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Quiet As A Mouse

The last time we heard from the Scottish indie quartet 'Quiet As A Mouse' was in January, when they had just released their video to the exquisite 'Oliviatown'. But, following gigs with the likes of Hinds and and the Palma Violets, the acoustic laden band are back to romance our ears with their divine EP: 'Memorybox'.

The EP opens with 'Snowflake', perhaps not the title of a song you think of in the lead up to summer but it really is a gem. It streams gentle, neutral, loving tones and is one of those great tracks that has such a petite opening before it explodes, in this case, into a pastel colored daydream. Following that is 'The Day The Cat Came To Stay'. This is 3 minutes of smiles: the title should make you chuckle, the upbeat tempo should make you happy and the need to 'dance on your own' to this track should make elation seep through your body like some sort of drug.

Whilst 'Letter In My Pocket' may make you think the band are on a jealous high as they ponder to poor old Charlotte 'Why are all your friends men?', it does feature a minimal rock infusion into their folk sound, making the song into a snippet of heaven. The EP's namesake brings the release to end and is a pure high point, it features a pop-styled intro and cascading notes which burst into color as they brush your eardrums.

Keep up with Quiet As A Mouse:
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Emily Branson (@emiemzy)

Interview // Taylor Casey

We recently had the joy of asking Taylor Casey a few questions about his music and his new self-titled EP. The EP itself is smooth, groovy and easy going, Casey has basically created your summer soundtrack in 5 glistening songs.

Mytacism Music: Hi Taylor, lets start off with the thing that first thing that got you into music? 
Taylor Casey: I took guitar lessons for about a year or so when I was younger and played mostly just for fun until my last few years in college. Like most artists, I pretty much was never satisfied with my singing voice. Somewhere around college I finally grew into my voice. From there it took off.

And what made you think that you would create such an irresistible EP?
Well thanks first off, I wasn't trying to create an irresistible EP - just trying to make music. I moved to NYC after graduating to take some music classes - one thing led to another and I was recording an EP about a year in. I didn't move to NY to record - but it was always in the back of my mind. I just thought it’d be years from now.

What are your musical influences, listening to the EP there seems to be no end to the mix of genres and styles.
I like a lot of music - recently, I've been into the Alabama Shakes, Felice Brothers, Houndmouth, Jim Croce, Dylan, Dr. Dog, and Shakey Graves.
Could you run us through what you each song means to you?
I mean, I could, but I feel that takes away from the songs. I really enjoy how different people are able to find completely different meanings in the same song. Sometimes, when I hear someone else’s take on a song of mine - it can influence what the song means to me.The words lyrics in each song really say everything I really want to say.

Would you want your fans to have the same ideas about your music?
I've always been a fan of musicians and songwriters who are able to use words to spread ideas and make people think. I respect them for that. It’s easy to write a catchy song with cliche lyrics. I’d hope that my songs would make those who listen to it think - also, it’s okay if they dance. Dancing’s good.

The EP sounds very smooth and easy going, does this reflect the production of the release?
I've always been pretty easy going. Most of my friends would attest to that - sometimes too much so. But yeah, I had some pressure to speed up the production process but I wasn't in all that much of a hurry. Patience was probably the biggest factor in the process. Because I spread it out over a few months - the songs continued to grow and change and be replaced with newer better songs. I didn't have a precedent to compare to for how things were done so I did it my own way. It was my first time in a studio.
   
Where there any moments during this time which changed the EP's original path?
I was pretty adamant about taking my time in the pre-production stage - choosing my best songs, making them better, figuring out how I wanted them to sound with a full band. It made it so when I finally went into the studio, I knew what needed to happen and how do make it happen.

Away from the music and the inspirational quotes on Twitter, what else do you get up to?
I’m pretty into surfing - I definitely miss it since I moved away from CA. I’m new to twitter, but someone else is helping me run my account right now so it’s chalk full of quotes - I delete anything I don’t like though.

What are your plans after the EP release? Is there a full album on the horizon or any gigs we can catch you at?
I moved to Austin, TX about a month ago - been playing a few acoustic shows around and am currently in the process of putting together a band. Hopefully I can get a tour going in the near future. Full album’s the next step.
And finally, do you have a last message for your fans?
Don’t listen to whatever music is marketed to you - be in charge of what you want to listen to and take the time to find music that you truly connect with. It amplifies the satisfaction that you get from the tunes.

Keep up with Taylor Casey:
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Buy the EP

Emily Branson (@emiemzy)

Meresha

Meresha. The 18 year-old produces some of the most insane sounds I have heard, all you can do whilst listening is shut your eyes and follow every beat, every synth-pop sound and every rise and fall of her delicious voice. It is like being consumed and its like being rejuvenized. It is everything at once.

Her new EP 'New Revolution' does exactly what it says in the tin: it revolutionizes whatever music taste you have. I have been converted to Meresha's 'grimey' apparel and I'm pretty sure you will be too. Opening with 'Lemonade City', the youthful artist immediately confronts you with a sassy attitude, boasting that 'We can make the tough boys cry', which is accompanied by a sound to die for, the track sounding a lot like a dark Lana Del Rey track. Following that is the EP's namesake, a song that whisks you off to some nightclub somewhere, full of lasers and smoke, sounding quite 80's through the imposing electronic tones. It is inevitable for this one to get stuck in head.
'You' slows the EP down as Meresha opens herself up a little more, enveloping us in a lyrical feast. Her honey-like voice oozes  'My head is spinning like / I've been electrified' and 'I'm overcome with flames / This moment's all I know / You're pumping through my veins', they're the kind of lyrics you need to learn off by heart. 'August' ends the EP on a summer infused high, her words are more elongated than summer solstice and the warped electronics injects sunshine into your body.

Meresha's aim is world domination. I'm pretty sure she's got it.

