple concepts and would not attempt to constrain it with labels.
The main lyrical hook came to Matt in the middle of the night after waking up from a nightmare. The honest sound of the track perfectly conveys the importance of music as an escape to the band.
I have always seen creating music as an escape from my day to day life where I struggle with serious mental health issues. I feel like each song I write is a reflection of whats happening in my mind during that time
Matt Lister
All that remains for this track now is for it to be enjoyed by us all at a live gig- so here’s to hoping we can all get back to our favourite venues soon to hear SOLACE do their thing! Until then, keep up with them on social media
Pictured throughout the article are some of Bristol’s female performers in the alternative scene.
Emily Lumsden, photograph by Elizabeth Mullenger
When I first embarked on this university research project I had no idea what it would lead to, how I would get there or what I would discover. 11 interviews, some long days of data analysis, a few tears and a global pandemic later… well, I’ve got a few ideas.
I wanted to find out what the main problems that female performers in the live rock scene experience were, with the ultimate goal being an action plan on how to improve the live environment for everyone. No girl should be starting her career fearing for her safety or experiencing gender-biased judgement. I spoke with 11 professional and respected women, with genres spanning acoustic punk to sludge metal, their specialities ranging from drummers to vocalists. Each musician I spoke with had their own story, musical character and consequently, their own set of experiences regarding life as a female performer. We talked about mental health, the safety of women, whether the alternative scene was hyper-masculine and most importantly: what they think can be done to facilitate a positive change. Although my research project was an academic study focussed on identifying the existing problems, and they will be touched upon here, I want this article to be a toolkit for young women entering the industry and act as starting point for positive change. Every musician I spoke with had some powerful ideas, generated from their own experiences, for what could bring about a positive change. Let’s get into it then!
Understanding why change on our alternative live scene is necessary first comes with the uncomfortable discussion of the problems that are currently there. The following section of the article will briefly touch on some issues raised, followed by an action plan to resolve them.
As I read the transcript of the final interview back and brought the research to a close, there was one similarity between the participants experiences so striking that I could not ignore it: the prevalence of sexual harassment and objectification. It seemed as though it was almost unavoidable.
If I show a bit of skin on-stage then men come and talk to me at the end of the show
Oana D’Arc, drummer in Martyrials
In fact, 90% of the girls I spoke with reported some instance of objectification or sexual harassment from men. If that figure makes you feel uneasy, it should.
I’ve been disrespected as an artist and sexually assaulted by both artists and crowd members
Ace Ambrose, vocalist and guitarist
I remember men trying to kiss me whilst I was onstage or put their arms around my waist after the show. One man even followed me into the toilet once
Whitney Cooper, vocalist in Arimea
Women are frequently subject to mistreatment from male peers and the time to speak up has come. Everyone has a role to play in change. Cat-calling, physical behaviour and objectifying comments are all issues that women face on a daily basis. How much longer will our musical community stand for this?
Men have shouted ‘slags’ at the stage
Alannah Jackson, vocalist and guitarist in Miss Kill
For anyone interested in finding out more, Brodie Morgans, vocalists of Cuffs has written an informative paper discussing whether the live industry is doing enough to combat sexual assault, drawing many similar conclusions to this research.
Elin Allan of Kite Thief, photograph by Ali Fewell
Even getting on-stage itself can be a trickier gig for a women. Under-representation still seems to be dishearteningly common.
There aren’t as many opportunities for women as there are for men, it is still almost fetishised in the industry
Sophie Smith, vocalist in Hamartia
I wanted to dig a little deeper into this issue, to see just how bad the issue of representation was. Sometimes numbers can be shocking revelation of the extent of a problem. Although I hoped my suspicious would be proved wrong, sadly they were not. The chart below shows the percentage of female performers that a popular Bristol music venue hosted between April 2019 and April 2020. I think we can all agree- 71% all-male bands is a grossly disproportionate representation of women. The women are there- they just need a platform!
