Donegal indie rock four piece Wolves of Youth have released their new single ‘Start Again’ – a vibrantly vivacious guzzle of indie rock that leaves you buzzing for more. Edgy guitar stings introduce the track with anticipation before it explodes into that radio ready infectious tune you expect from these guys. With punchy drums, strident guitars and rumble on bass it’s an anthemic belter. It’s flooding with nostalgic sweet tones embracing a luscious sun kissed sing along melody which is caressed by the warm raspy vocals. This track is another example of the fine infectious indie Wolves of Youth produce as they relentlessly steam roll through with an electrifying sound that stops you in your tracks. The song builds as guitars blaze and scorch into the mighty adrenaline rushing crescendo. It’s a soaring glistening number that grabs you right in the center of your chest makes you feel each and every passionate lyric, every intense golden note and every surge of emotion you have ever felt. It’s an impressive, heartfelt, dynamic track and one to put on repeat.
Dublin indie rock/post-punk outfit Brass Phantoms have released their new single ‘Disciples’. Last year the bands track ‘Waiting Up’ garnered widespread airplay across Irish radio, as well as being featured on BBC Radio 6 and Spotify curated playlists, and last month their single ‘City Of Wolves’ was used across television campaigns to promote the UEFA Champions League.They have been part of festivals including Other Voices and Indiependence, as well as headlining sold-out shows in Dublin. Before heading on tour at the end of last year, the Metro in London listed the five piece as ‘Artist of the Week’ and have just signed a distribution deal with Believe Digital after their recent UK and US tour.
‘Disciples’ is an overwhelming whack of soaring indie. Swirling synth soundscapes and ethereal guitars create an immaculate celestial atmosphere which encapsulates the snappy dynamic rhythm in a whirlwind of rushing adrenaline. These together, crash and collide in a dramatic fashion to deliver a thrilling powerful sound. Brass Phantoms never create their tracks by half measures its all in and mighty and this track is no different. So many lush intricate components weave, rebound and flicker within this track creating a juicy rich full-bodied tune to completely immerse yourself in. It’s breezy with haunting dark tones folded tightly into its inner core. Ryan Cashell’s vocals are as powerful and expressive as ever with his rooted deep range surging ominous tones for the verses and exuding passion with compelling potency for the chorus. The guitars are just magnificent with sharp, stinging, jagged strides intertwining with curving intricate melodies. It’s superbly composed – majestic yet chilling and hair-raisingly glorious. Another knock out track from the five piece.
In support of the track Brass Phantoms will be touring across Ireland supporting Delorentos with MCD, as well as doing their own headline shows in London in The Finsbury on April 19th, and in the Workmans Club in Dublin on May 17th. Make sure to check them out.
Bio: La Bête Blooms are a Post-Punk band from Hull. The band consists of members Daniel Mawer (Vocals/Rhythm Guitar), Jack Gallagher (Bass) , John Copley (Vocals/Lead Guitar), Louisa Robinson (Keyboard) and James Coggin (Drums).
Track: Take Arms
Why We Like It: It’s a glorious fizzing assault of the post punk this band do so well. Acid stinging scratchy guitars blast feed back into your ears while effervescent synths fizz throughout a drum and rumbling bass foundation. It’s filled with angst and adrenaline with some witty lyrics thrown in. Its biting and sharp but a thrilling buzz to the head.
Bio: Powerbleeder is an indie pop band from Seattle. The band members are David Plell (songwriter, vocals, guitar), Martin Selasco (keys), Mike Sampson (drums), and Craig Peters (bass). The single is out now and their upcoming EP, “G u s h,” will be released on April 10, 2018.
Track: Donnie Wants You Dead
Why We Like It: It’s a melodic pop soaked track with a melody that hops along with the sweetness of a doo-wop tune while harsh grunge instrumentation floods the background of the chorus. The verses jingle and bounce like a happy bunny while the chorus swarms in like a harrowing wolf wanting to make rabbit stew. Meticulously layered well-crafted it’s a suspense filled joy ride.
Bio: Emma Saunders is a singer song writer from London. She has been involved in music from a young age and has worked with various artists most recently, French producer Don Low. At the start of this year she started writing her own music, it’s heavily inspired by the ‘Doo Wop’ genre, with more modern elements and she has her first solo gig coming up in London on 2nd of April at ‘The Old Queens Head’.