Keep up with Meresha:
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Emily Branson (@emiemzy)

Lost and Profound

The Canadian band 'Lost and Profound' are raring to go ahead of their new album, entitled 'Goodbye Mine', which is set to be released on the 12th of May. The album itself is comes alive with the sophisticated and robust lyrics that mix with the steady and cool melodies, conjoining to create a force of goosebump inducing sounds. Opening with 'Superhuman', the band immediately blow you away with their rawness, it sounds so stripped down and pure you can't help but gasp.

Following on a gentler note is 'Until It Broke', a song which evolves into a gushing composition featuring almost hypnotic vocals. Both the title track and 'Iodine' are empowering and soulful tracks making them irresistible to sing-along to and simply heavenly to listen to. The song 'Love's Hard Landing' is soothing and chilled whilst 'Jewel', fronted by male vocals, is more upbeat and daring, featuring a rock/country sound instead of the previous sophisticated indie sound.

'Bad Sister' and 'Alcohol' both flaunt the band's signature sound and 'Rover' sounds almost magical with its sparkling intro which eases onto a touching and gentle flow, a song that is perhaps worthy of closing the album. 'Spectre' however does do a worthy job at closure, its strength and prowess ignites a shiver to slither down your spine.

Keep up with Lost and Profound:
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Emily Branson (@emiemzy)

Blade of Grass

Despite the unassuming name, Blade of Grass are actually rather peculiar (in a good way of course). The band are swiftly on their way to captivating the thousands, sounding like the result of a psych dream rather than a psych band: they mix shockingly strong vocals with empty but outlandish melodies, creating an irresistible and alluring front.

Their most recent track, 'She Was', flaunts robust vocals which take centre stage of the track whilst, behind them, is a meandering drum beat and intermittent warped sound. The overall sound wakes you up with its clarity but then takes you somewhere far away too, making it a track full of conflicting factors but still, somehow, it just works. Whether its the climatic ending or just the abnormality of the melodies I don't know, but it all gives a satisfying click as it fits into place.
Another older track worth checking out is 'Dance To The Radio'. The song is a fast paced rumble, its unforgivingly danceable and induces a permanent smile on your lips, the cheerful melodies and reassuring lyrics massage away at any tension and sadness. If you can be down while this is on, you need to win some sort of prize, I'm serious.
Keep up with Blade Of Grass:
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Emily Branson (@emiemzy)

Zibra // Great White Shark

With a push of momentum, 'Great White Shark' enters your orifices. And not only does does Zibra's new track have a sickeningly repetitive beat, but it flaunts an addicting and cleverly sweet facade, one which hides something gloomy and sinister. Example A: The opening lines ("Twist your wrist like bubblegum / And your bones are popping one by one") sound like something out of a psychopathic King novel. Example B: the sugary melodies that swim before your eyes for the short and sweet 2 min 47 second duration of the song begin to whirl and twirl, manifesting into something more than just a synth-pop layer cake. The reality of this song is that the underlying darkness is simply alluring to the mind, it's like a crush on the most bad-ass guy at school.

Keep up with Zibra:
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Emily Branson (@emiemzy)

Lerloons

Lerloons, previously known as Paperpenguin, has recently released a new track entitled 'Sopranos'. It is a slow, unwinding and groovy song, full of robotic beats and snowflake notes doting synthetic melodies. We actually got the opportunity to speak to the man behind the ambiance, here's what he had to say:

Mytacism Music: What is your first memory of music?
Lerloons: This is a tough one. But I think it was this weird TV program when I was real young. It as about these moles from space and they would whistle to communicate. It wasn't a cartoon, it was like someone got these mole toys and made a stop motion animation. I've forgotten the name completely. I wish I could watch (it) now.
What influenced you to start creating your own music? Was there a key event or song?
It was when my sister got a macbook. One of the old white plastic ones. I would always want to play on GarageBand to play different sounds then piano. I then started to play with loops and put them together in a pop song structure, very basic but fun. Then I worked that next whole summer and bought an iMac. I was that kid that didn't smoke or go drinking in a bush somewhere so it was easy to save the whole summer. When I got my iMac I had looked up stuff about making music, I came across Ableton so I downloaded a cracked version and use Ableton to this day. I find it the best for creativity.

What normally inspires the creation of your songs? Was there an inspiration to your latest release?
This really depends on what music I will make. I can't explain when I want to make a certain style, it just happens. For ambient music, I like to watch movies or play video games. Then sometimes the beat music I make is more of a question I ask "Could I listen to this while playing  GTA V?" or "Would it sound good in a club?" I also get inspired by listening to music on long journeys. I find art and photography help inspire me too. I'm very interested in film and game music.
The latest track came out of no where really. I named it 'Sopranos' because I just finished watching the tv show 'The Sopranos'.

How do you approach the creation of a new song?
This varies, I could be messing with a synth or playing the piano. I have a bad habit of making loops and leaving them and starting new sessions. My laptop is full lol. Lately, I would make a simple beat and then play melodies over the beat. It starts as a mess-about but usually turns into a full track.

Is there something you want your music to tell people?
Not really. I make music because I like the making process. It’s fun. I don't like the idea of trying to tell people to feel a certain way. I just hope my music does it. Lol thats so cheesy I know but that’s how I feel.
What caused the name change?
I was going to change from Paperpenguin sooner or later, it was more of a cartoon idea I have in my head. LERLOONS has some connection but not really. I have had the name LERLOONS in my head since the space moles.

Where do you hope you music takes you in the future? Any dreams/ambitions?
It would be dope to not worry about money, bills and shit and be able to travel world. Definitely be insane to work with artist I look up to. Meet new people. My big dream would be to live some where that is sunny and where I could try grow my own weed without any problems form the law. And have a wall so I could  paint and have BBQ every day. That would be sick.

Where can we find you in the future, both musically and not?
Well I am living in Ireland at the moment so come to ireland if you want to find me. Musically would be on Soundcloud, Youtube and Twitter.