Although the discussions I had were detailed and generated a wealth of information, I will only touch on a few more points as I am keen to focus on the end goal: positive change. Many participants spoke of their frustrations on assumptions about their music being made on the basis of their gender. The damage these problems can cause to an individuals mental wellbeing were also discussed.
We all get compared to Paramore, regardless if we sound anything like them or not. Being objectified doing the thing I love makes me feel very self-conscious, which can easily lead to doubting myself and my abilities.
Emily Lumsden, vocalist and guitarist
The years of relentless oppression, assault, disrespect etc has shaped my whole personality and mental state. I’m riddled with anxiety every time I go to a gig whether I’m in the crowd or performing because of past trauma. I constantly doubt and question myself , my place and worth as an artist
Ace Ambrose, vocalist and guitarist
Then, another point was raised that sparked my interest:
I’ve had opportunities to play gigs with a majority female line-up, which was great, but at the same time it is often viewed as a gimmick
Kathrine McLaughlin, drummer in Moon Reaper
The more women I discussed this point with, the more seemed to agree. Gimmick, label, ‘female-fronted’, ‘girl-band’. These terms fascinated me, so I opened up the discussion to the online music community to gather some more opinions, from both men and women, performers and audience members.
Honestly, I really don’t like female only gigs – the whole point is integration, not pushing that women can do their thing in this space and men can do it everywhere else. Gigs marketed as all female are definitely more of a hindrance than help at this point, it just seems a bit patronising.
Amber Defries, music promoter
Trying to make a more inclusive space by being exclusive or discriminatory is never going to work and never has worked. It creates separation and makes enemies of people who would otherwise have supported the movement because they feel like they’re being treated unfairly.
Jack Smith
Old fashion concept. Definitely a gimmick. It is not a genre!
Elin Allan, vocalist in Kite Thief
However, some people disagreed and thought these types of shows were a safe-space and useful platform for women to embrace their art.
I’m a big fan of celebrating women in music via shows like this!! So many women don’t feel comfortable or safe (and often, they’re not safe) playing in normal public spaces/events designed for ‘everyone’ as they’re usually designed with men in mind. Some of these shows are definitely gimmicky and genuinely damaging -they can hinder the progress of feminism HUGELY – but for the most part they’re a great thing as they allow the nurturing of skill in a safe space.
Georgia Richards
Whatever your opinion, this topic could be the basis for some productive changes in the scene- maybe we can eventually reach a point where gigs are safe and inclusive enough that these ‘girl-only’ shows are not even needed!
Action plan: how can we help?
So- with all of this in mind, what can we be doing to help make a better atmosphere for professional women at work and gig-goers in the crowd? Bristol’s finest rockers have a few ideas:
Touching on the last issue, a good place to start is by eliminating some of the more cliche labels associated with female musicians.
I think eliminating any titles that make women in music seem like a niche, such as ‘Female-Fronted band’ or ‘All-Female band’ is a good way to facilitate positive change
Whitney Cooper, vocalist in Arimea
Other comments included encouraging and supporting women getting into music. Younger women are often told that music is a boys club, it’s important to dismantle this idea and celebrate women’s achievements in alternative music- after all, rock and roll was originally pioneered by a women!
We need more encouragement for females to start playing instruments/creating music. Stop viewing instruments as masculine or feminine. It’s literally sound and anyone can make it!
Kathrine McLaughlin, drummer in Moon Reaper
The #metoo movement has been a pivotal movement in the safety of women at gigs. More and more male bands are starting to use their position of privilege to educate audiences on acceptable behaviour at shows. I am happy to see many bands advocating for safe gigs during their performances, emphasising that any abuse witnessed at shows will not be tolerated and security will be called. Although this is an extremely positive start, there can always be more discussion. We can all do more. Engage your friends and your local community in discussion about sexual assault and harassment at gigs. If you are in a band then open your shows with a strong message of support for women in the audience, onstage and backstage. Remind everyone of the standards you expect to be met at your shows. If you are at a gig and see a situation unfolding, then handle it appropriately- call security or intervene if you see it fit and safe to do so. Never stand-by and watch abuse happen.
