SLF&Co ‘Red’ Video

SLF&Co have released their new video for ‘Red’ (Lord Fluffy & SLF Remix) [feat. Vicky Harrison] from the ‘No Beats In Algebra’ album just in time for Valentines day with the message “It’s all about the LOVE LOVE LOVE …so when it wears off fill it with a little RED”.’Red’, with its sticky thick  gloomy beat smothered in swirling plush soul keyboards and psychedelic soundscapes is a gloopy concoction that starts off dark and eerie and builds into a full out trip-hop acid bath. Its seductively sleek composure is reinforced by the lingering echo vocals which create a spine-chilling dreamy entrapment in the song. It’s trippy and rave ready. The video is a collage of hallucinogenic inducing images that flicker and move with each beat, pulse and groove. The images and colours are fascinating creating the perfect canvas to zone out to. As the track becomes heavier the video becomes more trippy and dazzling.

When asked about the video for ‘Red’ video creator, Jacob Tomlinson said “My aim was to bring out the combination of heavy atmosphere and nervous energy which makes this song so special.I assigned different shapes to the skittish drums and drew them frame by frame to the track. I then drew a series of stamp like posters to showcase the lyrics that hide deeper in the mix, setting everything on a blown out time-lapse of a busy junction I took last year.My hope is that people can watch the video in full screen and zone out, getting lost in the haziness of the synths and dreamlike vocals from Vicky Harrison. Then when they’re not expecting it, they get hit by the drums and everything gets a bit weird and cut up.”

Watch the video for ‘Red’ below

Ape Rising ‘The Model Prime’

Ape Rising have released the video for their latest single ‘The Model Prime’.‘The Model Prime’ is taken from the bands debut 12 track album, which was released in September last year and  is a mix of melodic space rock with a synth, math rock feel. Using their love of videogames as inspiration for their song writing, the band hid themselves away for nearly 18 months to produce and record the album themselves, releasing their first single ’‘King Of The Universe’ from the album in 2016. Using the critical acclaim for ’King Of The Universe’ as a teaser for their album, the band then returned to the studio to put the final touches on what would eventually become their 12 track debut. One of the tenets of Ape Rising is their need for creative control on all aspects of their music, not only producing and recording their own music but also creating all their own music videos, as is the case with ‘The Model Prime’. A level of creativity that they fell in love with when their first band The Radioactive Grandma were a regular fixture on the Dublin music scene. The video was created and edited by Ape Rising’s bass player Jimmy who has his own production company ‘Defaced Productions.

The sweet melodies in ‘The Model Prime’ are aptly displayed in the video through a sublime use of colour. Each band member is a colourful silhouette as they play their instruments through swirling, flashing lights. There is a nice bit of dramatic dancing too. As the track reaches its crescendo so does the video with exploding colours like fireworks. Clearly a lot of work went into this video and it pays off it’s a professional clean crisp piece of work that is entertaining to watch.

Ape Rising will support Bitch Falcon at their first Irish show of 2018 at The Bowery ON 15TH March you can get tickets here

Watch the video for ‘The Model Prime’ below


MUNKY ‘7am’ Single Launch In Whelan’s Dublin With Support From Accidents In The Workplace

Last Friday night we headed to Whelan’s Dublin to check out Dublin disco grunge band MUNKY’s ‘7am’ sold out single launch. The band promised the event would be “like a birthday party of sorts but instead of cake and a bouncy castle it’s slices of pure fat, filthy funk and bouncy beats”. Though I would have loved a slice of cake what they had in store was much better.

Accidents In The Workplace kicked off the night with some funky tunes and peppy dancing. Lauren Murphy’s powerful vocals knock you for six from the first note of ‘All I Want‘. Her vocal command is masterful as she wiggles and dances without even a vocal quiver or shake. It’s on point, powerful and brimming with soul. Aaron Cooney and Sean Kenny stand firm, saxophone and trumpet raised as triumphant brass blasts fill out their infectious sound with warmth, depth and might. The grooves are body moving and the guitar lines sharp, thrilling and vibrant. These guys brought their party tunes packed with a sound that coaxes you to the dance floor and commands you to dance entrapped and mesmerised. They have fun on stage, smiley faces galore as they let the good vibes lure the crowd to dance and groove. Murphy is an expressive frontwoman and exudes oodles of sass and swagger as she hops and boogies on stage. Though their songs have a light fun exterior they pack a hefty punch behind them with gritty guitar lines and mighty drums. ‘Wake Up’ their most recent single translates magnificently live. It’s one designed to get those feet tapping. A Jamiroquai cover of ‘Just Dance’ and a funkadelic rendition of Spice Girls ‘Who Do You Think You Are’ gets the crowd singing along and bopping while a fallen earring and a story about “Patrick The Snake” keeps the banter brief and sweet, so the tunes can grease up the crowds hips and get them limber for MUNKY.