Emily Branson (@emiemzy)

Bullyheart

Bullyheart have recently come out with a sparkly new album entitled 'Antigravity'. The LP is full of groove and attitude, you can't mess with this album but you sure as hell can join in the vigorous glam movement Bullyheart slap onto the table. Opening with the riffalicious title track, the constant wave of guitars hooks you and sways you, there is no changing song when this comes on.

'Thin Air' slows things down with mellower beats and melodies. But, thats not to say it acts as a depressant, the continuation of lustrous vocals and an odd tinge of psych could easily indulge a smile on anyones face. 'No Pleasing You' is infectious as the light 'ooo's raise sweet hell within your eardrums but the following track 'How Was I To Know' shows a completely alternate side to our powerful band. They drift off into a gentle slumber, oozing rocked up acoustics from all of its crevices.

'Lost My Nerve' begins lullaby style with unfocused strings that are later joined by clear cut vocals and drums, resulting in the creation of a dream-like trance. It's shiver producing, goose-bump inducing and ultimately gorgeous.  'Panic Attack' however seems to have drawn on country influences, its suggested in the melodies of the track and Bullyheart have mixed it superiorly with their power-glam sound.

Gentle giant 'The Pendulum' and reassuring 'Shaken' follow by boasting the bands symphonic musical bond whilst 'There Goes My Man' and 'Stay' bring the album to a close perfectly. 'There Goes My Man' has got similarities between the Pixies' 'Here Comes Your Man' as both choruses have an empowering vocals worthy of an inspiring drunk perfomance at karaoke. 'Stay' is a sad parting of ways, voicing my own wishes for the album to continue. There are lighter moments however, the lyrics are full of disdain as 'Whoever stole my smile is a jerk' wafts through the air bringing an indulgent smile to your lips as you think of the revenge this past lover must be getting. It kind of reminds me of the Green Flag advert.

Buy the album.

Keep up with Bullyheart:
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Emily Brason (@emiemzy)

Better Day Blues

Factory Fast records have finally brought us the second compilation in the Americana Armour series. The new album, out today, gives a wide range of americana necessities to help you to get back into touch with America's previous musical developments. It is a great album to listen to because of the variants in genre, it's an album that really keeps you on your toes. Opening track 'The Love Ambassadors' by Indus Rush is soft, pink and gushy. It is, as the name implies, a love song, maybe a bit too long and 'lovey' for my personal liking.

'Married Man' by The Shannons is a warming, folky 3 minutes that, despite the upbeat feel to the track, is bluntly expressing how 'You'll be by yourself' because your man is seeing other women. 'What More Can I Do' by Mongroove follows, boasting an altogether different sound. Its pacey and infectious, you'll need some antibiotics to treat this one.

Gloriously country and the LP's namesake, Ed Roman brings us 'Better Day Blues'. Its simply made and completly effective, inducing a beat commanded twitch in both your shoulders and head. 'I Hate' by Johnny Hate is a track full of turmoil, rolling out an authentic ragged rock sound along with Hate's soul bursting vocals. 

'Arsenic and Turmeric' from Melting Pot just feels good, the melodies roll down your eardrums fluidly and the dirty sound of the guitars just adds an authenticity to their whole sound. A mellow end to the compilation comes in the form of 'Too Lazy' by The Tallest Hogarth. At times the vocals are uncannily similar to Elvis's and the remainder of the time they are driven out of the abyss, evolving into something raw and free.

The album will be available via Amazon, Google Play and iTunes.

Emily Branson (@emiemzy)

Live Review // Swim Deep, Electrowerkz, 1/4/15

Deeming their first night of this particular shortened tour a ‘nervy one’ in Manchester, B-Town five piece Swim Deep seemed to shake off these nerves and jitters for an energetic and somewhat crazy performance in North London’s Electrowerkz.

Support came from Leeds-based indie pop band Vitamin who were newcomers to London and provided a joyous/feel good set up for the main event. This was with a string of instantly catchy tracks which thanks to a charismatic frontman and softened, rhythmic guitar sounds seemed to ignite a bit of a spark in the audience.

With Swim Deep’s eventual entrance onto the stage amidst smoke and vibrantly coloured lighting, frontman Austin emerged with a single maraca and the crowd were ecstatic. He wasted no time communicating to the them that they would ‘get onto the honeys’ as they began with the last track off of their forthcoming new record which in its 7 or 8 minute nature blew the minds of several in the audience with its psychedelic or galactic feel which was coupled with a crescendo of all sorts of sounds. As promised, they immediately reverted back to the first record (‘Where the Heaven Are We’ (2013)) with their hit track ‘Honey’, introduced by bassist Cavan, and then ‘Red Lips I know’. Both tracks were met with equal enthusiasm and were embraced by the crowd as barely a soul in the small Electrowerkz venue wasn't bellowing out ‘don’t just dream in your sleep, it’s just lazy’ on first song ‘Honey’.

The middle part of the relatively short 40/45 minute set featured 2 new songs which weren't particularly well-delivered by frontman Austin but his energy and enthusiasm was to be admired and sought after. This was carried on into fan favourites 'Francisco' and 'She Changes The Weather' with the latter of the two's signature piano intro and its dreamy, gentle tone sending the crowd into a state of delirium and delight. The initial conclusion of the main set came with the band’s celebrated hit ‘King City’ which with its instant familiarity to any Swim Deep fan sent the crowd into a chaotic, frenzied state to finish the provisional set.

As the band left the stage and the crowd began to chant ‘encore, encore…’, their calls were answered as Swim Deep returned on stage barely five minutes after leaving. Their encore and end to the overall set was their new single ‘To My Brother’ which was perhaps the second most well-received track of the night (behind ‘King City’) as its acid house, 80’s synth pop sound rippled through the Electrowerkz venue and the crowd had nothing to do other than sing along in shear enjoyment. The five-piece left with Austin inviting drummer and Saint Lauren heartthrob Zach Robinson onto his back to disappear off stage with the rest of the band.


