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EP REVIEW: Rich Brown – ‘Pandemo’

By
Frank
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I am a great fan of what I call ‘the naked song’; this being a song that is basically just a voice and one or two instruments. There are a couple of things that mark out good naked songs; firstly the songs must be good and have great words, and secondly the singer must have a voice that grabs your attention. Rich Brown is a writer and singer of great ‘naked songs’.

Rich himself is unsure where in that great wide world of music genres he places himself. This in itself is no bad thing; it says that he’s about making his own music without bending it to fit a niche. I am being deliberately vague in identifying him as a singer/songwriter; it’s kind of vague enough to cover a whole range of influences while saying that these are songs where the words matter. If you were to hold a gun to my head (or offer me a huge amount of salted liquorice to spill the beans) I might go as far to say that there is certain influence of Irish folk, a dash of punk attitude, a hint of English folk and teaspoon of that big American acoustic driven ballad.

And his voice is compelling, it draws you in. He let’s the words do the work. It’s true to say I love his voice.

So now you know all that I know, and my, admittedly sometimes wrong, ‘identification’ of where his music sits; I think it’s time to dive in.

‘Let me in [redux]’ is a tweaked version of a previously released track. This sits in that kind of Irish folk sound mixed with a load of other things – it has something of a Country sound. It’s a lovely jaunty thing with a rhythm that makes you want to get up and jig madly.

The words are bloody fantastic people. I’m interpreting them as two parallel stories – perhaps wrongly – one I can’t fail but to hear a story about flooding, but wait there’s another level. This is about life, the modern world. It’s about wanting sanctuary from all of that. I may be wrong, as I said, but that’s what I’m hearing. I’m fairly sure there are other, equally valid, ways of interpreting them.

But you see that’s the mark of a great song. You just want to work out what it’s about; to find the nuance. And given that the song is one I’m happy leaving on repeat while I’m doing that, I guess you could say it’s a grower and a stayer.

Ah now ‘’The Kraken’ just says something to me without even hearing the song (sorry I should have mentioned this is one of the two songs written during the Pandemic). In order to understand why it says something to me you need to know about Q. Whether this is by design or just a coincidence I don’t know. I’ll come back to this in a bit.

Musically this sits somewhere between that slightly punky Irish sound, more than a hint of a big American acoustic led ballad (in say the style of Springsteen). All of this is melded into a joyous burst of music that’ll have you foot tapping and head nodding. Lovely musical touches abound – a lovely dual vocal line there, what sounds like a keyboard.

So back to the words. It appears that the Kraken (a legendary sea monster of gigantic size) can refer to any number of things. I hear it referring to the rise of an oppressive government, the rise of selfishness. It stands for those things that can suddenly rise up and oppress us, and our lack of awareness of the impending danger.

‘Walking the straw dog’ is one of those big American acoustic ballads. Big on tune, big on emotion and feeling. It is bloody fantastic and once I heard it once I kept on going back to it, time and time again. If you listen to one song from this EP, let it be this one.

Hearing Rich’s songs is one of those unexpected benefits of being part of LSF. I can’t imagine I would have found him in any other way. But now that I’ve listened to his songs, my life somehow feels better. I feel that way whenever I find a new artist to put on my favourites list.

I urge you to listen to this EP, it’s wonderful, truly wonderful

SINGLE REVIEW: Blue Kubricks – ‘Latin’

By
Frank
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First some news; Blue Kubricks have signed to Monomyth Records. This is their first release on the label.

In contrast to the last single I reviewed – ‘You’re A Beach’ (read the review) – this is a gritty piece of ridiculously fast rock‘n’roll. Just – but only just – on the right side of that line of ragged, garage-y and hanging it all out there. Noisy guitars, short flashy 80s’ guitar solos, trashing drums, vocals that thrill.. But in all that grit there’s a tune, a really catchy tune, and boy can you cut a rug to it.

But hey, wait there’s more. A fantastically overwrought emotional ‘spoken section’. A beautiful lull before the storm section. The cherry on the icing on the cake.

In thinking of a ‘sounds like’ I keep coming back to those rock’n’roll bands of the 70s and 80s – for me there are hints of The Sensational Alex Harvey Band, possibly The J. Geils Band, more than a little of Hanoi Rocks – possibly just a taste of indie-rock and something of a NY Punk sound.

This track is on the bad side of addictive; you’re going to want to play it again and again, just for that oh-so good feeling it gives you. And louder and louder. This is rock’n’roll to the max, and it kicks butt, big butt. This thing is on fire. Do we need this? Fuck yeah.

