God Damn are made of Thom Edward and Ash Weaver, they have been going since 2010 and are from the heart of midlands. ‘Vultures’ was their first record, which came out in 2015, and what a sound it was!!Amazingly the band released a record, with James Brown joining to play synths and do backing vocals, a year later! It came with stand out track such as ‘Sing This’, and the whole LP was an incredible return after a short space of time.

The band from Wolverhampton have now released their third album this year, ‘God Damn’ which was continuing their rocking, loud sound that is inspired by atheism and spirituality. It seems like this band keep on improving with every release and it was so great to hear more about it all, with Thom, answering questions about everything to do with the band!

It’s been a journey since your inception since you started in 2010, how does it feel looking back on your debut from 2015, Vultures? 

Definitely been a hell of a ride and occupied most of my adult life now for sure. We’re very different people in alot of ways since first starting this band however definitely since releasing our first record my ideals have become more cemented that I touched upon in that record, some of them make more sense now than ever. I kinda think thematically we would have been better releasing that in more recent years, what with everything that’s going on. Production wise I think that album was a bit of a masterpiece in alot of ways as it was very kitchen sink and pushed some boundaries that being said, I think our song writing and musicianship has vastly improved since then.

The single ‘When The Wind Blows’ is a great blend of so many rock styles, how did that track come about?

It was aimed at an old friend who used to take the piss out of people’s appearance and it used to bug me, then one day that person had the misfortune of having their appearance altered and maybe their perspective on life.

There’s so much that goes on in your music, after three albums it still sounds so exciting! Who are your biggest influences individually and collectively?

I’m more into noise rock, punk, doom and hardcore with a smattering of power pop.

Ash is definitely more into his out and out rock and indie pop. James is into the more avant garde and deep left field. Those are all sweeping statements and we definitely dip toes or sometimes have a full on bath in each other’s tastes.

Your second LP, ‘Everything Ever’, come soon after. It’s an amazing record with highlights such as ‘Sing This’ and ‘Ill Bury You’, how was it following up from your debut a year later?

It was super instantaneous and that’s reflected in the songs, we wrote them dead quick, streight after festival season and did them with a more indie pop producer, there was no fat on anything it was bangers or go home, I think we maybe got caught up in what a more mainstream version of our band would sound like on that record but there’s some decent tunes on there for sure.

You’ve toured alongside some huge names over the years! What are your highlights from the those tours?

Oh gawwwd, theres so many, the fun stuff that comes to mind is all just the mad shit that happens in a random city far from home and you’re with your buddies. You can go from being bored out of your brains on tour to going wtf, this is so much fun. Meeting your idols and them not being douche bags, them fully loving your band is pretty mind blowing.

The third album came out this year, what made you decide to self title the record? 

I think because we did it live and it was maybe a return to why we started the band in the first place made us approach it like it was “the most God Damn record yet”. We were unashamedly playing up to our own clichés. Also, there was a an exploration of by atheism and spirituality that was being discussed, bolstering that cliché further.

‘Whip Goes The Track’ is an amazing track, the riff is extremely catchy and filled with anticipation! How was this song written?

The idea of using a glam rock beat with a drone had been hanging around since we were writing the second album, so it really started with a beat and a sound tbf.

You also have a new single out! ‘Watershed’ has a garage rock sound to it, it’s amazing you managed to get something out already. What are your plans in terms of LP4? 

This was a cover that we had hanging around, a DIY lockup recording and it made sense, seeing as anything goes right now to just put it out, my production style is very garage rock for sure, lo-fi minimalist, so I’m glad you picked up on that. You’re not going to get a clinical studio sound from a little scratty lockup, so I wasn’t going to try and polish it up to be something it’s not, might as well play to its strengths. LP 4, I dunno yet, we’re definitely writing but only at the initial idea and demo stage, plenty is coming out but it’s hard to say until we can legally get in a room together.

What music have you been jamming and listening to while we’ve been in lockdown? Hope you are all safe and well!

You know what, personally I’ve been on a journey of rediscovery with led zep, I gave them a sizable break but I’m getting obsessed with that early rock production and soul more than anything. That and the new Thou covers record, some Eleven, Entombed, NIN, primus brown album.

After dropping their smooth and impressive debut album, Cassia are ready to focus on how to follow up that success. Not only that, the band also have acclaim for their live shows; a mighty impressive nomination from the Association of Independent Music Awards came their way last year for how they’ve stood out when performing on stage.

The guys have been recording in Berlin and since the turn of the year, two singles (‘Drifting and ‘Do Right’) have been brought out and a buzz is building for what is next for Cassia. Over email, I was able to ask the band about the release of their debut record, birth of the band and what is next for the group!

Last year you released your debut album, ‘Replica’. How does it feel looking back on finally putting out your debut record?