MUNKY take to the stage. Bassist Niall Donnelly and drummer Sam Russell jam and banter with the crowd while guitarist Conor Lawlor combats some technical issues. The crowd are eager, already singing the chorus to the unreleased track ‘Ms Communication’. Donnelly shouts the intro “you know why we’re hear you know why you’re here lets play some f*cking tunes” the crowd erupt as they pummel into ‘Facebook Friends’. Moshing is a plenty as the crowd push forward to the front. A sign held high saying “Play That Munky Music White Boyz” (which later in the night finds it home on stage) is waving floppily in time with the music. Donnelly and Russell playfully interact during the tracks as Donnelly, now well on his way to becoming a master showman hops, wiggles, falls to his knees and air drums dramatically. It’s a spectacle for sure and entertaining to watch. The tunes are massive and the crowd lap up every psychedelic distortion, hefty drum roll and elastic bass joggle. Zachary Stephenson pines, bellows and exclaims over the mic. Hair is everywhere both on stage and among the crowd as everyone throws themselves wholly into each magnifying track moshing frantically. Backing vocalists- the lovely trio Taylor Maslanka, Rebecca Geary and Edwina Van Kuyk wiggle and bop charmingly adding a bit off class to the chaotically fantastic mayhem on the floor. The crowd bellow back the lyrics adoringly almost proud of these four chaps on stage as they shred through our eardrums in the most fantastic assault to the senses. The band seem blown away by the crowd’s adoration and enthusiasm they didn’t appear to expect them to sing every word without fail. ‘7am’ has the moshers grooving to the slinky rhythm and singing along to the “do do do” lyrics. When the audience sing your guitar riffs and licks you know you are on to something good and that’s exactly what happened last Friday night. They sang guitar melodies, basslines and air drummed along with Russell as well as bellowing out the lyrics as if they narrated the lives of everyone in the room. They cheer and whoop the band like heroes returning from war before the thrilling rumbling intro to ‘Jam and Banana‘. MUNKY blend sweet luscious melodies with heavy skull bashing tunes effortlessly and the crowd worship each and every track- singing along to the sweet ‘I Can’t Quit’ just as zealously and passionately as ‘Hunter Gatherer Blues’ which was so loud I don’t think I could even hear Stephenson’s vocals above the crowd singing along. ‘Ms. Communication’ closes their set after the rowdy crowd yell for “one more tune!” Stephenson obliges on the condition that the crowd help him sing. ‘Ms. Communication’ kicks off and Stephenson doesn’t even have to sing the chorus. The crowd take over vigorously bellowing out the “we don’t wanna talk about it we just wanna get F*cked” lyric merrily. It was spectacular. The perfect end to a show which displayed a band that are destined for big things. Their larger than life persona and infectious tunes teamed with masterful musicianship and hard work makes these guys ones to watch for sure.


Worth A Listen

Our Worth A Listen Track This Week Comes From Martha Ffion

Irish-born, and now Glasgow based singer-songwriter Martha Ffion has announced her eagerly anticipated debut LP entitled ‘Sunday Best’ which is released 9th March 2018 on Turnstile Music.’Take Your Name’ is the first single to be announced from the album and has an accompanying video which was directed and edited by Beth Chalmers & Claire M F McKay.Initially breaking through with a ‘postcard single’ on Scotland’s flourishing Lost Map label, Ffion’s reputation soared with last year’s ‘Trip’ EP, a swooning five-track collection that was released by Turnstile Music (Cate Le Bon, Gruff Rhys, Charlotte Church, Emmy the Great etc.) and championed by Gold Flake Paint for its “beautifully melodic sway”.