I think it’s important for big bands with a considerable platform to take a clear stance on including women in rock, whether this is through inclusion rides or taking bands with women in on tour and giving them opportunities to build their audience. As fans of rock, people can be aware of their own biases in the music they listen to and support and make sure that they also give time to female artists.
Emily Lumsden, vocalist and guitarist.
Lots of participants named some fantastic organisations that we can all be supporting to help this cause. Safe Gigs For Women are an example of an initiative with a large national presence, making efforts to ensure gigs are safe for women. Below is some information on what they do with different groups:
We can also all be accessing and sharing useful resources, such as these organisations or videos that highlight the issues women face:
Stop and assess yourself regularly: am I doing enough to support minorities in music? Are my actions making other genders feel uncomfortable? Am I actively supporting those people or am I just posting on Facebook and ignoring confrontation in person? Be 100% supportive
Sophie Smith, vocalist in Hamartia
With all of this in mind, I will personally be making a few changes. I will keep in mind to always make sure gigs I support/ perform at have a fair representation of women. I’ll also be using my platform as a performer to encourage safer gigs for women, supporting and promoting Safe Gigs For Women wherever possible. I’ll also be launching a project over the coming months- ‘Leading Ladies’, an online workshop where I will educate young girls who want to start playing lead guitar but feel like it is a boys club. I would have loved to have an opportunity like that when I was in school! So ladies, ask yourself- what would I have needed/ what do I need? Boys- how can you support women on your local alternative scene more? Whatever answers you come up with- lets make it happen.
Let me know your ideas for projects or general thoughts via Facebook messenger or email and keep this discussion going. Bristol’s women are speaking up- are you ready to listen?
Take The Libertines, turn it up to 11, add a handful of drive and pair it with some of the best songwriting to come out of Bristol this year- this is The New America’s latest single. After listening through this heartbreakingly melodic and intoxicatingly raw track, I began picking my brains trying to think of a catchy sentence to sum it up. This is what I came up with:
Noisy, tasteful and undoubtedly original- each section of Papillon offers up an eclectic musical palette for the hungry consumer to feast upon. From the moment the crunchy guitars and lamenting bass kick in, this song offers plenty to be obsessed with. Its cutting lyrics tell a story of friendship, mental health, recovery with a tinge of despair. It is the bands studio recording debut and they’ve already perfected a raw and distinctive sonic quality that sets them apart from other artists in this often-muddied genre- I specifically appreciated their unique and icy guitar tone.
Papillon is the perfect auditory commentary of the human condition- coming to us at the perfect time, as we all continue to live in lockdown. This is exactly what my ears have been waiting for! Its sheer honesty forced me to reflect on the current state of the world and empathise for those going through a hard time. It perfectly encapsulates what music can- and should do. I am beyond excited to hear what these guys come up with next. Until live music returns to our daily lives and we can catch a TNA show, keep up with the band on socials:
Newcomers and indie connoisseurs Sub Cultures released their debut record to the world last week. While the world around us plunges into chaos and we adjust to our new lives on lockdown (EP name anyone?!), as a certified Doctor of Bangers, I prescribe you all a daily dose of ‘Far Behind’.
Sub Cultures live at Out Of Key Studio Photograph by Adam Chandler
There is no better way to keep spirits high than through having a persistently upbeat, annoyingly catchy and devastatingly indie track on loop. ‘Far Behind’ would do the trick.
My first thought on hearing the introduction was ‘this belongs on the new Circa Waves album!’. However, songwriter Kane Radnor’s preference for a high-end soaring rhythm guitar paired with Lewis Perk’s shimmering smooth lead lines are what gives this track its edge. The bassline makes this track for me, it brings a gritty sonic quality that often gets missed in this genre.
‘Far Behind’ boasts an anthem-style hook, which I know will be in my head for days. Cheers guys.