 With the large success of dream-pop first record ‘Where the Heaven Are We’, Swim Deep may struggle to reach the same heights with the forthcoming release of their second record. However, their existence as a thoroughly close and loveable band who with a wonderfully exuberant frontman (Austin Williams) contributing to their success as live act, means there is still a good chance they can hold their own in the current alternative music scene.

Luke Jewell (@heroicshart)

Subway Rock

Our favourite record company have been at it again, they have produced yet another meaty compilation for us to indulge on. This compilation is total mix of things but ultimately focuses on prolonged instrumentals, making the tracks seem like jam sessions and giving a more relaxed feel to the whole LP. Album opener 'Slow Drive Home' by Finding Miranda creates this exact atmosphere, the easy melodies sounding like a slightly rocked up version of Cornershop's 'Brimful of Asha'.

'Lately I'm Confused' by Love Child has the illusion of being one of those great 80's rock tunes, marking an unforgettable 3 minutes on the record. Following that is 'Lousy Dice' by Queen Bitch which features some really smooth vocals that just slide down your earlobes whilst the slow beat adds a mellow stomp to your step, making it a total feel good track.
Starting with a vaguely annoying glitchy start, 'These Dark Days' by Stab in the Dark burst into an unforgiving, fast-paced romp whilst the next song, 'Rock up the Hill' by Starkett Levee, is comparatively mellower, easing into a steady, heartfelt, powerful course. Both tracks show both the diversity of the compilation and how well the the alternate strains of rock can fit together.

The penultimate track, 'Riddle of the Sphinx' by UVTraveler, is a long, perhaps too long, rock jam. As soon as you play it you feel like you have fallen down the rabbit hole, there is so much dimension and variety within the 8 minute track that it is hard to feel rooted. And finally, 'One Night Stand with a Ghost' by The Deltorers is a grungy trip to heaven, tying up the LP perfectly.

Purchase the album:
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Emily Branson (@emiemzy)

Marco Mestichella

The London based Italian, Marco Mestichella, is about to release his second EP 'Troubled Water'. We actually reviewed Marco earlier this year, take a look here. It is great to see how and when an artists begins to develop their music over time and Marco's journey is a lovely one to look at. In January, we saw him producing cinematic, story-like songs but now he is experimenting with every variant of pop you think of and the result is spellbinding.

The new EP opens with 'Vola Via'. This could possibly be my favourite of all the tracks on the release because of the ambience it creates, the Italian monologue which makes it seem close to the heart and the way something just clicks halfway through, allowing the melodies to evolve into more of a symphony than cinematic production, totally encapsulating Mestichella's artistic development. The EP's namesake follows, opening with a climatic drum roll and bursting into colour with the electronic high's and low's. The song sounds a bit like a refreshed 00's track and, like the lyrics croon, "It feels so good inside".

'Treason' takes on the appearance of an awakening, a sound which could parallel the glisten of sun through the trees. The track also features an oddly calming rap from Turan, adding an extra dimension to the laid back, synth laden song. 'Savvy Stomper' goes on to completely change the mood of the EP with its funkalicious melodies, upbeat brass sections and salsa vibes in the latter part of the song. You really can't help but pout and move in time to the track, its just so full of attitude, making it a real focal point.

'When The Sun Goes Down' is a gentle giant, sounding like a total summer tune as it emulates warmth in its slow, tidal melodies. 'I Should Have Stayed Home Tonight', a track reworked by Annette Exner, sounds almost alien in the setting of the EP, it boats a light drum and bass chorus whilst Mestichella's vocals echo and vibrate over the top. The remaining tracks are remixes of 'Troubled Water', I Should Have Stayed Home Tonight', 'Fragments of Light' and 'New Sensation'. All of the remaining 4 songs have club vibes to them, beefing up the already meaty EP.

Donate to Marco's Music Raiser and help finish the production of the EP.

Keep up with Marco Mestichella:
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Emily Branson (@emiemzy)

Threshold Festival

Last weekend (27th-29th March) the Mytacism Music team was lucky enough to be invited to a weekend of breathtaking music and arts at Threshold Festival, Liverpool. Unfortunately, we could only make it to the Saturday but we still had a stellar time. This year was the festival's fifth year running but, despite its youth, the performance and delivery of the event was still sensational, bar a few early technical mishaps.

The festival itself has already earnt a very special place in my heart. Why? Because it exposes those new, talented bands that are just getting their footing in the music world, the artists that deserve so much more attention than what they have purely because it is so hard these days to get a free audience and because of the overall diversity of acts showcased. I mean, District exhibited primarily rock artists but with a quick trip down the road and you could be immediately immersed into the cosy atmosphere at the Baltic Social as the refined acoustics plucked away in the background.

Chanel Samson

The day started for us with a glittery, happy go lucky bubble inflated by Chanel Samson. As she skipped onto the stage at 2pm accompanied by her band, she emulated colour into the grey surroundings of District. Following her was a band shrouded in nonchalance. As Good Foxy sauntered into view, they ignited their ruthless rock sound, a noise not deterred by the odd technical problem and the lack of the raucous crowd they so readily deserved. Continuing with their already established hardern image, they left their seated crowd with an inspiring monologue of  "That's us then", obviously Threshold's lack of enthusiasm had, luckily, not disheartened the group.

Good Foxy

The fresh-faced Jekyll then entered our sights with their shy, nibble sound, finishing their set with the help of a toy gun oddly enough. We also had the delight of experiencing Green Room live, their swirling sound did not fail to entrance as we watched them immerse themselves in their own creations.

Delilah

Nora Konstanse delivered a flawless performance over at the Baltic Social, her sound was simply alluring to the soul, even over the dull, natural clamour in the audience. We also caught the start of Eleanor Nelly's performance where she took the audience's breath away with her powerful vocals after misleading them into thinking she would give a shy performance with her gentle albeit big haired appearance. Then, over at the Observatory, Delilah performed with zest. Their poppy, hearty songs enticed the crowd into a happy state, even when the guitarist hopped off stage because he 'forgot something'.

