Archive for Pop punk

Blowsight to release benefit single in aid of the homeless

Posted in News with tags , , , , , , , on 21st February 2014 by Pieni

 photo wintershowmercy_zpsafc7cbcd.jpg

“Winter Show Mercy (Thank You)” is the title of Blowsight‘s upcoming single, to be released this Thursday, 25th February. This is more than just a new song, the single release has another purpose than just bring you good music – all profits generated by its sales will be donated to the homeless.

Last Christmas, singer/guitarist Nick Red bought a cup of coffee to a homeless person named Björn and “Winter Show Mercy (Thank You)” was inspired by the conversation between the two of them. Quoting Nick: » Something that most of us will never experience is the humiliation of not even being recognized, being completely ignored by people that pass you by as if you didn’t even exist. Björn lost his wife three years ago and after that, it all just went downhill for him. While he admittedly needs shelter, food, or someone’s spare change; what he wants more than anything is for people just to acknowledge him even if they can’t spare a dime. The man is still a human being! «

You can purchase the single on Amazon (http://smarturl.it/tq6qaf) or iTunes (http://smarturl.it/9ehbqd), the latter including a digital booklet with art drawn by Nick himself and the lyrics for the song.

Official Facebook page: https://www.facebook.com/BLOWSIGHT

Paramore unveil video for Ain’t It Fun

Posted in News with tags , , , , , on 30th January 2014 by Nico Davidson

Modern pop punk icons Paramore have finally released the video for Ain’t It Fun, following a delay in its original release. The song is the fourth single from their 2013 self-titled album, Paramore, release and the video fits the track title perfectly as you can see in the video below.

Paramore online:

http://paramore.net
http://facebook.com/paramore/

 

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Ben Parcell – Expectations

Posted in Review with tags , , , , , , , , , , on 5th September 2013 by Nico Davidson

Ben Parcell
Expectations

Released 14th September 2013
Acoustic/Folk/Pop Punk
Released via By The Sea Records

Since becoming a solo act, Ben Parcell has gained a relative amount of fame through the East riding area and beyond for his soul-fuelled songwriting, distinctive voice and hard working attitude. Ben has clocked over 250 shows around the UK, playing both gigs and festivals. Taking influence from a wide range of different acts and genres such as Frank Turner, The Beatles and Green Day, Ben has established his own sound whilst staying true to his roots.

Opening up the album is the title track, Expectations, which proves to be a gentle yet honest song filled with emotive lyrics as well as distinctive accompaniment of piano. Out Of Here has a different sound all together, with a new pulse added to it by the use of percussion while the lyrics and vocals a certain tension to the music that rings out with all the strength of church bells minus the inducement of headaches. The use of guitar has a slight jig to it, blending in elements that are hard to explain. Gracie Falls‘ vocals inject a docile but rare touch into the song.

Forget The Pain has a misty, Stygian atmosphere that is reflected gracefully through each note and dances seductively with the lyrics. Given the darkish sound of the song, would it be safe to classify this as doom folk? Painted By Numbers is the upbeat number that appeared on Ben‘s EP of the same name (the review of which can be found here). The backing vocals, as provided by Edwina Hayes, adds a pillar of strength to the song while Ben‘s vocals and guitar work laid the foundations. I Don’t Need You continues with the upbeat tempo though the lyrics and vocals leave a trail of dusk and solemn feelings in their wake – A contrast that clearly works well for Ben. The piano medleys add a handsome sound to the song, keeping it fresh yet gloaming.

Undertow sails down a similar route to that of the opening and title track Expectations but some interesting changes of course throughout its journey whereas Jetsam a stable and silky campaign from beginning to end – A perfect chill out song. Stay In Touch is another song from Ben‘s Painted By Numbers EP and makes for easy and pleasant listening, though the pace picks up ever so slightly after the introduction. Too Late To Say Goodbye also appeared on Painted By Numbers, capturing the sobering and reflective side of Ben‘s music. The last song to feature on the album from Painted By Numbers is Love Song, which rings out with emotional lyrics and soul-filled music.

The album finishes up with Light At The End Of The Tunnel. The guitar passages whistle out a partially majestic sound, underlying the subtle emotional tones in Ben‘s voice. The organ sounds summon up a thoughtful, somber sound that makes the song almost infused with doom-flavoured elements which are eventually added by the grave use of Black Sabbath-based electric guitars.