Subtle yet massively effective, the guitar solo makes me excited to see this track live and see what spin the band put on it in a performance setting. They have already been making waves around the local scene after a run of packed out, electric-shock energy shows last year. However, under the current circumstances, it seems that will have to wait!
Left to right: Lewis Perks, Charlie Foster and Kane Radnor supporting Floorboards in Gloucester Photograph by Adam Chandler
This song has been a breath of fresh air amongst a tidal wave of bad news, I cannot recommend it enough! Keep up with the Sub Cultures guys on their social media and stay safe!
With the excitement of Christmas and New Year over and the tedious routine of the every day starting to creep back in, a Sunday night rock show is exactly what everyone who filled the back room of The Crofters Rights seemed to need last weekend. Nursing my hangover, I took my place in the crowd, not knowing what to expect after the months of online hype for FAIRY BOY and support. My Grandad always told me the only true hangover cure was an ace gig, and as it turns out he was absolutely right.
In their signature black-eyed-pale-faced get up, Frankie Delta and band kick start the evening. Their songs are all politically-charged, drenched in emotion and oozing with the tell-tale grunge sound that Bristol is starting to recognise as Frankie’s own. Having seen them rock out at the BIMM live shows many times, a full set is a treat. Even including a fuzz-pedal-heavy take on a Taylor Swift record, there is something for everyone from the opening act and the crowds enthusiastic reception of the set reflects that.
Photograph by RustyMediaCreative
Boasting six talented members, FAIRY BOY live has an energy that is hard to capture in words alone. Their hard work towards this gig is displayed through the undeniably tight performance, the anthem-like songwriting style includes catchy hooks, charmingly melodic lead lines and sing-along sections. Freddie’s powerful delivery of the emotional ‘Paracetamol’ is my personal highlight, the lyric ‘I need an emotional condom’ is greeted with laughter, cheers and solemn nods of agreement from the crowd. The songwriting is mature and each tracks meaning is conveyed perfectly as the night goes on. The band are relevant, bursting with energy and undoubtedly passionate.
They spoiled us with a lot of new material as well as revisiting the classics we recognise from their appearances at BIMM’s live shows over the past two years. Each new pop-rock banger keeps the packed out room dancing and engaged: these guys certainly know how to put on a show. Proudly repping his own Merch, Freddie bashes out ‘Pieces Of Me’ which details the stages of healing after a breakup and then ‘Assigned Fuck You at Birth’, a heavier track dripping in fuzz-pedals and chaotic energy which discusses showcasing what’s different about yourself and ‘getting up on a stage and expressing your uniqueness’. Dedicating an acoustic track to his sister makes for a beautiful break in the set as the band sit backstage and watch, they seem just as enthralled as the audience at their talent and the use of just vocals and acoustic guitar gives space for the raw brilliance of the songwriting to shine through.
Photograph by RustyMediaCreative
Re-emerging in a tutu to perform ‘Fairytale’, we know the night is heating up! The final few songs see everyone dancing under the pale blue lights and embracing the electric atmosphere. The band sign off with an encore of ‘Germany’ and are met with a solid two minutes of applause from the ecstatic crowd.
Sorry, indie boys in painfully predictable bands, we are mugging you off for a new generation of artists: inclusive of everyone and shouting about the issues that matter to them.
Photograph by RustyMediaCreative
Keep up to date with the FAIRY BOY gang on social media:
2019! With a year so jammed full of hate-fuelled political madness it can be easy to forget about the art that brought us all together time and time again. The UK’s best creatives have always seemed to naturally gravitate towards Bristol, resulting in a city that is too cool for its own good. This year has seen a whole host of new artists emerge in the underground venues and the return of many favourites. Where to start?!
BIMM sweethearts Krooked Tongue finally broke their silence in 2019 and dropped their debut single, which as you can imagine, went down a treat with fans. After gigging a lot and building themselves an image as one of the South Wests tightest, grungiest and charmingly melodic alternative bands they only had one thing left to do- release some music! ‘I Wanna Steal Your Car’ perfectly captures the essence of the band: distorted as hell and dripping with emotion. Since its release in November it has already racked up over 20k streams and shows no sign of slowing down. Vocalist Oli Rainsford recalls some of their more memorable shows of the year: an intimate acoustic set at 2000 trees, a support slot for Souer in Cardiff and their first ever tour. We are excited to see them keeping busy in 2020 and hopefully bring us some more new music!