Track: I Feel Alive
Why We Like It: It’s soulful, passionate and timelessly pristine. Saunders vocals are crisp, pure and expressive. Simple piano accompaniment creates an elegant quality to the track while her vocals lure and entice with a rich depth and effortless power. The sweet lull in the backing vocals create a doo wop vibe as Saunders vocals take the limelight mesmerising you with every note. The track is melodically beautiful and passionate with a maturity and sophistication that is timeless. It’s classy, vintage with some subtle eerie tones mixed in.
Bio: Death By Piano is a Brooklyn based duo comprised of singer/keyboardist Kalen Lister and producer/instrumentalist Greywolf. ‘Bender’ Is taken off their upcoming debut EP, ‘Countdown’ which is set for release 6th April.
Track: Bender
Why We Like It: It’s a delicate sweet electronic track that soothes and eases the mind with tranquil electronics floating around a sticky slapping beat and beautiful crisp vocals. Mellow and aerial this track is a swishing flickering dreamy example of fine musicianship and refined production..
Bio: Birmingham’s Ivory Wave have released their new single ‘Cool Kids’. Since mid 2016 the band have enjoyed a fast ascent from a gang of mates to local heroes selling out hometown shows which now erupt into chaotic, sing-along frenzies
Track: ‘Cool Kids’
What inspired the track: The bands frontman George Johnson explains the inspiration behind ‘Cool Kids’; “It should be us who shape our own future as we will be the ones who are living it. It’s a celebration of being able to wear what you want, a celebration of being who you want to be and most importantly a celebration of youth.”
Why We Like It: It’s a vibrant fun indie track that will have you bopping along in no time. With flappy beats rebounding off groovy buoyant bass lines and wobbly silky guitars this track is instantly likeable and strut ready. They even throw in a sleazy sax feature. Who can resist this tune.
Bio: 10 O’Clock Chemical are comprised of songwriter, keyboardist and vocalist Rhys, drummer Danny, bassist Josh and guitarist Jack. The four of them met through Stoke On Trent’s local music scene, sharing a deep love for rock and electronica. In addition to the core lineup is a mysterious cyber entity called Zed, who carries administrative duties for the band and even makes the odd cameo appearance. With radio support from BBC Introducing Stoke, and the accolade ‘Best New Artist’ as voted by six hundred of their peers at the Staffordshire and Cheshire Music Awards in Spring 2017, they have now released their debut single ‘Babylon is Fallen’ via the group’s own label GRITPOP. A still from the locally filmed video, made on a snowy January day, forms the single’s sleeve. Their follow-up will arrive in April ahead of their debut EP in June.
Track: Babylon Is Fallen
Why We Like It: It’s a laid-back electro dance number that slaps grooves and throbs with a chilled cool vibe while still packing in some edgy jabs. Its addictive and catchy with itchy funky elements springing against a slippery bass and dizzying electronics. The verses lure and entice you into the hypnotic mind melting entrapment of the chorus. It’s a trippy rave-ready, danceable track that has a Kasabian vibe.
Bio: Irish alternative band Snow Patrol have released ‘Don’t Give In’ the lead single from ‘Wildness’, their first record in seven years. Since their 1998 debut, Songs for Polarbears, Snow Patrol have racked up an impressive number of critical and commercial accolades, including 15 million global album sales, 1+ billion global track streams, five UK Platinum Albums, and are Grammy, BRIT Award and Mercury Music Prize nominated. After their Fallen Empires tour ended in 2012, band members —which also include multi-instrumentalist Johnny McDaid, guitarist Nathan Connolly, bassist Paul Wilson, and drummer Jonny Quinn — decided to take a step back from the band, and focus on their own projects. Gary Lightbody continued his work with his Tired Pony side project with members of Belle and Sebastian, R.E.M, Reindeer Section and Fresh Young Fellows and moved to Los Angeles to begin writing songs for movies (including “This Is How You Walk On” for 2017’s Gifted), and doing a number of high-profile co-writes with Ed Sheeran, Taylor Swift and Biffy Clyro.
Track: Don’t Give In
Why We Like It: It’s a heart warming number backed with sweet melodies and tender tones. A touch of Americana warms the track as a blood pumping beat and mighty sing along ready chorus drives the track to anthemic heights. With raspy emotional vocals, mellow guitars and a shredding crescendo, its passionate, powerfully wholesome and tender yet motivational.