The info

The band are:

Jim (Vocals/Guitar)
Jesse (Drums)
Alex (Bass)
Jacob (Guitar)

SINGLE REVIEW: Luna Pines – ‘My Own Ceiling’

By
Frank
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Luna Pine’s releases are difficult to review. What I mean by this is that their music is always so consistently wonderful, always so compelling that it’s hard to come up with something new to say. But tempting as it is I’m not not going to leave it at ‘Luna Pines do it again, this is incredible’.

One of the reasons I’m not going to leave it as that is that Luna Pines’ songs always come with a back story and/or a ‘thing the song is about’. In this case the song comes with a story. Lotte (vocalist/guitarist and synth player} explains ‘‘This is the first track me and Davarious wrote together, and it pretty much marked the beginning of me as a songwriter. When Davarious took his own life a year later it was an impossible song to listen to, let alone properly finish. He was the backbone of this band in so many ways and I miss making songs like this with him every day. We’re so proud of how it has turned out and we really hope it’s a song that ultimately helps people feel less alone, as it has done for us many times now’’.

The fact that Lotte was able to finish it says something important to me. I’m going to come back to that later.

Musically the song is a kind of journey. It opens with a sound that seems to come from the past – an accordion like sound that is abstractly Japanese – that is both unexpected and hauntingly compelling. And gradually as the vocals come in, there is a pulse, a subtle sawing sound, a simple melody line. And then, for a band that you may identify as mainly synth based, there is an unexpected loose guitar backed section. Before it swells and swells; layers of sounds and vocals are added. But all with that ‘well I never thought something like that would work’ and the ‘where in the hell did that come from’ moments of subtle effects and discordance that are part of their carefully put together sound.

The thing is, for all the carefully crafted sound and what I assume is complex production, the essence of any Luna Pines’ song is that it conveys emotion and meaning. As electronic as their music is, it’s organic and full of soul.

When I first listened to it to see whether I would review it (nothing is guaranteed, even with Luna Pines) and decided that I would; I emailed Lotte and said I found it both haunting and uplifting. In the process of thinking about the song to actually write this review it occurred to me that the emotion I was left with reflects the journey of the song that Lotte describes. This isn’t about the words but the music – there is a feeling of haunting sadness as the song starts and gradually there is that swell of uplifting sound; even though that is tinged with unease and sadness.

But then as you listen more and more to the song, the words come through stronger and stronger; and that adds another layer of meaning, of emotion

The compelling complexity of the music reflects the complex interacting layers of emotions you feel as you listen to it.

I’ve taken the long way to this but t\o put it more simply – ‘My Own Ceiling’ is a truly beautiful song, musically and emotionally. I can’t recommend this highly enough.

The info

Inspired by the likes of The Japanese House, Bon Iver & Tycho, London based Luna Pines’ newest creation, My Own Ceiling, is a dream pop influenced electronica number that focuses on the crippling anxiety frontwoman Lotte was diagnosed with not long before the songs co-creator, Davarious Jackson (The Feel Department) took his own life in 2018.

The London based duo have been slowly getting the attention of key tastemakers like BBC Introducing, Clash, Sofar Sounds and many more, and the trio’s music has allowed them to support a range of acts including Art School Girlfriend, METHYLETHEL and 65daysofstatic . They have recently had a lot of love from Spotify, having been added to Spotify curated playlists such as New Music Friday, Fresh Finds, Easy, Hot New Bands, Evening Indie, The Other List, Bloom and many more. Last year they completed two sold out headlines in London and a sold out headline in their hometown of Leeds, and they have some exciting shows lined up for the end of 2021, including London’s Camden Assembly.

Luna Pines are:

Lotte van den Berg – Vocals, Guitar, Synths, Sampling
Rob Oates – Drums

SINGLE REVIEW: Wax Works – ‘will you remember me?’

By
Frank
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A while ago I reviewed ‘Wax Work’s debut single – ‘sleeping in the dark’ – and what a burst of wonderful pop that was.

So the follow up is just as good. Absolutely brilliant pop – tune to die for, sound that pops, vocals that do that ‘slightly, sometimes singing in an accent’ thing that seems to be part of indie-pop, and great words that tell a sad story of unrequited love.

That’s all you need to know really. Oops, my bad, I forgot to say that this is a tune you can dance to, and that’s fab.