‘Take Your Name’ follows the swoony lusciousness of her EP. A 50’s, 60’s- esque melty melody unfolds upon delicate sweet instrumentation. With its sway-like tempo and heavenly backing vocals teamed with light guitar twinkles and a soft dragged laid back drum beat it’s a timeless little gem that soothes the soul and fills you with an innocent sense of longing and wistfulness. Ffion’s flawless crisp vocals smoothly caress this delicate dreamy track and adds a contemporary hazy filter over this picturesque delight. Filled with heartfelt tenderness and pristine sweetness it’s a soft centered utterly beautiful elegant composition.

Watch the video for ‘Take Your Name’ below


MOTHER ‘Remnants Of A Wasted Dream’ EP

Oxford based indie rock four-piece MOTHER have released their debut EP ‘Remnants Of A Wasted Dream’ after the successful release of their debut single ‘Petrichor’ back in January receiving support from BBC Introducing Oxford, and leading to their first hometown sell-out show. Comprising of Josh Alden (guitar/vocals), Sam Alden (drums), Danny Fisher (guitar) and Everton Barbato (bass), the foursome have played together for the past 3 years in various projects. As their newest project, MOTHER represents everything the boys have always wanted to create musically. Taking influence from an eclectic range of artists, such as Radiohead, Bob Dylan and Foals, MOTHER is the incarnation of years of musical attributes.Their debut EP ‘Remnants Of A Wasted Dream’ was a talking point on their BBC Introducing interview, where the boys discuss how the title was chosen as it can be interpreted in a number of ways. Lending itself to the sensation of waking up from a dream with a vague memory of its content and a feeling of missing out lingering all day. ‘Remnants Of A Wasted Dream’ refers to the awareness that your dream could have provided a useful subconscious insight into your state of mind.

Petrichor’ kicks starts the EP with a catchy melody swallowed up in an infectious groove infested rhythm and jagged guitars oozing gob smacking adrenaline. Their sound is edgy, rugged yet insanely catchy. ‘Potent Prophecy’ exudes darkened swagger as the peppy beat bounces along eerie vocals and rugged guitars that creep in with a hair-raising attention-grabbing melody. While ‘The Saboteur’ takes their eerie sound to a haunting new level. A sway-like Radiohead-esque melody laments along mournful twinkling guitars while a steady beat pushes through with a heavy dampening effect. The despair filled vocals flood the track with mournful rainy-day melancholy as the song builds to a dramatic crescendo. These guys have created an EP that packs some serious punches with the gritty mosh ready fierceness of ‘Make Money, Be Happy’ maintaining a rich buoyant rhythm throughout the thick rough soundscapes. There is a sublime rumbly bass line in this track that is just thrillingly electrifying. It introduces the shift in the track as the song becomes darker and ominously intense with shrilling guitars and chilling vocals. ‘Descend Into Madness’ brings us to the end of the EP. Beginning delicate and soft its starts like a mournful ballad and then like the shock from a bolt of lightning blasts into a full out rocking danceable banger. Speedy instrumentation creates a mighty wall of sound while a playful elastic bass rebounds of running sharp guitars and snappy drums. The vocals remain somewhat eerie and crawly until the snappy groovy bridge.

MOTHER have created a compact EP of instantly likeable tracks that creep, crawl, haunt and explode into indie rock bangers all while holding a firm grip on your mind with compelling lyrics and dynamic expressive vocals. Its an impressive collection and a must listen.

For more details follow MOTHER on Facebook here



The Ree-Vahs! ‘Man Overboard’ EP

The Ree-Vahs! are a North East UK folk collective from the borders of Durham and Northumberland. They have recently released their third offering ‘Man Overboard’ which is a tribute to founder member and songwriter, Paul Lee, who tragically took his own life in May 2017. Acclaimed for singing in authentic North East accents, The Ree-Vahs! deliver fresh folk songs about love, life and loss, depicting stories from the former mining and steel towns of the North East borders. After releasing their first album back in 2014 and their second in 2016, both achieving critical and commercial success, the band follow up with ‘Man Overboard’ which is named after a home recording made by the late Paul Lee several years ago. After writing and performing together since their teens, band members and brothers Andy and Paul wrote the album prior to Paul’s death. Recorded in Liam Gaughan Studios, Newcastle, ‘Man Overboard’ features heartfelt lyrics and warming folk instrumentation throughout, with some songs addressing social issues and some dedicated to family members.