JUDAS are an emerging four-piece indie rock band hailing from across the UK and currently based in London.The band have achieved an incredible amount in the space of the past two years: releasing their self-titled debut EP, they went on to perform at some of the biggest festivals in the country including Isle of Wight, Kendal Calling, Tramlines and the Main Stage at Reading and Leeds festival, two years running. Building their fanbase the old-fashioned way through relentless gigging across the country, critical support would build up across the likes of BBC Introducing, XFM, CLASH and WONDERLAND, their live set on Soccer AM last year alongside Circa Waves, followed by a smash UK tour underlines not only their ferocious ambition but also their sprawling rough-diamond sound. Since opening the Main Stage at Reading and Leeds Festival last year, JUDAS released ‘Ceasefire’ a modern but britpop-esque anthem that has since gained nearly 1 million streams on Spotify, has been featured as track of the week on Radio X and Virgin Radio and has also garnered numerous plays across BBC introducing, BBC 6 music, Sirius XM and many others. They have now released their new single ‘Big Mouth’.
‘Big Mouth’ is anthemic pedal to the metal indie rock. A smooth chilled pre chorus gives a Twenty One Pilots- esque vibe with its cruising reggae tinged beat slowing the tempo before the band explode into a spastic chorus of raw jagged guitars which slice through punchy drums. Filled with high intensity and electronic adrenaline JUDAS have created a track that is both a blazing beast and laid back cool jam. They effortlessly glide between frantic crashing and easy going instrumentation without the track sounding choppy. Not only is this song instrumentally lavish and impressive its insanely catchy that “la la la la” will stick in your head for days. With snappy, rumbly rhythm shifts, and vigorous shredding guitars teamed with powerful vibrant vocals and a splintering solo these guys have written a powerhouse track down to a tee. It’s well layered, intricately detailed and sophisticated. JUDAS are ones not to miss.
JUDAS are following the release with a UK support tour with Mallory Knox and numerous festival bookings over the summer catch them live at
*_ Supporting Mallory Knox
1st March – The Garage – London
16th March – Nemix – Newcastle
17th March – The Tunnels – Aberdeen
18th March – Sneaky Petes – Edinburgh
16th April – The Haunt – Brighton*
17th April – The Globe – Cardiff*
18th April – Cavern Club – Exeter*
20th April – The Sugarmill – Stoke*
22nd April – Rebellion – Manchester*
24th April – Mama Roux’s – Birmingham*
26th April – Bodega – Nottingham*
29th April – Soccer Six Festival
5th May – Sound City Festival – Liverpool
6th May – Hit the North Festival – Newcastle
23rd June – Isle of Wight Festival – Isle of Wight
Sydney based musician LISHI, AKA Eleanor Dunlop, has released her new single ‘Our Hearts’. The track is the follow up to last year’s debut ‘Dropping Back’ and was recorded recently with producer Xavier Dunn in his studio during a couple of really productive days. Subsequently mixed by Phil Threlfall and then mastered by Ben Feggans, this is the first track to be lifted from the Australian singer’s forthcoming double A side single which is due in the Spring. Taking inspiration from artists such as Air, Roy Orbison, Lorde, Nina Simone, Nirvana, Grimes and Chopin, the multi talented LISHI released the aforementioned ‘Dropping Back’ single nearly twelve months ago and it has now had over 250,000 streams on Spotify. Since then, she has gone on to produce a set of truly uplifting tunes that blend Classical, Electronic and the National Geographic and the result is an almost perfect, future pop dream musical.
‘Our Hearts’ is lush cinematic pop smothered in an opaque electronic blanket. With dark soundscapes swirling around a sticky beat this track begins brooding and curdling before developing into an electronic anthem. The chorus surges through with breezy kinetic soundscapes which burst creating a vibrantly lavish almost choppy texture. Both intimate and otherworldly, ‘Our Hearts’ effortlessly collates sounds such as a child’s voice, the crack of a whip and a running man from LISHI’s favourite childhood films and video game soundtracks. With haunting, eerie tones in places this track pulses and slaps as the delicate keys and electronics wisp around in a feathery light aerial motion creating a thrilling display from LISHI and a satisfying listen.