The thing is that this doesn’t seem enough for a review. What else to tell you? Well, I should mention that the arrangement of this is ‘pop’ but it’s pop with savvy, pop with skill. There are sounds that twinkle and sparkle. And all the layers are there for a reason; there’s nothing that’s there that isn’t there doing a job.

This is truly fantastic; a brilliant slice of pure pop made with skill and feeling. Classic pop, if you will.

The info

Wax Works is a self-produced indie pop artist based in Leeds, UK. With influences from Easy Life and Wallows , to Arlo Parks and Dayglow, his sound is a blend of indie guitar tones, with LoFi pop beats. His debut single ‘sleeping in the dark’ is a dreamy alt-pop love song, focusing on the idea of hope and looking forward to better times ahead. ‘Intertwined and opposing, this collaboration is joyous. Providing all who listen with the perfect escapism from the restricted life we currently lead’. (Chalkpit Records) ‘For a debut release, this is beyond amazing, WAX WORKS is an artist you need to keep an eye on if you love dreamy pop music’ (It’s All Indie) ‘sleeping in the dark’ has been featured on Spotify’s ‘Alt. Pop.’ editorial playlist, as well as Amazing Radio’s A-List and has received support from BBC Introducing in West Yorkshire.

ALBUM REVIEW: Duncan Reed – ‘The Road Part I’

By
Frank
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0

Duncan Reed’s music is carefully crafted, incredibly well put together and, most importantly, you know his songs come from his heart, his soul. They have emotional depth.

He makes music that is hard to define exactly. I guess you could call it singer/songwriter with a lot of influences – folk, Americana, hints of blues, a Celtic sound. The thing that strikes me about a lot of the tracks is that they sound like acoustic versions of big rock songs, if you get what I mean. I don’t say this to put them down at all. The acoustic based arrangements hold a lot of power, and enable the emotional meanings of the song to be upfront.

This doesn’t mean that the tracks only feature acoustic instrumentation; there are electric instruments but they’re used within an acoustic framework. They provide texture, mood.

This collection of songs is the first in a two album release. The second will have a rock or full band feel. This album is more acoustic. The two albums form a kind of musical and writing journey through time since his last release. This period was interrupted by a long period of illness. I think it’s up to the listener to decide whether any of the songs reflect that journey through time.

This is going to be a ‘favourites’ review, a review that will hopefully encourage you to explore this album.

The opening track – ‘Far From Home’ – I’m going to describe as progressive folk. There’s a definite folk basis but the sound is layered with sounds you may not hear in folk. The sound is held together by a gently plucked acoustic, there are subtle swells of keyboards. And this is a great introduction to Ducan’s voice – his voice is rich, he sings simply with no vocal gymnastics, he’s letting the words shine through. And these are words that should shine through, words to listen to, words to spend time understanding them.

‘The Circle Grows’ is a song that beguiles with it’s gentle, although many layered, start. The clever thing about the start is the electric guitar that both melds into the feel and stands out. And as the track goes on that electric becomes more upfront. But nothing jars; the music reflects the words, the mood of the song.

Ducan says ‘This song is written about the stone circle at Castlerigg in Cumbria. I wanted to explore the idea that although seasons change and empires come and go, the stones remain the same to the point that they are almost more of a constant than the mountains growing around them. It explores our connection to the ancient world’.

And this, as I said, is reflected musically. There’s a theme that runs through it, with changes that reflect those changes.

I’m going to let Duncan describe ‘Time’ – ‘This is probably the most personal song on the album and was written at a time of great sadness in my life. It was my way of exploring where I was at the time and expressing my feelings on the recovery process’.

The song is built around a stalking guitar figure that both evokes the ticking of a clock and a feeling of sadness. But as the song goes on there are moments of soaring beauty, the feeling that along the way there are times when things get better.

And over this he sings words that are both simple and deeply emotional. I, like many people, have had the same experiences and I get what the song is saying. But the crucial things is that although personal the song let’s the listener understand what he’s going through.

‘Blink Of An Eye’ explores an important subject. Duncan explains ‘Blink Of An Eye: The song was written as a tribute to Chris Cornell and Chester Bennington shortly after their tragic deaths and is one of the most beautiful pieces I have created to date. I had always been a huge admirer of Chris Cornell as I don’t think there has ever been a greater vocalist and it was a huge shock to hear he had taken his own life. Although the music of Chester Bennington didn’t have the same kind of influence on my life, it was heartbreaking to hear that he felt he couldn’t go on without his good friend. The song is dedicated to all victims of male suicide’.