Since his career began as an acoustic act, Ben Parcell has slowly become one of the well known musicians of East Yorkshire’s acoustic and folk scene and Expectations is a testament to Ben‘s talent and is one of the most important albums in the East Yorkshire’s folk scene – If not, the UK’s. Blending influences and elements from different genres and musicians, Expectations also clearly shows an evolution in Ben‘s sound and style.

5/5

Nico Davidson

Ben Parcell online:

http://www.benparcell.com
http://benparcell.blogspot.com
http://gplus.to/benparcell
http://benparcell.bigcartel.com
http://benparcell.bandcamp.com
http://www.twitter.com/benparcell
http://www.reverbnation.com/benparcell
http://www.myspace.com/benparcell
http://www.soundcloud.com/benparcell

Paige unleash lyric video for Down And Out

Posted in News with tags , , , on 4th September 2012 by Nico Davidson

Fast rising Pop Punk act Paige have been away hard at work on their debut full length album, the follow up to last year’s Young Summer EP. The record is now written and in pre-production stage, with a spring 2013 release now scheduled.

To give you a taster of what to expect from this forthcoming collection of bangers, they have uploaded a lyric video for the brand new song Down And Out.

Keep an eye out for this lot – tunes this infectious don’t stay under the radar for long!

Abbie Lammas w/Ben Parcell @ Shades Nightclub, Bridlington

Posted in Gig, Live with tags , , , , , , on 23rd August 2012 by Nico Davidson

Abbie Lammas & Ben Parcell
Shades Nightclub, Bridlington
Saturday 18th August

Shortly after leaving Brid Rocks, I headed down to Shades to see Abbie Lammas with her new (currently unnamed) band as well Bridlington’s own Ben Parcell. It had been some years since I last saw Abbie performed, so I was rather excited to see her perform in Brid again.

IMG_0122A calm, friendly atmosphere hovered in Shades as Ben hypnotised the crowd with a soothing, gentle sound that softly echoed across like a whisper in the wind. Ben performed a couple of tracks from his latest EP such as the folky title track Painted By Numbers which still retained a subtle, discreetly heard pop punk vibe and the catchy number Love Song, both of which Ben performed flawlessly. Of course Ben threw in a few covers as well such as Driftwood and Remembering Sunday, the latter of which came across powerfully. Ben ended his set on with an entertaining encore of Baby One More Time.

Shortly after Ben’s set, Abbie’s band had a quick jam on stage which IIMG_0135 unfortunately missed due to fulfilling my carnal cravings for nicotine. Once I placed myself back firmly in my seat, Abbie began her set, beginning with a song entitled Twinkle, which was like her own rendition of Twinkle Twinkle Little Star only with some new parts thrown in to make it more suited to her style of playing. The second song she performed, which I never caught the name of, really demonstrated the strength and versatility of her voice as it left people watching and listening in both awe and appreciation of her talent.

When her band began playing along with her later in her set, new musical dimensions were opened up with Abbie’s music as thunderous riffs and solemn bass work boomed throughout the venue, enhancing Abbie’s vocals grandly. Later in her set, Abbie swapped from acoustic to electric and to say it was her first time playing electric guitar live, she did superb, especially during in the performance of the mesmerizing, alt. rock sounding song Save Me.

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In a vast landscape of female fronted acts, Abbie and her band have got a lot of potential and really do stick out, both musically and vocally, from the other female fronted acts.

Nico Davidson

Photography by DAVID FERRET TAYLOR – http://facebook.com/DFTPhotography

Versus The World–Drink. Sing. Live. Love.

Posted in Review with tags , , , , , , on 27th July 2012 by Nico Davidson

Versus The World
Drink. Sing. Live. Love.
Released: 31st July 2012
Alt. Rock
Released via Viking Funeral Records

Versus The World rung a bell the second I received their new album Drink. Sing. Live. Love. however at first I wasn’t sure where I had heard the name (aside from the Amon Amarth album of the same name) but it wasn’t until recently I realised I’d first discovered these Santa Barbara rockers through one of the WWE games that one of their songs were featured on.

The album is taken on a wild ride at the beginning of She Sang The Blues. While the riffs display a furious raw sound which I’m somewhat familiar with, the vocals are more tame compared to the music. Mason Grace changes completely from the previous track, becoming more of a heavy pop punk track that does match the vocals very well but can be a bit of a come down for anyone expecting driving force of angry riffs.