Singer/ songwriter and guitarist Brendan McMahon has released his newest album ‘On This Fine Occasion’. His incisive and insightful song writing combined with his eclectic vibe blends a variety of genres. Ranging from rock, pop, country, celtic, folk and blues he says he is not trying to fit to one particular genre; his new album is a fusion of them all. Hailing from Melbourne, Brendan McMahon discovered his love for music at the early age of ten. With the intentions of starting a band, he released his first album ‘Falling To Earth’ under the moniker ‘Satellite Gods’. Discovering his creative nature and natural flare for recording, a second release immediately followed before completing his recent third album ‘On This Fine Occasion’. With influences like Harry Manx, Richard Thompson, Queensryche and John Mellencamp, his style offers an uplifting blend of rock through to folk. The lyricism of the tracks portray a narrative with inspirations taken from simple objects through to his extensive travel experiences. So far in his career, the Aussie musician has worked with artists such as Bob Spencer (Angels), Peter Maslen (Boom Crash Opera), Wilbur Wilde (Ol’55), Dave Leslie (Baby Animals), Danny Spencer (Jimmy Barnes), Brett Kingman (James Reyne) and more.
‘On This Fine Occasion’ is a collection of tracks which blends a variety of multi genres seamlessly to create a sublime absorbing listen. From the anthemic folky tinged tracks like ‘Alive’ with its soaring powerful arena ready choruses and the whistle friendly cheery ‘Hotel Hemmingway’ with its warm vibrant instrumentation to the rock and roll doused darkly hued ‘Doctor’ McMahon keeps each track fresh and enjoyable.The jingly tunes bounce along with a good wholesome feel and a purity which the folk elements provide. ‘Marker 7-58’ is an utterly beautiful track packing oodles of emotion while guitar twangs lament over a sweet delicate melody and subtle percussion.It’s stripped back and tender. The story telling and lyrical development in the album is superb and thought provoking. The tender moments in tracks such as ‘Mother’ are passionate and embracing and the vibrant peppy moments in tracks like ‘Esmeralda’s Eyes‘ are warm motivating and mighty. ‘Gentleman Joe’ is another tender little gem. It’s raw and intimate with spaced out components that make each fragment an emotional moment you feel and experience as the track progresses into a powerful anthem. However it’s ‘Beat’ that really stands out for me. This track marks a shift in the album with a steamy guitar whine and funky groove. It’s ready for the strutters with its dance floor swag. The guitar solos shred with a glossy sleekness while funky keys add a jazzy element to this panache soaked track. ‘Home’ is a glorious way to finish the album. Lush backing vocals introduce this elegant number with a choir like soothing quality. When the main vocals kick in this track just calms and soothes the soul with its comforting wholesome melody and light bright instrumentation. A soft beat taps behind zesty sprinkles of guitar and velvety vocals creating the perfect summers evening backdrop. The sharp guitar injections add a sun speckled positivity through the sweet lamenting of the melody. It’s a beautiful cosy end to an album which takes you on a journey of genres in the most charming heartwarming way.
Our Worth A Listen Track This Week Comes From Bayonets
Bayonets is a solo project created by Kerry musician and songwriter Vinnie Flynn. His distinctive style is a mix of alternative rock, indie, blues and folk. In addition to writing and performing live, Flynn also works with several publishing companies based in the US who pitch his compositions to prime time TV shows and movies. His body of work conjures haunting intrigue, each melody luring the listener into a dark and beguiling tale. Bayonet’s sound is undeniably his own and unclassifiable in any one genre.His debut single’ Slow Burning Fire’ was premiered in June 2017 by Hot Press Magazine and has received wide media acclaim. The track has received regular radio play on RTE’s 2fm and it’s made Joe.ie’s song of the day, it’s even hit airwaves as far as Brooklyn, United States. Flynn has now released his second single with an accompanying video titled ‘This Old Coast’.
‘This Old Coast’ is a sinister spine-chilling number that creeps into your brain with its enchanting melody and entrapping guitar. Flynn has developed and carefully crafted this track to create a wholly engulfing, mesmerising experience. His brooding velvety vocals lure you into the track while a pulsing, thumping rhythm adds a blood rushing, thickly smothering sense of peril. It’s asphyxiating yet breathy all at once while filing you with goosebump inducing paranoia. The hypnotic guitar lines flicker with a warm yet ominous quality that wiggles and worms its way into your subconscious. This darkly hued concoction is a gripping, fantastic display- eerie, passionate and one heck of an ear-worm. From the first note ‘This Old Coast’ has you firmly in its grasp hooked and wanting to hear more. It bubbles and boils, intensely brooding and building while still remaining cool and creepy. This riveting track holds an air of seducing mystery and showcases Flynn is someone to watch out for.