‘Man Overboard ‘is brimming with warm melodic tunes that glow like a hearty fireplace on a winters day. From the first guitar twang of ‘Pack Your Bags’ this EP floods with mellow melodies drenched in melancholic tones with light twinkling guitars and soft comforting beats. It’s a pure wholesome collection with oodles of passion. The violin melodies are sweet and delicate adding a tender tear jerking elegance. ‘Stronger Than Me (No Binary)’ is a simple little ditty where the vocals exude so much emotion it takes all the attention. Lush backing vocals coo while airy guitar flickers add a nice buoyancy and feathery light texture to this beautiful track. ’Sing Our Songs In The Dark’ lifts the tone of the EP. Becoming more vibrant and rich rhythmically. It’s a track to wisp you away into a joyous positive dance. It reminds me of a track that could feature in a Disney movie when the main characters are experiencing the beauty of life or successfully building together their plan to stop the big bad. The warm brass feature rushes vibrancy and triumphant cheer into the track while the sing along bridge is instantly likeable and catchy. ’Under The Wheels’ returns to that camp fire sweet sway ready vibe with banjo twangs delicately lamenting behind strong passionate lyrics. ‘Jigsaw’ adds a bit of swagger and a mysterious sultry vibe to the EP with darker guitar melodies while ‘Go See’ closes the EP bright and animated. The honest lyrics narrates the stories of peoples harsh lives while a chummy sway ready chorus evokes images of people coming together hand in hand. It has a sense of positivity contrasting the lyrics.

The Ree-Vahs!’Man Overboard’ gives an honest account of life put to music filled with positivity and hope. Their warm instrumentation is wholesome and pure and their choruses infectious. It a passionate collection of tracks that are soul fulfilling and satisfying.

Stream ‘Man Overboard’ below

Hana Brooks ‘Used To Be’

Hana Brooks is set to release her new single ‘Used To Be’ which was mixed by Nick Bennett (London Grammar/Asgeir/Zak Able)  on 12th February. Partly recorded in LA whilst Brooks was visiting the states, the song was heavily inspired by her time there. Having toured the Sofar Sounds circuit in the capital during the summer, Hana released a free download track ‘Leave It’ on her website on November 6th 2017.The song was heavily reviewed by online magazines and was play listed numerous times on radio (featured in USA and across Europe as well as the UK), Spotify and SoundCloud.’Leave It’ received glowing features from two of the most popular and highly regarded fanzines A&R Factory and Music Crowns, the latter of which also promoted the track’s official music video and live internet performance leading to 50,000 hits in a matter of a few days.The release was also supported by a live UK tour which peaked with a storming show at London’s legendary venue The Troubadour at the beginning of December, leading to Hana being offered a monthly residency at the club starting with the USED TO BE SINGLE LAUNCH PARTY on 28th February 2018.

‘Used To Be’ is a glistening summer ready anthem. With urban sticky beats slapping against a  glowing sun kissed Californian sound of synths this track is a laid back summer jam. Zealous guitars jingle throughout flooding the track with sparkling facets of bright glorious scintillation while warm heartfelt vocals coo over an infectious glorious melody. Brimming with feel good vibes this track will brighten any day and have you bopping and grooving along in no time.

Watch the video for ‘Used To Be’ below


Demons of Ruby Mae ‘To Be Adored’

Coming quickly off the back of last year’s rousing single ‘Someday’, the Leicester-born, Manchester-raised duo Demons of Ruby Mae are set to begin 2018 in a big way with the release of their new single ‘To Be Adored’.

‘To Be Adored’ is a sparkling gulp of luscious electronic pop. Its dreamy soundscapes create a sweet delicious twinkling of pop heaven while warm passionate vocals soothe throughout. The snappy lively rhythm creates an instant danceable quality and flickering texture to the track. Ethereal guitars jangle while spacey sonic soundscapes swish and swirl with euphoric adrenaline that is heart stopping and thrilling. The track floods through with a spirited sense of positivity and breezy aerial joy. It has a Coldplay feel while still remaining unique and refreshing. It’s all set to be a summer hit for sure.

Stream ‘To Be Adored’ below


Indie: (n) an obscure form of rock which you only learn about from someone slightly more hip than yourself.

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