A Fond Farewell is another pop punk based track where the riffs, again, work well with the vocals, emphasising their unique sound. Following the short dialogue at the beginning, The Kids Are Fucked offers up a lovely serving of aggressive, in your face and melodic guitar playing and violent drum work. The vocals have a callous touch to them as well, adding emphasis to the song. Fortunately Lullaby allows the fierce guitar stylings to continue for a short while before coming more tame and laid back.

These Bones sounds very much like a Paramore track but with male vocals instead, which can be somewhat entertaining. A Love Song For Amsterdam keeps the pop punk sound flowing from the last track, minus the Paramore sound. The following track Crooks & Liars takes on a different sound to everything else on the album, featuring more emphasis on the bass, which rings out powerfully like church bells in the morning. Oh Brother Where Art Thou doesn’t particularly stand out though some of the riffs are well composed and played.

The next two tracks, In The Fear Of The Finale and Donner Pass, travel down the same road, musically, displaying angsty riffs and callous drum work. Angry February is a very sombre affair, mixing a range of different, solemn emotions together in the form of staunch vocals and slow guitars and rhythm. We Were Alive finishes the album in a melodic, pop punk fashion.

Drink. Sing. Live. Love. is a hard one to judge due to its diverse sound though this might cause it to not be everyone’s cuppa tea. However, the album is enjoyable though there are some parts that need polishing.

4/5

Nico Davidson

Of Fortune & Fame Join Panic

Posted in News with tags , , , , on 15th March 2012 by Nico Davidson

Syracuse, NY pop punk outfit Of Fortune & Fame have signed to Panic Records. Forming only two years ago, the band already have an EP and two tours of the US east coast under their belt. July 24th will see the release of their newest record Perspective, which is said to have a more refine sound than their last release Earn It. You can also check out a new song from the band here.

ReVerbed – Lies You Can Believe [2011]

Posted in Review with tags , , , , , , on 2nd October 2011 by Nico Davidson

Band: ReVerbed
Album: Lies You Can Believe
Release year: 2011
Genre: Alternative Rock

ReVerbed are a Doncaster-based alt. rock band, who despite being young have already played in venues around the UK, including in London, Leeds, Sheffield, Nottingham and so forth. “Lies You Can Believe” was released earlier this year.

”What Went Wrong” begins with an interesting piano medley which finds itself eventually replaced by an energetic, slightly-punk orientated riff. The vocals are an odd combination of gruff and soft pop-punk stylings that don’t agree with one another. The female vocals harmonise the leads vocals slightly but not enough to stop the lead vocals ruining the track. The riffs are well composed and the drums are soulfully played. The short acoustic section would have been more enjoyable without the vocals.

”Obsession” starts with a strange riff, which weirdly sounds similar to a small extent, like a part of “Enter Sandman”. The female vocals do the lead vocal work on this track, fortunately for the listener’s ears. The track feels lifeless and lacking of any sort of passion – Listening to it is kind of like being forced at gunpoint to listen to Justin Bieber. The third song of the album, “Run”, injects a bit of life back into the album though not much as the male vocals are doing most of the work. The guitar riffs are well enough composed, though it still feels like they need something adding to them like an extra dose of adrenaline. In all honesty, the drums are the most entertaining aspect of this song.

”You” has a typical bland sort of grunge sound, which would no doubt cause even the most active of people to slowly drift off to sleep. The vocals seem to drown out the guitars. The good sections of the song would have to be when there is no vocal work, as the music can actually be heard properly. “Scream” has a better start, bringing some kind of passion to the music, keeping it from being a tiring, droning sound. The female vocals are once again the lead, thankfully, though they don’t quite gel with the backing vocals on this track. The only major issue is the drums in one section of the track, as they don’t work well aside the guitar section in one part.

The sixth song “Not Alone” has the generic pop-punk sound that a lot of young bands seem to establish. The track as a whole lacks musical and emotional maturity, as well as substance, sounding more akin to something that a twelve year old would write. There really isn’t a redeeming thing about this song. It’s one of those tracks that would have been better off not being written – or recorded. “Shadow” is the halfway point of the album and is another part of the album with the overly generic pop-punk sound, which is heard loud and clearly in the vocals, to the point where it sounds like the band are trying to be the next Blink 182. The guitar riffs sound half-composed and the drums don’t really add anything interesting to the song either.

”Through The Rain” is an improvement to the previous tracks, though only by so much. Some of the riffs have real bite to them though some of the other riffs seem to be the leftovers of an MCR album. The lack of male vocals is a bonus for the song as well. Following after, beginning with a few samples, is “No Hero”. The riff that follows the intro is a fairly mediocre sounding composition and the vocal section is in need of major tweaking. The drum work sounds familiar to some of the drum work in the other parts of the album – Disappointing to say the least.