Krooked Tongue Photograph by
A few other BIMM artists that have been hard at work this year include George Clement who also dropped his debut single, the indie-tastic ‘Arty Devotee’ and IdleGod who has been all-around smashing it this year. After dropping his weird and wonderful new single ‘Cul-De-Sac’ in the summer he has been busy gigging with his band. A personal gig highlight of mine this year has to be being sat cross-legged on the floor of the basement in Cafe Kino, totally mesmerised by his acoustic set and the natural energy him and the band share. BIMM 2nd year Gabriel Templar also enjoyed releasing his debut single ‘Nobody Knows’ to an overwhelmingly positive response. The catchy pop ballad is sure to be stuck in your head, so get listening! Earlier in the year I reviewed Brodie Morgans’ solo EP: ‘Snakes Don’t Hiss’. He hasn’t stopped there, though. He’s been busy with his new punk project ‘Cuffs’ tearing up venues around Bristol. BIMM has seen so much new talent blossom this year and I can’t wait to hear what 2020 brings.
Over on the indie-pop scene there has been several new and exciting bands making their mark. Stay Lunar are my top picks for this year, having only started gigging in May, their unique approach to songwriting and flawlessly tight performances makes them a stand-out-from-the-crowd band from the get go. Their debut single ‘Brainshake’ is a refreshing take on classic indie and its colourful guitars and dynamic arrangement earned it a spot on Spotifys ‘Hottest New Bands’ playlist. Local promoters quickly picked up on their dramatically cool entrance onto the indie scene and got them supporting Little Comets and Only The Poets. After a jam-packed first year of gigging and releases the bar is set high for the Stay Lunar boys in 2020!
Stay Lunar at The Louisiana Photograph by Alice Sutton
Lets talk hip-hop! Glastonbury word wizard Riski has been hard at work this year weaving some new verses and revisiting some old ones. Other than featuring on none other than Dr Syntax’s new album, he has released his second single ‘Nicotine’, a moody and thoughtful follow-up to ‘These Days’. His appearances with Hip Hop Coffee Shop have been frequent and he even travelled to Guernsey to gig with them. You can keep up to date with him on his instagram @riskiuk where he debuts a lot of his homemade music videos and media.
We can’t summarise 2019 without talking about Kite Thief’s debut single ‘Pinky Promise’. This electric-shock energy record, along with the accompanying video, encapsulates Bristols alt rock/ prog metal scene perfectly. We love a bit of girl power too! Vocalist Elin Allin has led the five-piece through a host of great gigs this year, from a headline show at Crofters Rights to their first tour. Another lovely lady who headlined Crofters Rights was BIMM’s Anna Collette. Surrounded by the trusty ‘average men’ she debuted her new single ‘One Step’ to a full room and much applause. The single, available to stream on all major platforms, showcases her silky-smooth vocals and uplifting songwriting style.
Bristol emo icons THC Dreams have had another year of hectic shows, head banging and questionable emo fringes. They started off the year on a high with a new single ‘All My Friends’ and have continued to ride that wave all through 2019 with a number of great shows.
Taking Bristol back to the 90’s, The Malarkey have kept us on our toes this year with several new releases and lots of gigs. They’ve been juggling their lineup around, searching for the right bassist, as well as recording, gigging and writing. Impressive! Their latest single ‘Every Morning’ is a melodic and endearing throwback to another era, sonically reminiscent of Blur and songwriting not dissimilar to The Beatles. This year their music was featured on the critically acclaimed British film ‘Bait’ which received a 5 star rating from The Guardian. And that’s just a flavour of what they’ve been up to- you can keep up to date with the boys on social media.