Feels longer than a year ago! I suppose the overriding thought is that it gave us a great foundation to build on something. We put a lot of time into such a short space of time to produce the album so it always feels like such a blur. There’s so much we loved and so much we would probably do differently. It gave us an insight into the process which will certainly help us with the next record. In summary, a solid first album.

How did the band all come together? You are from Macclesfield, did the neighbouring city Manchester and it’s music legacy play apart?

Myself (Lou) and Rob met at school. We began trying to put some music together and even bagged a gig at our local. It was after this we decided a drummer was essential if we were going to take it any further. A few weeks later over a Wetherspoons pint we hesitantly asked Jake (the pro) if he would consider playing drums. The rest is history!

From then Manchester was like our musical hub. We tried to get as many gigs as possible knowing that people turn up wherever the gig in Manchester. I think our first show was at the ruby lounge and we managed to get a fair few heads down. Then to headline the Ritz a few years later felt super special.

How did the recording time in Berlin happen? Must of been pretty cool!

Berlin seemed to happen so quickly! The opportunity arose to go over there and do some recording. After a hectic 2019 I think we all welcomed the change of scenery and culture! It opens up your eyes to a new way of living. It almost feels like a fresh start and I know we’re all super motivated and inspired so long may that continue!

The opening of ‘Movies and Shapers’ is so mint, how did this song come about and was that drum intro part of the original idea or come later?

If I can recall I think the bongo intro came later afterwards! It was such a long process getting this song together in general. The idea initially came from just the chorus riff. We knew that it had something cool however we couldn’t seem to piece it together with a verse for ages, so it was just sat in the works waiting for the call up. When it came to the album we decided we had to use that idea somehow and so we’re determined to get a good arrangement! Then Jake’s little bongos was the cherry on the icing.

You guys were nominated for Best Live Act alongside IDLES and DMA’s at the Association of Independent Music Awards, how important is the life experience for you guys?

To have just been nominated amongst the in total 50 artists or whatever was something we’d never experienced before. It was a proper surreal moment, and then when we found out we got down to the last 5 it was crazy! Then to attend the awards, we obviously milked the whole thing. Prepping our victory speeches like the naive lads we are. Of course Eurasia we’re going to win! Didn’t stop us from making a night of it though, a good laugh!

‘Don’t Panic’ was the first single of this year, is this leading up to album 2 or? What was it like writing after the debut record?

I’m not at liberty to say just yet what the plan is with these new tracks but what I can say is that we’ve got some pretty cool things coming up!

It was super nice, like I touched on earlier, being in a new environment without the distraction of live gigs allowed us to really focus and hone in on what we wanted the new stuff to sound like. I think we all had in our minds where we wanted to take the new stuff. We knew there was so much more in the tank from the first album so we approached the writing with a real excitement.

And now the recent single ‘Do Right’, has such a great riff in it and is a great representation of your sound. How did this track and in particular the catchy chorus come about?

The initial idea came from Rob when he was in South Africa over new year. He spent some time with Jeremy Loops and I think (without speaking for him) was a big reflection period for Rob in some ways. When he presented us the idea it was an instant hook, we loved the chorus and then the song developed from there really with the addition of the intro flute riff.

Despite lockdown, does the band have anything planned? Hope you guys and are all safe and well!

The plan is more of the same! Keep writing, keep releasing. Like everyone else, the live calendar is looking pretty bare haha. So hopefully we’ll just practice loads and get really good when the time for live comes around again! We’re all good, hope you’re safe and well too.

Big thanks to Cassia for answering our questions and make sure to check their new single out ‘Drifting’!

Cruel Hearts Club began with Edie and Gita moving from Down Under to London and forming the punk pop band with drummer, Gabi. On their website you’ll find ‘Blending everything from cheerleader chants to gnarly guitar work’…..it being the best possible description about them and their 3 extremely fun and empowering singles.

Alongside some rad singles, they have supported some legendary names already around Europe, just another sign of how they are nailing it! It was great be being able to ask them about some of their songs, style, thoughts on the industry and supporting Mr Iggy Pop!

You girls have such a great pop, punk and grunge sound, how did you decide on your sound?

Our sound is evolving all the time. I love that we don’t have to be boxed in to one genre and we can just make music that we love.

You cite The Runaways as a big influence, what was it like hearing songs ‘Cherry Bomb’ for the first time?

I don’t remember the first time I heard it… but every time I hear it It’s just so huge and powerful that it never ever gets old.

How does the songwriting work in the band? Is it very collaborative or more individually?

Edie and I tend to bounce melody and lyric ideas back and fourth – in our voice memos you can often hear windscreen wipers going of kids in the background going ‘I’m trying to watch my program!!’ Anyway, we’ll end up at one of our houses and bash it out on guitars. We’ll get in the studio with Gabi and make sense of it structure wise.