Nearing the end is “Burn”, bringing a tiny Bryan Adams sound at the beginning – To as whether this is an intentional part of the composition remains to be seen. The female vocals add life to the song while the male vocals ruin it, kind of like the way police ruin parties. The chorus drains a lot of the energy out of the music, which is unfortunately as this one could have been a party anthem, despite the lyrical content.

”Don’t Look Back” sounds more like a mature composition and the male vocals actually work with the music – For once. Shockingly, it’s the female vocals that don’t do this song any justice. The guitar work is well written and played, as are the drums. “Beautiful Lie” has a semi-mature sound to it mixed with a hint of punk, which the male vocals, again, work with well the music. “Tomorrow” is the final track on the album and is a poor choice to finish the album with. Nothing seems to blend well with anything else, the vocals sound out of key and dissonant and the song just seems to be the kind of song that you’d “accidentally” delete on your media player device.

”Lies You Can Believe” is definitely not a masterpiece, if anything, it’s more akin to a disasterpiece. The vocals are one of the biggest negative factors as neither vocalist seems to harmonise with the other – They could invest in vocal lessons or find a new vocalist – and the music sounds too similar to each track combined with the generic sound of pop-punk, which may or may not have been intentional in the composition. The sound quality of the album is excellent, however. The album doesn’t really say much about ReVerb’s talent as a band who have played all over the UK. Perhaps they should take more time writing songs and perfecting their craft than playing shows.

1.5/5

Nico Davidson

Six Stories Unknown [Band Review]

Posted in Uncategorized with tags , , , , , , , on 2nd August 2011 by Nico Davidson

Band: Six Stories Unknown
Country: Sweden
Genre: Pop-Punk
Site:
http://www.facebook.com/SixStoriesUnknown

Sweden, musically, is known for bands such as Abba and Arch Enemy, though the country is fast becoming home to an ever growing pop-punk scene with bands such as Almost Today and IKE. Apart of this growing scene are Six Stories Unknown, a five-piece pop-punk outfit from Eskilstuna, Sweden. Though the members are young, they have shared the stage with the likes of Tantrum To Blind and Aim For The Sunrise.

“She Said Happily Ever After” begins with a semi-violent riff, which sounds more like a rock-styled riff than a pop-punk medley. The vocals have a strong element of pop-punk. Like some of the guitar sections, the drums are more akin to rock. The guitars bring out some powerful melodic licks in parts of the song as well. “Still Carry On” has a very strong pop-punk sound all the way through it, but not quite as generic sounding as a lot of pop-punk bands. The guitar riffs are well composed and brilliantly played, as are the drums and the bass. The vocals are powerful as well.

”Fly” sounds to be more alternative rock meets punk in terms of its musical composition. The vocals are strongly pop-punk sounding however which does get a little tiring after a while for the casual listener to pop-punk or for someone new to the pop-punk genre, though there are a few short harsh vocal sections which are more akin to hardcore. The breakdown is an unexpected part of the song but it gives it a fresher and crisper sound. “We’ll Take Over The World” has a strange introduction as it’s composed of synths followed by a very soft, melodic guitar riff. The song is more hardcore dominated at the end. The only major issue with the song is that it’s too short.

Six Stories Unknown are certainly an interesting and exciting band to listen to, though their sound is typically pop-punk the hardcore and alt. rock elements are a great addition to their music, helping keep everything fresh. Six Stories Unknown are a band that pop-punk fans should be keeping an ear out for as they could soon become a domineering force in the international pop-punk scene.

Nico Davidson

Almost Today [Band Review]

Posted in Uncategorized with tags , , , , on 1st August 2011 by Nico Davidson

Band: Almost Today
Country: Sweden
Genre: Pop-punk/Rock
Site:
http://www.facebook.com/Almosttoday

Sweden, the country who gave birth to one of the first black metal bands, Bathory, who then went onto create “Viking Metal” has always been known for Vikings, death metal and pop music, however, it seems that Sweden is now becoming the home for pop-punk as well as can be seen by rise of “Almost Today”.

”My Best Is What You Get” has a very Paramore-sound to it in terms of the intro guitar riff. The vocals are how pop-punk vocals usually are. The drums seem generic in their playing, though fans of pop-punk music would have no problem with this. The guitar parts play some melodic and catchy hooks. The chorus is plain, somewhat of a let-down considering that most of the song is pretty decent. “The Door Is Locked” has a more rock-orientated approach to its sound, which would be considered an improvement for those who dislike pop-punk. The vocals are strong and the guitar parts are still pulling off some catchy and energetic hooks and riffs. The drum work seems more intelligent as well – An improvement compared to “My Best Is What You Get”.