Musically the song is based on folk. But there are layers of backing vocals – which almost take the place of a synth. Hints of bluegrass sounding guitar. There is a somber beauty to the song that both reflects the serious topic of the song which also resonates with your soul – I can think of no other way of putting it.

NB VIDEO

And now onto a song about the eruption of a volcano. ‘Mountain’ explores the eruption of Vesuvius from the point of view of the inhabitants of Pompeii. It takes as its theme the idea that the people may have thought they were being punished by the gods for wrongdoings. I include this because it’s surprising that a song about this can be quite so compelling, The music is wonderful but it’s the words that hooked me in; that had me hitting repeat.

Album closer ‘Ellipse’ is a song that builds to an explosion of rock. It’s almost like a teaser for Part 2 (knowing what’s to come). The song explores the reactions to unexplained events (like an eclipse) in the past where people will have sought supernatural and religious explanations to explain what was happening. It’s mustic and haunting; that feeling maintained through the ‘loud bit’ by a violin. There’s a power in this song, a power that stirs your emotions.

This is a collection of incredibly accomplished songs – beautifully put together and played. But this is not the important thing. The important thing is that the songs are the epitome of good song writing – the words and music working together to communicate feelings, emotions and stories. One never overwhelms the other. And on another level – they are truly musically beautiful

I can’t recommend this album highly enough.

The info

Duncan says:

I am a songwriter from Manchester who writes both acoustic and rock music with a heavy folk influence and a love of vocal harmonies. I have been writing and releasing music for much of my life but since 2017, I have been putting more time into recording as well as creating videos based on the ideas within the songs.

SINGLE REVIEW: Echoviolet – ‘End Of What We Knew’

By
Frank
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0

Echoviolet are from Bradford. They play something that is kind of alternative rock but then again not. And they have – in my humble opinion – a rather cool name – which is important, as we all know.

I already hear those voices ‘ you’re always saying stuff like ‘kind of alternative rock but then again not’, explain yourself’. So I know I’m going on this one song – you should know that the band are due to release an EP – so I’m basing it on that, and that only. But the thing is to these ears their sound has something of an 80s’ pop-ish rock thing going on, with something of a melodic rock feel. This song doesn’t really do that quiet/loud thing that, for me, is the hallmark of alt-rock.

So what does it do, I hear you say impatiently. OK so I’m getting to that. What we have here is an incredibly catchy, fantastically melodic, rock track. It’s not heavy or hard but it’s definitely rock.

There’s an amazing vocal on this track, the vocals are clear and pure. And that voice sings over ever changing sounds. It’s sparse with that swooshing guitar, it’s swelling with huge guitars. At times it sounds futuristic and at times like rock church music. The playing on this track is amazing, wonderful, fantastic.

You may be getting a hint here in your head that this might be termed ‘progressive rock’, yes, I wouldn’t disagree with you. Except this is condensed, not drawn out; it’s in a rock form. But it’s very definitely hitting some progressive vibes.

And this is confirmed with the surprise in the box, the kicker in the song; a soaring guitar solo that takes off with an incredible power. A solo that no late 70s or 80s progressive melodic rock band would be ashamed of. It’s not flashy, it’s melodic and sophisticated.

Echoviolet, if this release is anything to go on, are one of those bands that are difficult to put into an easily defined niche. The niche they do fit into is the niche of ‘bloody great rock music’, I’m sticking with that.

This is a hell of song, a song that has me waiting with bated breath for their EP. Great guitar, a tune to die to die for, fantastic vocals; could you ask for anything more. Echoviolet deliver, boy do they deliver. This is classy stuff.

The info

Hailing from Bradford in West Yorkshire, Echoviolet are a four-piece alternative rock band formed in 2019. The band’s influences range from artists as diverse as Pink Floyd, Radiohead, Foo Fighters and Nick Cave, while carefully weaving their influences together in order to create a sound that is uniquely their own.

In November 2019, Echoviolet reached the finals of the Bingley Weekender Battle of the bands competition, having only played a handful of shows prior to the event. In 2020, the band was accepted onto the prestigious MAS Records Artist Development Programme (https://www.masrecords.org). More recently, the band has had a number of their recent singles played extensively on local radio, with Come Back Home being selected as BCB Radio’s Track of the Week in March, 2021.

Echoviolet will be releasing their debut EP, entitled “It’s Just Begun” on May 1st, 2021, and look forward to releasing new music to follow.