‘Every Morning’ – The Malarkey
Wooooah! That brings me to the end of my 2019 wrap-up. It’s been another year rich with music, art and culture in the UK’s most happening city, 2020 is set to be a banger!
In the dimly lit back room of The Crofters Rights on a sunny August evening, something quite spectacular is taking place. Jarring riffs and effortlessly smooth vocal melodies are the unique dynamite Jack King uses to captivate an audience time and time again, and tonight is no exception. The absence of Torin Brown and Harvey Lloyd’s usual rhythm section accompaniment does not hinder the performance, giving the raw songwriting space to have its moment.
Technical difficulties do not stop Jake Clarke’s powerful accompanying keyboard parts, they make a dynamic duo with captivating musical ideas. The songs themselves are carefully-crafted with melodic intricacies comparable to King Krule and intimate lyrics providing insight into the stories of the writer. King has unparalleled control over his voice, leaving the audience mesmerised by both the soaring highs and growling depths of his vocal range. He also incorporates exotic chord choices into his music, which paired with the low-end piano, makes for an atmospheric performance.
After delivering a performance that transports the audience to an ethereal place, far away from the Stokes Croft bar, Clarke leaves the stage for King to perform his final song solo. The new track, going under the working name ‘Untitled’, is a perfect note to end the set on. The final heartfelt chorus leaves me excited to hear a recorded version.
Photograph by Nikki Marcus @nikkimarcus
If you are interested in what Bristol’s next big name in indie is up to you can follow his socials: facebook.com/jackwilliamking or @jackwking
Brodie Morgan’s long-awaited debut project ticks every box, a D.I.Y artist from Wales now trying his luck in Bristol, this dreamy three-track EP has seen him make a dramatically cool entrance onto the indie scene.
On an Instagram post Brodie brands himself as ‘the most unsexy sex symbol you have ever seen’- a phrase that originates from coming to terms with your imperfections and not adhering to conventional beauty standards.
If you wanna feel sexy, then you take a damn look at yourself in the mirror, tell yourself you’re handsome/sexy, and don’t stop until you feel it.
Brodie Morgans
Brodie in the music video for his track ‘Snakes Don’t Hiss’
The first track I heard of Morgans’ was ‘Snakes Don’t Hiss’- needless to say, it was stuck in my head for weeks, whether it was on when I was driving in the sunshine or cleaning the house I couldn’t get enough of the annoyingly-catchy chorus. The song details a romance that never quite blossoms and concludes as a classic love song with a twist- ‘snakes don’t hiss, they write love songs’.
The track is effortlessly cool: combining dreamy Mac DeMarco style guitars with Brodie’s powerful vocal leaves a lasting effect and has me going back to listen time and time again. ‘This Aint A Love Song’ came about when Brodie found himself hungover in bed and dying for a Coca Cola, sparking lyric ideas around things that he desired: ‘I need a cappuccino, I need some dough in my bank’. The eerie call and response vocal towards the end of the track paired with moody guitar riffs makes for a food-for-thought track that asks more questions than it answers. His extensive use of seventh chords and a fair amount of reverb creates a surreal atmosphere in his music- something that really sets him apart from everyone else.
‘Want To Need Me’ is the most personal track on the EP- it tackles difficult topics such as needing approval from everyone around you and feelings of worthlessness. The music reflects this- it feels almost disjointed, less flowing than the other tracks. Feeling slightly uncomfortable when listening to this track may be part of the genius behind it, as it really allows for the lyrics to have an impact.
Brodie’s Instagram has also hinted that he is busy working hard on turning these three massive tracks into a stage-ready show, so I think we can expect to see him gigging very soon!
Until live shows are announced you can enjoy these songs on all major streaming platforms and ‘Snakes Don’t Hiss’ has a great accompanying video which you can check out here https://www.youtube.com/watch?v=_9ApcVqtKUw.
From the moment they step on stage, The Fowler’s bring electric-shock energy levels. The fact that guitarist Louis Veillon is celebrating his 21st birthday only adds to the hype! Full to the brim and bustling, the room looks on as they deliver a mesmerising set- definitley my favourite show of 2019 to date.