Blood Lips

Meanwhile, District kept up it's high standards. Scarlet performed their Garbage-esque sound (the band of course) and Blood Lips boasted their thunderous noise (a noise so thunderous they appear to be supporting Slaves soon). Indigo Sky delivered a spectacular performance, wave after wave of hammering drums picked up the audiences heart rates whilst their vocals, which sounded similar to that of Brian Molko's, countered it with an oddly calming effect.

Go Fiasco

Go Fiasco then took to the stage, their guitarist lost himself in the music whilst his fellow suited band members performed their natural, oozing and slick rock noise in a collected stance. The arrival of Filter Distortion also attracted a large audience who danced and pranced in time to each electronic note and drum beat and came away with smiles plastered on their faces, the band appearing to be an already firm favourite amongst the festival goers.

Filter Distortion

At 7:45 it was time for Astral Coast to take over Unit 51, opening with Bones for Buzzards. The band launched readily into their feisty tracklist after being piled onto the small stage. Due to a timetable change, Colour then followed. As they swiped the limelight in their white shirts, they swiftly changed the mood of the room with their synth, pop infused rock sound, not dissimilar to a heavier Metronomy.

Bones For Buzzards

We got to enjoy the oddities of Queen Maud's performance which sounded more like an electronic experiment as they tinkered away with their mass of equipment. Their distorted vocals helped to create a haunting ambiance in the cosy confines of the venue.

Throughout the day there was also a mixture of dance performances which provided an appeasing respite to the mass of spectacular musical performances. This, mixed with the easy nature of the whole festival, created a familiar air to the event, one that is going to be hard not to return to.

Threshold online:
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Emily Branson, (@emiemzy)

Photographers:
Abigail Cook
Emily Branson

Bison Sound

The Toronto based 3-piece Bison Sound have recently released their debut self-titled LP. The album is full of tracks just as powerful as their name implies and god it sounds good. Kickstarting the album is 'So Fine', a track full of chugging beats and commanding guitar riffs, it is a track the really sets the tone for the following tracks.

'Under Everything' quickens the pace and is one of those tracks you can immerse yourself into and have a good ol' rock out to. 'SweetTooth', 'Begin The End Again' and 'Heaven Help Us' pass by in a blur of stomping beats and pulsating rock melodies until things slow down slightly in 'I Remember'. This is a track thats hiding something dark and secretive and it comes through the notes of the song like some sort of twisted magic.
'Time's Up' continues to slow the pace even more and could be perhaps considered one of the more emotional songs on the LP. Beginning with the pounding of drums that are later accompanied by zingy guitar plucks and smooth vocals, this is a climatic master-piece with alternating outbursts and whispers of emotion. The following track 'Your Ghost Of You' has actually been featured on Throwback Rock, a compilation from Factory Fast Records (read the review here).
The bass on 'Sharks 2' is almost mesmerizing and the waves of sound mixed with the shouts in the chorus make you feel like the trio have cast an eratic spell over you. 'Dove' and 'Sonic Boom' both feature hefty soundscapes while 'All The Angels' ends on an intriguing low. Most artists end their albums with a climatic track but Bison Sound have chosen a song thats slightly upbeat but still tinged with a level of sadness. Why? God knows. But it works. It has a memorable melody and, if I were to look back on the band, this is the song I would think to, kind of like Bison Sound summed up in just over 4 minutes.

Download the album:
Bandcamp

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Emily Branson (@emiemzy)

Americana Armour

Americana Armour opens with soul touching vocals from The Federalis in 'Fox and the Hound', a good looking prophecy for the rest Factory Fast's first compilation in yet another brilliant series. The LP, to be released tomorrow (24th of March), also features some of our previous love affairs, such as Melting Pot who we saw on the Acoustic Arsenal LP, Johnny Hate on the Alt Country Arsenal LP and Monogroove on the Throwback Rock LP.

The second track, by Monogroove entitled 'When I Wake Up', is heavily blues inspired, featuring the sort of melodies you'd expect from Elvis's earlier bluesy stuff, making it the perfect fit for the theme of the album. The Celebration Army follow with 'Black Blues Jeans', a track that admittedly begins with odd sounding vocals, but, I promise you, by the chorus you will love it. The vocals begin to relax and sound less abnormal and completely new vocals enter scene for the chorus. The melodies in this song are irresistible and make you want to ease into a sassy dance. 

The fourth track opens with a mellow strings composition but picks up into a mainly lyrical composition backed by brass. Personally, I am not a fan of The Blue Project's 'Requiem for a Working Man' but it is hard to not appreciate the artistic value of it. Genuine Crude brings their track 'Insanity Rules' to the table next. It sounds quite fresh in comparison to the other tracks, perhaps due to the instruments sounding more alert. This is a track that almost doesn't fit, but, then again, the goods things in life never blend in that easily do they? 

'The Killing of the Fragile' by Johnny Hate is angry and feisty, full of emotion and ready to fight for what it wants. It's a track thats hard to forget, its repetitive melodies get lodged so easily in your head.'(You Got Me) Rollin' and Tumblin' by Melting Pot on the other hand is more relaxed, ending the album on a chilled out, bluesy high.

The Americana Amour will be available via iTunes, Amazon and Google Play tomorrow.

Emily Branson, (@emiemzy)

Calming River

Calming River is an artist who creates very real music, music which comes to life and moves before you like an apparition. Each track also feels very pure, most songs are simply just him and his guitar, giving each track an intimate sound. The debut LP 'Afflict and Redeem' also features drums and a violin, instruments which add more depth and ambiance to the tracks.