Your first single ‘Hey Compadre’ was such an epic and loud first experience of what you girls are you and stand for, was it the obvious choice as the debut track?

Yeah! It was the song that everyone would come and tell us that they loved backstage after our gigs. It’s always my favourite song to play as it’s usually our last one which means We can use all the energy We have left.

‘Suck It Up’ opens with such a great guitar sound, how did that sound come about?

We don’t usually start songs with a bass line but I just loved the guitar line and layered it up at home for a demo to make it sound BIG. The whole song started with that line and the rest kind of fell into place from there.

You supported people like Iggy Pop!! How amazing was that???!

Literally, a career high, it doesn’t get better than Iggy. We had a total ball out in Budapest, we had a bunch of friends and our fellas out with us and we went large!

How do you feel you as a band are seen and treated, being in an industry that has unequal festival line ups and dominated by white mate acts?

We’ve had a few moments where it’s been a bit rocky and we felt like we were been penalised for our gender, but on a hole I think things are looking up in the music industry. Women have a lot more power right now than they used to and I’d like to think people will speak up if anything unjust goes down. I know we will.

The new single ‘Blame Me Too’ again has such a cool riff, how did that song come about? The chorus is so awesome!

Thanks! It actually had a completely different chorus at the beginning and a whole different meaning but it didn’t feel strong enough.

Once we did a rough demo of the new version, everyone seemed to really buzz off it. We didn’t even change much from the demo as we really loved the raw sound of it and didn’t want to spoil it with too many added sounds. Sometimes the simple songs are the best.

It must be very frustrating with what’s happening with the virus but I hope you are all safe and well! What’s hopefully planned after lockdown?

We want to do a uk tour as we seemed to have quite a few new fans so would be amazing to go and play for them for the first time.

Lovepoint arrived on the scene back in 2018 with his self titled EP, gaining attention from BBC Radio 6. The singer-songwriter later put out a duet with Indira May and now has a new single ‘Caramelise’. His songs are always a fascinating listen, they bring such a suave atmosphere to your ears. We managed to ask the charming artist a few questions last week, was fascinating finding out more about his music!

What music were you first introduced to when you were younger? Does it still resonate with you today?

I’d say I got into lyrics before anything else. Eminem was the first artist that really caught my ear. I got my hands on a couple of his CDs when I was in primary school and probably too young to be listening to some of that stuff, but I was wowed by his delivery and wordplay. I used to listen to Marshall Mathers LP all the time as a kid.

Bob Dylan came next. Again, his lyrics knocked me for six and I loved his voice. It’s technically flawed, but you can tell if it’s Bob Dylan’s voice from one syllable and I love that. Most of my favourite artists have very unique voices (Tom Waits, Nina Simone, Kendrick Lamar, Smokey Robinson).

Instrument-wise, I didn’t start playing guitar until I was 15. When I was around that age, somebody showed me Jimi Hendrix and I lost my shit. Then my school friend Ali put me onto loads of great blues musicians who I listened to loads and still do (Stevie Ray Vaughan, B.B King, Robert Cray).

All of that music still resonates with me today, yeh. I think those artists I’ve mentioned above are timeless and I certainly feel nostalgic towards those songs/albums.

You released your first bunch of songs back in 2018, can you tell us a bit about the lyrics of ‘Upstairs’ and how that song came about?

Sure. It’s a story about an affair with a woman who’s married to a guy that’s trouble. It’s a sketch of a moment; them illicitly meeting up in a hotel. I wrote it a few years ago, so don’t remember too much about it to be honest! I remember wanting to play with the idea of unzipping and I think that was more of a theme in one of the earlier drafts. That’s kind of the idea behind the line “is this the place where love comes undone?” As in unzipping the clothes of someone else symbolising the final nail in the coffin for their marriage.

In regards to writing the music, I’d written a bunch of songs in a row that were in common time and I wanted to mix it up. So I just started playing around in 6/8, got the chords, did the instrumentation, and got the body of the song pretty quickly.

For your songwriting, how are you typically inspired? Does it start with a melody or chord progression or lyrics?

To be honest it’s different with each track. More often than not it starts with a hook. I’m always singing to myself or in my head, so when I catch onto something I’ll either sit down and work on it or record a voice note if I’m not by my gear.

In terms of lyrical concepts, the first spark of an idea is more likely to come from real-life characters/episodes or a book/film than a song. Normally I’ll sing over an instrumental section to see what comes organically and then build and shape the lyrics from there. I have a fucking huge bank of lyrics I’ve scribbled down or e-mailed myself or whatever, so I’m never short of lines that I’m happy with. I just try to be careful not to cram too many into one song, because then the impact of the stronger lines is lessened.

Would you say your lyrics are inspired by personal experiences or observations of the world around you?