Saxophonist Conor McCrohan Photo by Aude Sage
Bringing the energy up and down from song to song, front man Joel Fowler is a natural performer and the love for his craft is reflected in his dynamic performance. He uses the stage as a space for free movement, correlating his body to the feel of each song. At one point he even whips out his tambourine and uses it to fuel the groove of the track. Watching the rhythm section bounce off eachother with fiercly tight and unbelivable accuracy is a highlight of the night for me- there’s nothing quite like watching highly skilled musicians in their happy place!
Front man Joel Fowler at their single-release gig Photo by Aude Sage
These guys are obviously aware of the impact of a funky riff- the entire room is moving to their carefully-crafted tracks. The flowing saxophone lines are dripping in jazz and ska whilst Charlie O’Donnell’s melodic basslines lock in with Henri Scott’s tight grooves that have everyone moving all night!
Joel makes sure the room is singing along to the memorable hooks and by the time the evening is conlcuding everyone is demanding one more song- this chant continues for a few minutes until the band return to debut their new single ‘Who’s Gonna Tell Ya?’. The upbeat and catchy song is the perfect finale to a red-hot set! The new single is avaliable on all major streaming platforms and if you’ve got an ear for fresh funk and big beats then it’s a must-hear for this month.
Hailing from Somerset, high-energy 4 piece Banana High’s genre is hard to pinpoint. Taking influence from punk, ska and blues the band boasts consistently anthem heavy songwriting coupled with a sonic quality not dissimilar to late 90’s Green Day and Blur.
Their third, and latest, record ‘The God’s Are Sick Of Witnessing’ showcases three ska-soaked tracks, all with memorable hooks and impressive technical guitar work.
‘The Screens’ feels almost theatrical and operatic, conjuring images of a packed stadium and a full orchestra supporting the bold chorus and jarring lyrics. The bassline drives this track forward with feelings of urgency, mirrored by fast-paced guitar licks jumping up and down the octave. The bands lyrical content often focuses on generational issues surrounding technology and loss of individuality and is gripping from the get-go. Nathan Speechly’s powerful vocals dominate the record and the clearly thought-out backing harmonies hint a parallel to Panic! At The Disco’s style.
Vocalist, songwriter & guitarist Nathan Speechley
The introduction to ‘Blood & Oil’ reminisces on a style of music different to their usual: darker and moodier, but nonetheless musically impressive- packed full of chromatic guitar runs and complex rhythmic choices. When listening through to the track I can’t help but become intrigued by the lyrics, although often disguised through the thick timbre of Banana High’s distinctive ska-rock sound, they are cleverly crafted and tackle some worldly issues. Speaking to vocalist and songwriter Nathan Speechley gave insight into his songwriting process and the meaning behind the words: ‘the chorus is quite simple in terms of everything we do is for blood, oil, land, mindless entertainment, and I believe it’s all for control, we are doing everything that is expected of us.. that’s where the verse makes sense.. it’s easy to get lost in this rat race, but the further you distance yourself from it all the easier it is to disconnect from it’.
‘The Evil That We Do’ has proven to be the bands most successful track from the EP, and for good reason. The prominent instrumental stabs and food-for-thought lyrics make for a striking song intro: ‘tell me when the infection spreads and everybody turns’.
On watching the accompanying music video it becomes instantly obvious that these boys love what they are doing and have much more to offer. Jake Micklewright, punk-spirited drummer, commented that ‘we had a full script for the video… but as soon as 15 of us in full costumers were in a room together it all went out the window!’. Nonetheless, the video is professional and fun and sets a high bar for future visual content from the band. The video is available to watch here.
The best melodies are accidental
Nathan Speechley
The quartet’s passion for their craft and exceptional songwriting will undoubtedly see them go on to achieve great things in the future, but for now, you can check out their latest EP on all major streaming platforms and follow their updates on socials:
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