James Whiteley – Guitars & Vocals
Rowan Minnis – Guitars
George Gales – Bass
Charlotte Addinell – Drums

SINGLE REVIEW: Internet Raised ‘Burning Sheets’

By
Frank
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0

In January this year I reviewed Internet Raised’s debut release ‘Better’ and was mightily impressed. Not that this should have come as any surprise given that the duo are Oliver Pinder and Vanessa Maria who very definitely have form individually.

Their debut combined a kind of singer/songwriter indie-pop sound with trip-hop, but for their second release the sound is indie-pop. But you wouldn’t really expect these two to do that ‘straight’ and they don’t; there’s a touch of folk here, a twinkling trip-hoppy sound there, a dream-poppy sound that infuses the track.

The sound of this thing is as smooth as you like – richly layered keys, heavenly backing vocals. The star of the show is, however, their vocals; boy can these two sing. Those vocals compel. Combine this wonderful sound with a tune that is catchy as hell, a song that almost insists you sing-along; and we have something fantastic.

The cherry on the icing on the cake is that this is way more than a beautifully put together catchy pop song. This song has great words. Words that are going to resonate in some way to all of us. The duo explain ‘’Burning Sheets’ is a song about letting your hair down. We wrote it in the middle of the first lockdown when all we wanted to do is go to town and have a drink’.

The thing about this song is that as you listen ‘just one more time’ – it does that to you – the song opens up to you, you start to hear different parts of the song, the stories it tells weave a magical and intriguing whole.One listen and you just can’t put it down.

It’s not a song full of flashy playing or vocal gymnastics; it’s the whole that is wonderful in a very understated way (I can think of no other way of putting it) – the words, the tune, the sound, the vocals together make something really really fantastic

The info

Internet Raised is Oliver Pinder and Vanessa Maria, who were both raised in Bradford. The pair have shared a strong passion for singing and song writing since they were young, basing their music around the concepts of love, loss, growing up, experimenting and identity. Their name derives from the idea that young people today are influenced by a ‘third parent’: the Internet. This concept was influenced by a poignant lyric in ‘A World Alone’ from Lorde’s debut album ‘Pure Heroine’, an artist who is an inspiration to the duo.

SINGLE REVIEW: Shanghai Treason · ‘Emerald Causeway’

By
Frank
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0

Shanghai Treason play Celtic Punk – you know the sort of thing, Celtic music played at a raucous breakneck speed, use of traditional instruments. The thing is that you may be reaching for a Pogues comparison tight now, well stop that, stop it now.

Because you see Shanghai Treason don’t really sound like the Pogues; they’re smoother, the punk is more rocky than dishevelled. I’m guessing though that some of you will still be comparing them to the Pogues purely on the fact that the band’s music is based on that Celtic feel. I can’t stop you doing that. But honestly Shanghai Treason have very much their own thing going on.

‘Emerald Causeway’ is actually less rocky than some of their previous releases; less rocky and less, let’s say loud. The banjo is way up in the mix, the guitars are there but in the background. It’s almost more traditional. I think of it as a dance track; a kind of seriously riotous frantic dance yourself into a sweating heap track. Indeed I found it hard to stop myself from having a madcap dance before I could sit down to write this review.

The playing on this song is frankly astounding – quite how the person playing the banjo could keep that going the whole way through I don’t know. And yes, I’m aware that you can record stuff in sections but the song sounds like it was played live; and that is absolutely right for music like this. So please allow me my fantasy that the banjo part was all in one take.

It’s a song full of the sound of joy, a beat that’ll have you up and moving madly. I may suggest it’s a song to keep a hold on until lockdown ends; when you can dance madly with friends. But in the meantime play it loud and proud and have a little madcap dance at home.

The info

Since launching in 2019, Shanghai Treason have released a string of singles and E.P’s, quickly becoming a regular feature on many Celtic Punk focused blogs, radio stations and publications. The band also began to take their first tentative steps onto the UK live music scene playing shows up and down the country in support of their releases.

Not a band to rest on their laurels, when the COVID-19 pandemic landed in 2020, Shanghai Treason began writing their debut album, bouncing back and forth song ideas via e-mail and getting ready for recording studios to reopen. In the summer of 2020 the band picked up a deal with Italian record label ‘Black Dingo Productions’ (home of artists like The Rumjacks, The Real Mackenzies, The Rumpled & more) and booked into Arch Audio recording Studio in Mansfield to work with producers Dan Booth (Ferocious Dog) & Gianluca Amendolara (The Rumjacks) under the watchful eyes of engineer Luke Wheatley (Ferocious Dog F.O.H).