'The Ember' starts the album with an atmosphere tinged with a sadness. The steady pluck of guitar strings and melancholy violin easily alerts you to the fact the album is going to be full of intricate beauty. Following in suit, 'Overcome' creates a dark and raw sound which rolls into a chilling climatic ending. 'March' continues a somber mood but 'Brother I' acts as the parting in the clouds. There's hope flowing deep within this song, a hope created by the lighter notes and small grin of melodies.
'Parrot Song' is one of my favourite tracks. There is a build up of instruments that sounds so full and simple at the same time. The melodies begin to sound like breathing and drum beat feels like a heartbeat making Calming River's music really come to life and it sounds almost Holy. 'Stayed At Home' is full of spiralling notes and wistful vocals that ultimately suck you in like vacuum. The album ends with 'The Dirt', a track which begins unexpectedly with sweeping background tones. As Calming River begins to vocalise his thoughts it is easy to get caught up and lost within the song, so much so that your skin begins to tingle.

Buy the album:
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Emily, (@emiemzy)

Babylon K

This Italian five piece make music very similar to the Arctic Monkeys, both through the sound of the vocals and that authentic feel to every part of the music. The authenticity is very real for this band too, having self-produced their tracks there is no space for fakery. Babylon K have recently released an EP. Its bloodthirsty and raw, each of the four tracks boast a feisty attitude.
'Feenings' kickstarts the EP. The track opens with gloriously pulsating guitars followed by a powerful beat and a psych inspired interlude, all of which suggest that this would be a killer track to see live. 'Why Are We Living Now?' definitely paints the EP golden for me, its got more electricity than a live wire and the climatic nature of the song makes it hard to keep the volume low. Penultimate track 'Eternal Friendship' is dominated by the shrieky plucking of guitars making it a truly epic track. 'Waitin' For The Shine Of Light' however is more brooding, the instruments make it feel like there's a brewing storm whilst another injection of psych that precedes the chorus makes everything seem more mellow. If the EP is anything to go by, I'd say that Babylon K have a roaring future awaiting them.

Download the EP:
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Emily, (@emiemzy)

Young And The Blue

Young And The Blue are a band who have a more humorous approach to the world of music as I'm sure you'll see when you visit their website. However,  their music itself is pretty much flawless following its thorough performance and production. I think this is a band that is much needed in the tense world of music at the moment, these are people who can have a laugh and make killer tracks instead of arguing and over-producing everything to become 'mainstream'. If Young And The Blue continue doing what they're doing, I'm certain that they could have the world in their hands soon.

The band have recently released their EP 'Change Your Mind', a little box of fast-paced rock enigmas. 'Boredom' opens the EP, an ironic name for something so feisty and layered as this is. There is a plethora of  instruments, including an electric guitar and a piano, all of which work exceedingly well to create a wall of sound which blocks everything out whilst you ease into the bands groove. 

The second track 'Watching' is again a lively track, featuring a sprint of notes and beats. The gentle instrumental near the back end of the song flaunts the bands ability to be diverse in the emotions they expose and also really keeps you on your toes, I mean, who really wants a band that does the same thing all the time?  Final track 'Only For A Second' is definitely the highlight of the EP, its in your face, flaunting its power and skill. I love the spunky attitude and I love the fast--paced chorus that really sweeps you up. I would also really love to see this played live, you can already tell that it will be corker.
Keep up with Young And The Blue:
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Emily, (@emiemzy)

Shamona

Shamona is a new, fresh-faced three piece from Liverpool. The trio create an authentic sounding rock, one fused effortlessly with tones of pop creating a refreshing sound for any rock lover. The band's recently released EP 'Just Like You' contains 5 perfectly produced tracks that are sure to make you at least take notice of them.

The EP opens with 'Rich Mans Sake', it's gloriously performed. Theres just something about this song that makes you feel connected to the band, whether its the rough and powerful vocals, the indulgent rise and fall of notes or even the riffs at the start that leave goosebumps in its wake, I don't know, but I do know that it works.
A gentler track follows, 'Just Like You' is the rawest and slowest track on the EP and reminds me of the emotion in Twin Atlantic's 'Crash Land'. The final track of the EP is actually a stripped back version of the song and it is bloody good. The strength in the vocals and the simplicity of the piano accompaniment is so pure that it actually jars you a little bit, living in a world where music is rarely this refined it reminds you of how crystaline music can still be.
'Come And Go' is repetitive and almost drug-like, you don't expect to love it but you do, and you just can't stop listening to it. 'The Game Is Yours' continues in a similar fashion, except with this one you immediately know its going to be a good'n. Everything is flawless in this track and the central riffs are just enigmatic, it is impossible to reject it.

Buy the EP:
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Emily, (@emiemzy)

Dan McCarthy

Dan McCarthy's recent album 'When The Light Fades' is one to fall in love to. A fully hand-crafted and acoustic album that holds a magical essence. 'Fly Away' has already been featured following its appearance on the 'Acoustic Arsenal' Compilation (read the review here). Even from the first track your muscles begin lose their tension as you ease into McCarthy's lucid voice and gentle melodies.
The following track,'Crazy Sun', is one of my personal favourites. It has a wave like melody and is predominantly instrument, it has been perfect for soothing away any stresses I've had and settling me down for the night. What more do you want out of a piece of acoustic music? 'Moonbeams', 'Dream Time' and 'Lost' continue to hold onto McCarthy's wondrous relaxing and loving essence whilst the songs still flaunt their own special sparks, making them all into independant flourishes.
'Fence Post Man' reminds me of Gordon Giltrap, the track leaks the same level of skill and emotion as Giltrap does in his own music. Lyrically, the next song is my favourite. 'White Light' is so sweet and gentle, opening to the sound of  "Sometimes I see the light in me, sometimes I see the stars, sometimes I see the light in you, the space between the stars and me, the space between the stars and you". 'After The Rain', 'Firefly' and 'Ladybug Point' all lead up to 'The Woods', the closure of the album, with grace and purity. 'The Woods' does end the LP perfectly, McCarthy's vocals make twang somewhere deep inside your soul whilst the fluidity of guitar notes make you feel like your floating. I don't think he could have ended the album any other way.