Flynn has a string of gigs and festivals in the pipeline for 2018, including some overseas appearances.You can catch him playing at Siné on the March 31st with Vulpynes and K-Fest in Killorglin Co,Kerry on June 3rd. Vinnie also has two more large Irish festivals to announce over the coming weeks.
2017 was a hell of a year for Irish rock band Fangclub. Not only did they release their self-titled debut album (out now on Vertigo Records) to mass critical acclaim, including an RTE Choice Prize Album Of The Year nomination, but they also toured the UK and Ireland on their own headline dates as well as playing shows with Biffy Clyro, Muse, Pixies and SWMRS. Fangclub have gathered major attention from the press (Kerrang!, Rock Sound, Upset) and specialist DJ’s at BBC Radio 1 (Annie Mac, Huw Stephens, Daniel P.Carter, Phil Taggart), RTE 2FM, Today FM and Kerrang! Radio with their monstrous tracks ‘Bullet Head’, ‘Loner’, ‘Dreamcatcher’ and ‘Bad Words’. The trio are now back with their new single ‘All Fall Down’.
‘All Fall Down’ is the trios turbocharged, heavy-riffing follow up that shows these guys are here to stay. It’s a blood pumping, adrenaline fueled anthem laced with the blistering sound Fangclub do so well. Rumbling drums and a running ground shaking bass summons the dead from their graves while the shredding gritty guitars drag you to your knees with an almighty defying fuzz filled rush. With chilled eerie vocals creeping in the infectious melody, this buzzed inflamed banger is a high intensity lightning bolt announcing the exciting return of Fangclub. With a solo that makes your hair stand on the back of your neck and a catchy as hell chorus, it’s an explosive return.
The band are currently writing new material for the follow up to their acclaimed debut album… so stay tuned for more news on that soon…
Catch the band live at one of the following shows:
**With Milk Teeth and Nervus
Mar 21 Crauford Arms Milton Keynes, United Kingdom**
Mar 23 The Underworld London, United Kingdom**
Mar 24 The Anvil Bournemouth, United Kingdom**
Mar 25 The Junction Plymouth, United Kingdom**
Mar 27 Tsunami Cologne, Germany*
Mar 28 Sunny Red Munchen, Germany*
Mar 29 Goldener Salon Hamburg, Germany*
Mar 30 Badehaus Berlin, Germany*
Apr 6 Trinity Ball Dublin, Ireland
Apr 13 Mike The Pies Listowel, Ireland
Apr 14 Cyprus Avenue Cork, Ireland
Apr 18 Roisin Dubh Galway, Ireland
Apr 21 Kasbah Social Club Limerick, Ireland
Apr 26 Whelans Dublin, Ireland
Apr 27 Kavanagh’s Portlaoise, Ireland
Apr 28 Central Arts Waterford, Ireland
May 6 Hit the North Festival, Newcastle, United Kingdom
Jul 12 2000 Trees Festival, Cheltenham, United Kingdom
Wicklow indie, garage rock band Feuds have released their debut self-titled EP which was recorded in the Hive Studio, Kilcoole with Eoin Whitfield. This five track EP is a balanced collection of lushly melodic indie and hefty garage with some sunny vibes sprinkled on top. Each track is carefully layered with adequate spacing between intricate lavish guitar lines and meaty rhythms to create an easy going mellow listen with some roughness to keep it interesting. ‘Longer Days’ jump starts the EP. Laid back and smothered in a hazy sun kissed vibe with silky zesty guitars interweaving between a rapid flexible rhythmic foundation – this track springs from subtly sweet to a light moshing banger. Feuds have a knack for tight peppy guitar lines which illuminate each and every track sweeping elegantly with peppy elasticity and glorious scintillation. ‘Nothing to Happen Next’ and ‘Late Forties, Early Fifties’ continue this sublime trait with the majestic guitar melodies playfully intertwining the punchy drums and vibrant bass line. They don’t overdo anything, it’s the perfect blend of everything, exquisite pop speckled melodies doused in a sweet nonchalance with a garage backdrop that kicks things up a little without becoming overpowering. The Lo fi vocals teamed with the utter blissfully dreamy soundscapes this four piece create make their tracks such a joy to listen to while their rumbly elastic rhythm gives the tracks a rippling quality and adds movement and body. ‘When is October 6th?’ is my favourite track on the EP. It’s flooded in subtle tropical tones with a sweet melancholic vocal melody surging emotion throughout. The track unfolds gently into heavier grittier rock seamlessly. The instrumentation is the main focus of this track as it jingles and flutters along joyously before the brawny crashing chorus shakes things up a bit. ‘Left Behind’ brings us to the end of our day dream with Feuds. The twinkling guitar peeping behind snappy drums give the verses a fluid relaxing flow while the tempo change for the chorus makes sure its not too lulling on the ears. It’s slightly more brooding and moody but still packs in some sparkling vibrancy and feathery lightness in the instrumentation to not put a downer on what is a sublime EP.