”There’s No Love In A Lapdance” is another rock-orientated song in its beginning though it does soon adopt the pop-punk sound with the introduction of the vocals. The vocals have a slight Blink 182 sound to them – Just not as irritatingly whiney. The guitar sections aren’t too impressive, though they’re not exactly boring or dull either. The bass & drum part of the song is probably the most interesting aspect of the track. The sound of drums soon followed by a masterfully played guitar riff introduces the song known as “Scene Chicks”. The song sounds like a typical pop-punk song about girls – Though if this is a good thing or a bad thing remains yet to be seen. The riffs get pretty hypnotic in sections, though the drums don’t seem to fit in with the guitar riffs. The bass riffs are pretty good however. “The Life We Knew” takes a laid back approach, bringing a slightly solemn mood. The vocals are strong – For pop-punk. The guitars are nicely played and the drums work better with them during in this song – Always a plus. Though the song isn’t as energetic as the other songs, it seems to have more life in it. The surprising use of a guitar solo is mind-blowing – Even if it is ruined slightly by vocals being sung over it towards the end.

Almost Today are a talented bunch of lads and do show promise. They could even go as far a putting Swedish pop-punk on the map. These are a must-hear band for fans of Paramore, All Time Low and We Die Tonight. Almost Today’s mixture of pop-punk and rock is certainly a refreshing change from the usual generic sounding pop-punk found on the bigger music scenes.

Nico Davidson

Forever And A Day – Last Orders [2011]

Posted in Uncategorized with tags , , , , , , , , , on 19th July 2011 by Nico Davidson

Band: Forever And A Day
Album: Last Orders
Release year: 2011
Genre: Pop-Punk/Metalcore

Bridlington-based pop-core quintet Forever And A Day have slowly become a household name within the UK’s underground metalcore and pop-punk scenes over the past few years. They’ve shared the stage with the likes of Yashin, Shadows Chasing Ghosts and Vanna, as well as releasing a demo and a music video over the summer of 2010, the band recently returned to the studio for the recording and production of their newest release: “Last Orders”.

The title track “Last Orders” is the first track of the album, been composed of the sound of people drinking, chatting and the sound of a piano been played in the background whilst a bar fight takes place. “The Roads Ahead” begins with an average paced riff, which is soon accompanied by a second guitar, bass and drums. The track turns heavier, featuring some intelligent drum work and clean, pop-punk styled vocals. The song remains consistent and flows well into each different section. The screams bring about a great metalcore sound as well. The gang vocals are a great addition as well.

Following after is the aggressive and violent sound of “Heebeegeebees”. Straight away, the listener is bombarbed by an in your face metalcore anthem. The guitar riffs are masterfully composed and the drum work can only be described as immense. The breakdown is a great section, building up to the next section. The only down sound to this song is that it’s too short. “Can’t Spell Slut Without You” starts with a bass riff, leaving the listener to think “Something good is gonna happen soon”. Fortunately, something good does happen and that something is the increase of barbaric heaviness of the track. The screams are great and the guitar sections are sheer genius. The drums are certainly most impressive and the clean vocals seem stronger.

”We See Everything, So Play Nice” is the second to last track. The intro riff seems weaker compared to the previous tracks though this soon changed when the drums blast in to make themselves heard. The track has some clear pop-punk influences in terms of guitars and vocals, which blend well with the more metalcore and hardcore orientated drums. The last track is “You’re A Complicated Cat, Edward”, beginning with a very guitar-heavy intro. The track seems to lack the energy of the previous tracks though the vocals are still going strong. In parts, the drums sound more stronger than the guitars. However, the track does improve fortunately enough. The slow-paced, clean guitar section is certainly unexpected, yet weirdly is enjoyable but for those who don’t enjoy clean and soft guitar sections, the brutal-styled heaviness of the track soon returns.

Forever And A Day clearly know how to mix pop-punk and metalcore without ruining the sound. “Last Orders” is a must-have album by these young Yorkshire lads and Welsh drummer. The entire mini-album is evidence of the talent and passion that Forever And A Day have.

4.5/5

Nico Davidson

Forever and a Day will be touring the UK later in the year. For more information about this tour, please go to: http://www.facebook.com/foreverandadayuk