Keep up with Dan McCarthy:
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Emily, (@emiemzy)

Stina

In short: prepare to fall in love. Stina's folky music sounds like audible beauty, I'm serious. Yes, she may not be favorable amongst our more rock orientated audience but you can't help but give praise where it's needed: each song is doused in a delicate magic, gentle to the ear and caressing to the mind. Her EP 'Call The Guard' gives a perfect example of this.

The first track, 'Call The Guard', is perfectly composed and, like the other songs on the EP, is lead by Stina's mystical vocals. The background melodies are powerful yet gentle, symphonic but faded, giving it a largly acoustic sound. 'My Own' follows in a similar fashion, sounding a bit darker whilst she exposes her more serious emotions.

'Raven' is more spritely, both the instrumental and vocal sections of the song build with an enthusiasm that inspires a smile and a swell of the heart. The penultimate track, 'Remind Me',  is a story of feeling, allowing a bond between Stina and yourself occur following her openness. 'Catch Me If You Could' is a quintessential finale, the higher notes ensures a joyous ending and the tender 'ooo's following the chorus clips the song to your mind and leaves you in a state of awe.

Keep up with Stina:

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Download the EP on Bandcamp.

Emily, (@emiemzy)

Live Review // Pond, Electric Ballroom 25/2/15

The Perth psych rockers embarked on their tour of the UK on the 20th of February in Sheffield but the fourth night in North London was certainly one to savour.

Support came from London-based band Younghusband who provided a suitably rocky, post-punk, shoegaze and even slightly psychedelic opening to proceedings with several songs that I found myself engaged in almost immediately. After not ever hearing this band before I was beginning to really enjoy them but this was short-lived as…

POND pranced on stage in all their glory to immense cheers from the Ballroom crowd with frontman Nick Allbrook sporting a nicely patterned kimono and synth player Jamie Terry sporting nothing but a fantastic hair/beard combination as well as a smile that could have filled the entire room. The eloquent foursome (without bassist Julian Barbagallo who recently left the ever-changing line up of Pond) got the ball rolling with emerging fan favourite and beginning track on the new record ‘Waiting Around For Grace’. This song burst into life much like the crowd did after the initial slower intro and seemed to get everyone into the Australian psychedelic mood with its impeccably joyous tone and undisputed ‘catchy’ nature. 

As the set continued in the same upbeat, frantic fashion with ‘Elvis’ Flaming Star’, more frenzied dancing/verging on moshing was incited for the first time as this song’s more unrelenting or continuous nature lent itself to this kind of reaction. The next block of songs consisting of ‘Heroic Shart’ (a clear favourite of the band), ‘You Broke My Cool’, ‘Don’t Look at the Sun or You’ll Go Blind’ and then ‘Sitting Upon Our Crane’ all provoked differing responses from the relatively youthful crowd with the second of the four off the first record receiving a perhaps surprising, overwhelming response as the chorus consisting of ‘You… You broke my cool, yeah, yeah, yeah…’ and so on being bellowed out like it was a number one hit which I personally revelled in. ‘Don’t Look at the Sun…’, a song that the band pride on ‘getting the crowd going’ did this with a certified amount of vigour that sent the crowd into endless moshing with people falling over and piling on top of one another. This track which isn't on any of the band’s records can always be relied on to create havoc in a crowd.

‘Sitting Upon Our Crane’ and ‘Holding Out For You’ provided more solitary rest bite from the craziness of the majority of the set as well as giving Nick Allbrook a break from his wonderfully elaborate frontman duties to let drummer Jay Watson and guitarist Joe Ryan provide the vocals on these two tracks to great effect despite guitarist Ryan in particular looking the most apprehensive about singing alone on ‘Holding Out For You’. He needn't of worried. The crowd now beginning to look slightly bedraggled and fatigued were revitalised with a funky Brian Eno cover of ‘Baby’s on Fire’ and then into Hobo Rocket favourite ‘Giant Tortoise’ combined with golden oldie ‘Pond in a Park’ which resulted in chaotic movement from the crowd with the change in pace of the song meaning in the slower parts all the listener is yearning for is the next ripple of battering drums and recognisable guitar riff.  As this track almost had everyone finished off, with only the more resilient left standing, the band decided to give the others a chance to get their breath back with a great rendition of ‘Holding Out For You’ before going into the closing song of the main set, ‘Midnight Mass (At The Market Street Payphone)’ which in its 6 minute entirety was a crazed, hard-hitting and damn right riotous end to the set. With its vastly intense crescendo of drums and Allbrook's echoing vocals the battered and bruised crowd were left longing for just an ounce more of Pond magic as they left the stage…

Much to the delight of the packed Ballroom, the foursome returned onto stage moments after as they entered into the psychedelic whirlwind that is the title track off their latest record, ‘Man It Feels Like Space Again’. This was a completely justified ending to a set that twisted and turned as well as provoking a variety of responses from the crowd many of which involved chaos and excitement. There were the minority that still had the energy to try and incite moshes at what they viewed as the most appropriate moments but the vast majority marvelled at the genius of this constantly deferential 8 minute masterclass whilst gently swaying and sauntering at the same time. 

At the close of the set, many were left in a psychedelic blur as the band left on stage an abundance of constantly flickering vibrant lighting as well as synth and guitar sounds that unsettled the head a little. Some may have been a little disheartened with the absence of tracks like ‘Zond’, ‘Medicine Hat’, ‘Xanman’ and perhaps ‘Eye Pattern Blindness’ but one thing many would have almost certainly taken away from the show though was that they'd seen perhaps the best live psych act around in current times even if they had taken a bit of a battering to do so. 

Luke Jewell, (@heroicshart)

The Evil Professor Y

This is the follow up compilation to The Mysterious Projekt X (read the review here) and again does not fail to impress. You can never be disappointed with the range of sounds on these records, if you think about the title, any genre ideas made will be included in, of course, a seamless fashion. This LP is filled with hidden gems and Factory Fast Records deserve so much praise for bringing this music to light. It also features one of our previously review tracks from The Everglows, read our review of 'Amanita' here.