Impressively crafted Feuds have created a wholly satisfying EP that shows some serious promise from this band. Their tunes are sweetly melodic, woozy, beautifully formed and pack a healthy dose of rawness behind them.
Feuds are launching their EP in the Workman’s Thursday March 22nd make sure to check them out
A notable reminder that I had just witnessed a crazy show was the broken glasses and a beer-soaked coat which paved the way as I left the venue last Thursday night. Anyone who has seen Dublin Instrumental rock duo Bicurious live before would know their shows can get pretty intense and wild and the ‘I’m So Confused’ EP launch upstairs in Whelan’s last Thursday night was the definition of madness.
Once stamped in with the bands logo on our hands at the door we were settled into the new refurbished upstairs in Whelan’s by singer songwriter Griffo. His acoustic set was particularly warming as he belted out a jangly instrumental intro before flooding through with his raspy rooted vocal. Tinnitus symptoms weren’t going to slow him down. With his hood over his head he crooned and roared with a soulful intensity. “It’s more socially acceptable to drink and drive than to smoke now a days” he says before his sips his drink “I’m off the smokes”. There is no pomposity here it’s raw, pure and honest tunes.
Phazam Haze follow with their gritty muzzy sound. They hold a simple stance on stage as their guitars provide a headache inducing yet thrilling fuzzed-tone while the bass fluctuates from swinging grooves to thundering rumbles. The drums pummel through relentlessly creating a wall of sound that mind boggles your brain. Each track mercilessly blasts out their almost stoner rock tunes that slither, hop and bash creating the perfect frenzy for the crowd to go crazy to. Bassist and vocalist Alex Harvey skips and jitters on the spot in anticipation for the all-out mosh mania crescendos that travel at dizzying speeds. The sound is so intense, heavy and bombardingly fantastic you’re pretty much dazed and stoned on the music alone. They create a potent brew of meaty rock at its finest.
Dublin’s progressive post-punk/math rock three-piece Tribal Dance are the final warm up of the night. Their sound is gruesome beauty. They bludgeon, batter and assault while gliding through on the most luscious neck snapping basslines. This trio bring a mixed bag to their tracks cruising in sweet and melodic before electrocuting you with acid doused garage rock. Their set felt like having a rave in a huge tub of marshmallow- all gorgeous and enveloping, but with moments of fire and brimstone scalding you throughout and the crowd loved every minute. The crowd surged to the front moshing, pushing and swaying lapping up every moment, as the vocals scream and wail over the fluctuant upbeat rhythms, darkly hued sour riffs and thumping basslines. With these guys when the tunes are sweet and mellow its glorious and woozy and when they are heavy it’s a mind blowing, shredding onslaught.