“Dan and Luke have an eye for perfection and pushed to get the absolute best out of every song” – Joel Hughes (Bass Guitar)

The self titled album ‘Shanghai Treason’ is due to be released in June 2021 and will feature 11 tracks including guest violin from Ferocious Dog’s Dan Booth. Shanghai Treasons resident multi-instrumentalist Tom Hardy has said “We used a small arsenal of instrumentation on the album. In addition to the core instruments, we have brought in the Bouzouki, Acoustic Guitar, Tenor Banjo, Bluegrass Banjo, Piano, Accordion and the Fiddle. The Dulcimer can also be found in a small section of one particular song, see if you can hear it!

“I’m itching to get back out there and tour this album, we’ve got a killer set and we’re ready to cause a ruckus” – Sam Christie (Vocals)

‘Emerald Causeway’ is the first single from the album.

“For me, Emerald Causeway is what we do best and what I love about this genre. It’s fast, explosive, feel-good, and makes you want to move”- Tom Jackson (Guitar)

“Energetic hard hitting instrumentation, extremely catchy vocal hooks throughout, and some awesome banjo playing, I know it will have the whole room moving as soon as we can perform live again!” – Alex Fell (Drums)

SINGLE REVIEW: BACKSPACE – ‘Turtle Song’

By
Frank
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0

I’ve been following what BACKSPACE have doing for a while. From the first time I saw them play live this young band (by which I mean young in ages, and for that matter the time they’ve been together) have been impressive. And like a lot of young bands they’re changing. this, and the last release I reviewed, sees them in a kind of loose funky rock mode.

‘Turtle Song’ is a kind of loose laid back funky rock track. Yep, there’s great guitar, a beat that won’t let go, but you can dance to it people. In fact you’re compelled to dance, it’s that sort of song.

You may be wondering why it’s called ‘Turtle Song’ and what the song is about – well I certainly did. The band say It’s about the climate crisis and the imperative for change. I’ve listened to it loads and I think there’s also something about retreating into your shell and ignoring the crisis, or possibly a comment on the plastic waste in the oceans. Take a listen and make your own mind up.

I’m going to take some time here to talk about the two standout things about this track for me. The first I’ve mentioned in passing, the guitar. Look, the guitar on this track is incredible – it’s funky, it’s out and out rock. There’s such a variety of guitar sounds in this thing, there’s never a moment when it doesn’t change. The other thing is Rosie’s vocals. She’s not your average rock singer – she has this kind of world weary laid back thing going on. And it’s compelling.

There may be a message in this song – and it’s an important one – but the band is not ramming it down your throat. As I said this is a track you can dance to. You can have fun and get educated at the same time, and ain’t that a fab thing?

‘Turtle Song’ is a joy and a wonder. I have nothing to say other than get to it, listen and learn, and dance til your feet hurt.

SINGLE REVIEW: Artio – ‘Queen Cobra’

By
Frank
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0

Over the last few releases Artio have been making music that is increasingly rock based. To the point where they’ve progressed from being a synth-pop band with rock leanings to being an out and out synth playing alt-rock band. Although given their tendency to break the boundaries of genre – and this is of course, a good thing – and surprise the hell out of us, there’s no telling where they’ll go next. With Artio, expect the unexpected.

‘Queen Cobra’ is one fierce track; it does that loud/quiet alt-rock thing to the max. In the loud bits synth pummel you into submission over a riotous rhythm track – there is this recurring frankly scary synth noise that seems to encompass all known frequencies all at once. In the quiet bits – well it gets less frantic, more sweet, more tuneful. And Rae’s voice goes from full blown scream it out to mesmerisingly pure.

But wait, for there is more. What Artio haven’t lost is that ability to surprise with the way they put a song together. There are still those layers of sounds melded together, there are still those unexpected sounds that make you smile with their brilliant invention and creativity. There is a subtlety to the loud bits that adds that something very special, there is a kind of dense sparseness in the quiet bits that thrills.

The other thing they’ve not lost is writing songs that are about something. The band explain ”Queen Cobra’ is about becoming what those b*tches say you are, but in the way, they’d spit their dummy out about. Everyone likes to call you a snake when you move on and cut toxic friends off and thrive, but snakes are actually really cool. Everyone paints snakes as these evil animals, but they’re a top predator, no one gets in the way of the snake. so i’ll just become the Queen Cobra.’’

Artio continue to impress, to progress. This release is a full on foot-stomping, mosh-pit filling anthem. A fierce statement of strength with equally as fierce music; and the two of those together, bloody wonderful. ‘Queen Cobra’ rocks.

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