The album opens gracefully with 'Aliens in Woodstock' by Creeping Volt Club, a song focused almost entirely on melodies which create an almost groovy and cool atmosphere thats simply heaven to absorb. The second track, 'Dr. Jekyll and Mr. Hyde' from The Harrison Brothers, leaks reminders of Austin Powers and his vibrant 60's era. The song itself isn't boasting obvious 60's DNA but its there, those fuzzy, faded guitars and organ like keyboard notes all allude to a 60's inspiration.
'Fire `n' Fear' from The Poulsons takes you off your feet with their brooding electronic infused rock sound. Its deep and layered, no matter how many times I listen to it I can still find different bits that I didn't notice before. The Love Buzzards with 'Dungeon Party' turns the album to a brilliantly raucous track. There's rough vocals, dangerous guitars and a glorious beat, what's not to love?

'Untouchable' by Alpha State of Mind sends prickles down your spine with its immense intro. The good feelings don't end there, the song continues to emulate magnificence through its powerful vocals and unsteady beat. Concluding the album with an awe inspiring darkness is 'Feed the Machine' by The Windsor Project. The track is the heaviest on the LP and resonates deep within as it's pace quickens and slows with a deft prowess.

The album will be available in two days on the 10th of March on all good online retailers or pre-order it here.

Emily, (@emiemzy)

Lindsay Mac

Lindsay Mac has somehow made pop music unique, her tracks feels original and personal, each one giving a little hint to who she is. Mac has recently released her EP Animal Again, it is filled with soft pop melodies and synthed tones.

The first track, 'Animal Again', makes you feel like you have been packed off to a calm beach, watching gentle waves roll in. It's inevitable that you finish this song with the lyrics flowing out of your smiling lips. 'Remember' follows, it's a completely poptastic track, full of light electronic tones and strong, elegant vocals. It sounds as though she's reinvented Kylie Minogue.

'Back To Right' slows the EP down a bit with a steady but animated beat. This is one of those songs that brings the sun out behind the rainy clouds and the emotion in this track feels like a living, breathing person making this one exceptional track. Finishing the EP is 'Wolf', a track definitely wolf like in its power and sure to become a motivational song. The synth sounds spiral around Mac's voice and give you an empowering growing feeling.

Keep up with Lindsay Mac:
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Emily, (@emiemzy)

Interview // Milestones

Milestones: a new, fresh faced pop-punk band from Manchester who are already edging onto the scene ahead of the release of their debut EP 'Equal Measures' in April. The band, consisting of vocalist Matt Clarke, guitarist Andy Procter, bassist Mark Threlfall and drummer Andy Makin, are also set to accompany some big names in the next few months such as Man Overboard and have just got back from accompanying Yeah Detroit on their Feb tour. You may be wondering how such a new band have come about such possibilities but as soon as you let their single 'More To More' pleasantly assault your ears with it's irresistible and defined pop punk vibes you will inevitably begin to understand why. 

We managed to have a chat with the bassist Mark to talk Milestones:

Mytacism Music: First of all, what got you into music? 

Mark: I've always had an interest in music, but I suppose going to see my first ever concert (Green Day in Birmingham in 2009) was what fully got me into music, I knew from that point that I wanted to be in a band, it’s still one of the best live shows I've seen to date. 

How did you all meet? Could you indulge us in a history of Milestones? 

We all met through crossing paths are some point or another during the run of our old bands, I’d been in touch with Matt (vocalist) a few times regarding bookings for one of my old bands, and had been on a few shows with Andy & Andrews (Drummer & Guitarist) old band. It was originally Matt, Andy and Andrew practising and writing, then I contacted Matt after him posting something online about needing a bassist, so I thought it’d be worth me asking what its all about. The rest of it is just history really, we practised loads, wrote an EP and got to where we are now. 

Who has been your main musical influences when creating your debut EP ‘Equal Measures’? 

There’s been a few bands from we've taken influence from in the writing process of the EP, there’s bands like Neck Deep, The Story So Far, State Champs, Real Friends etc who have really influenced the Pop Punk elements of the record, and then there’s the likes of You Me At Six, Deaf Havana, Young Guns, Don Broco etc, they're the sort of bands who influenced us heavily when bringing the straight up rock vibes to the record. 

What was the process like when you created the EP? 

The process was our guitarist Drew demoing a song, that would be the skeleton of the song in a sense. Then when we'd come to practise, we'd build the songs up until we were happy with them and were ready to take them into the studio, we'd then hit the studio with our producer Phil who'd help us fine tune the songs. 

What does a day in the life of Milestones involved? What do you guys normally get up to? 

A lot of our days are spent planning, organising, networking and sorting out general band stuff. We try and work as closely and efficiently as a unit as we can, so it is important we try and keep pro-activeness and creativeness ticking over at all times. With all sharing the same ethos that we do in Milestones, its something that is achievable. 

Apart from making music, do you have any other hobbies or interests? 

I don't really think I have any other hobbies other than making music, I'm quite fixated on the band, I wouldn't want to overwork myself by trying to keep up so many hobbies at once, the band is my main priority so I like to have as much time as possible for it. 

Where do you see yourselves in the future? You're already set to be playing with some bands! 

We see ourselves touring, writing, recording, playing shows and generally having a great time in the future, hopefully anyway. Our main aim is to have as much fun as we can, so we hope we can continue doing so in the future! We're already set to play with some huge bands which is crazy for us, in May we'll be playing with the likes of Motion City Soundtrack, Man Overboard, Trash Talk, Moose Blood, ROAM, and thats insane for us to say after only being an active band for a few months.

Thanks for chatting with us!

Debut EP 'Equal Measures' to be released April 6th

See the live at Empire Festival (17th May, Sheffield, The Hop)

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Emily (@emiemzy)