Something crazy comes over the crowd as Bicurious take the stage. Maybe it’s the shift to green lighting or the frenzy caused by the previous acts or their blaze of energy and hefty tunes but they inflame the mosh pit and create total anarchy. Gavin Purcell throws his hat off and their mighty Intro begins. The crowd instantly begin to jump turning the floor into a trampoline creating a ricochet effect which made you bounce while standing still. The duo melt the mosh pit into a blur of flailing limbs and tumbling bodies with the speed-riffing ‘Octagon’ and ‘Fake News’, which brings about massive cheers and the first riff sing along of the night. From the get-go members of the crowd are crowd surfing. Practically everyone has a go, sometimes two or three at a time. From the melodic sweet mellow melodies to the hefty thumping rhythms the crowd know every pulse and waver in the tracks. One small command from Taran Plouzané and the crowd descend to their knees ready for the massive instrumental blow up that brings heavy, manic moshing and pushing. Bicurious’ set never feels repetitive, nor less than electrifying to watch. As an instrumental band they keep their audience engaged with intricate, luscious riffs and sweet melodies while packing in a thrilling heavy dose of mosh ready ferocity. Plouzané stomps about the stage while Purcell throws his drumsticks into the air and gestures to the crowd to go wild. The crowd began circle pit moshing as people were flung about the floor, it was a sweaty spectacle for sure. Their as of yet unnamed ‘New Song’ which went down a treat, showcased a slight shift in the duo’s sound. Sounding like an acid drenched dance rave it made the crowd go nuts. With the green lighting it was definitely a dizzying savage bombardment to the senses. ‘Sleep’ brings about another blitz of hair swishing, sweat flicking moshing which surprisingly brought a nice whiff of sweet smelling shampoo my way not exactly the smell you’d expect, but a welcome one. The band bring Mark Barry from Dicey up on stage for a monstrous cover of Rage Against the Machine’s ‘Bulls on Parade’. Experiencing a mic dilemma Barry belts out the track anyway with the crowd helping to amplify the vocal line. Naturally a Rage Against the Machine cover sparks total anarchy among the crowd making the faulty mic unnoticeable. Multiple crowd surfing, a torn down curtain and many spilt drinks later we come to the end of the duo’s magnificent set. Bicurious’ set was so furious and fast that their hour whizzed by in what seemed like 10 minutes. ‘Father’ closes their set resulting in the duo crowd surfing as the audience lift them high and proud, Purcell lays back fully horizontal, “like a boss” raised above the crowd. Plouzané joins him in what looks like a blissful state of ecstasy.
There is no question of the talent of this duo. Their tracks speak for themselves and with their masterful composition, knowledge of what people want to hear and the sheer energy they radiate these guys are definitely ones to go see live. It’s never stale and with the crowd they bring in, it’s always shell shocking.
Indie: (n) an obscure form of rock which you only learn about from someone slightly more hip than yourself.
and the first riff sing along of the night. From the get-go members of the crowd are crowd surfing. Practically everyone has a go, sometimes two or three at a time. From the melodic sweet mellow melodies to the hefty thumping rhythms the crowd know every pulse and waver in the tracks. One small command from Taran Plouzané and the crowd descend to their knees ready for the massive instrumental blow up that brings heavy, manic moshing and pushing. Bicurious’ set never feels repetitive, nor less than electrifying to watch. As an instrumental band they keep their audience engaged with intricate, luscious riffs and sweet melodies while packing in a thrilling heavy dose of mosh ready ferocity. Plouzané stomps about the stage while Purcell throws his drumsticks into the air and gestures to the crowd to go wild. The crowd began circle pit moshing as people were flung about the floor, it was a sweaty spectacle for sure. Their as of yet unnamed ‘New Song’ which went down a treat, showcased a slight shift in the duo’s sound. Sounding like an acid drenched dance rave it made the crowd go nuts. With the green lighting it was definitely a dizzying savage 
bombardment to the senses. ‘Sleep’ brings about another blitz of hair swishing, sweat flicking moshing which surprisingly brought a nice whiff of sweet smelling shampoo my way not exactly the smell you’d expect, but a welcome one. The band bring Mark Barry from Dicey up on stage for a monstrous cover of Rage Against the Machine’s ‘Bulls on Parade’. Experiencing a mic dilemma Barry belts out the track anyway with the crowd helping to amplify the vocal line. Naturally a Rage Against the Machine cover sparks total anarchy among the crowd making the faulty mic unnoticeable. Multiple crowd surfing, a torn down curtain and many spilt drinks later we come to the end of the duo’s magnificent set. Bicurious’ set was so furious and fast that their hour whizzed by in what seemed like 10 minutes. ‘Father’ closes their set resulting in the duo crowd surfing as the audience lift them high and proud, Purcell lays back fully horizontal, “like a boss” raised above the crowd. Plouzané joins him in what looks like a blissful state of ecstasy.