Normally, they’ve got a root in personal experience one way or another, and then I embellish them to make them a bit more interesting. That said, Caramelise doesn’t have a conscious root in personal experience. I just decided to write about a femme fatale seducing a guy into giving a false alibi for a crime that she committed. They talk about moving somewhere exotic together, but then she disappears, and he pines for her, eventually realising he’s been conned (hence the line “on a diet of coconut shy tricks”).

How did the collaboration with Indira May come about for the song ‘Tortoiseshell’?

I randomly came across her on Soundcloud. I’d never been particularly interested in writing lyrics with or for anyone else, but something about her tone and delivery got me, so I dropped her a message saying here’s some of my music, would you be interested in recording a duet? She was game and I wrote Tortoiseshell in one 5-hour block the next day, then went and met my mate for a coffee.

I remember that day quite fondly actually. It was the first time I’d ever written for someone else but really enjoyed it and it’s something I want to do more of in the future.

Ben (friend & producer) and I then recorded the track and we recorded her vocals last. She added her own flavours to the melodies in the demo and I was super chuffed and impressed with what she came up with.

Your vocal delivery sounds so enticing, who would you say you were inspired by your singing or does it come just naturally?

Thank you very much. I’m sure there are loads of subconscious influences in there, but I don’t think I could single anybody out. I remember I was recording with Ben a few years ago and I was really excruciatingly over-thinking my vocal takes and he said, “just think about what the song’s about” and that was a bit of a turning point. Even though I embellish the lyrical content, there’s normally something pretty personal buried somewhere, so I just focus on that and try not to overthink it.

Caramelise is the new single and it sounds great! The opening bass is so cool, how did you write the song?

Thank you again! Whenever I have an idea and am not around my music gear, I record a voice note on my phone. At the moment, I’ve got…. 432 voice notes on there.

I go through them quite regularly to get rid of the shite ideas and work on the ones I think have some substance.

I came across one that was about a year old and gathering dust. It was just me humming the chorus melody to Caramelise and I picked that out to work on. The bass line was the next thing that came and from there the structure came pretty easily.

I wrote it at the peak of summer during a really hot week and I think that the weather seeped into the lyrics.

Obviously things are up in the air during this difficult time, hope you and the people in your life are okay. What are the plans next when things return to some sort of normality?

Thank you, likewise for you and your friends/family. The main priority is to start gigging ASAP. It took a while to find the right people for the live shows, but there’s now four of us and I’m super happy with the band and how we sound together. We were due to start gigging early May, but the Coronavirus situation fucked that right up.

Besides that, I’ve finished writing an album during lockdown and have recorded parts of it already. I’m also about half-way through writing an EP.

So, in a nutshell, gigging and recording that material as soon as possible!

Thank you! Yes we are doing all okay thankfully! What have you been listening to while in lockdown and how’s being creative during this time?

I’ve not seen much of a change in my creativity, to be honest. I’m quite steady creatively. I write in a very solitary way and spend hours at my desk editing tiny details in song/lyrics, so being forced to stay inside hasn’t done me that much harm in terms of musical productivity.

In terms of what I’ve been listening to, all sorts! I intentionally try and listen to as wide a variety of music as possible. This week, though, I’ve been rinsing “Introducing” by Ruben Gonzalez and “Ibrahim Ferrer” by Ibrahim Ferrer. Reece, who plays bass in our band, put me onto both those records recently and they’re fucking great!

Still only 22 years old, Lauran Hibberd from the Isle of Wight is making waves with such force and fun right now. The solo artist is putting out relatable and brutally honest songs, with lyrics that are resonating with so many people, she’s definitely a perfect artist for today’s time.

Lauran has been getting attention from BBC Radio 1 for sometime now and will be definitely climbing up festival bills ASAP, when it’s all possible again. It was a great pleasure being able to ask her some questions, varying from about herself and what’s behind her significant and interesting songwriting.

What are your earliest memories of music and how much does that music still resonate with you now?

My earliest memory is probably going to Isle of Wight Festival, I used to go every year as it was on my doorstep and my mum took me from a young age. I remember being infatuated with the bands and the atmosphere, and I would listen to every act on the bill before the weekend. I think it made me want to be up on stage and pick up an instrument. So now, when I play the Big Top and Isle of Wight Festival it’s beyond surreal for me. A lot of heart is in that festival for me.

Your sound sounds influenced by a lot of late 90’s and early 00’s music, what bands or acts would you site from that era would have influenced you?

Definitely! I’m a huge Weezer and Green Day fan, as well as Smashing Pumpkins. These are constant references for me musically.

‘Hoochie’ has such a great fuzzy guitar, how did that song come about?

Thank you! My producer sent me the initial guitar riff, and I instantly spat out the first verse and we loved it. I then landed on the chorus and the rest fell together really naturally. I’ve been working with Boe Weaver for a long time so they know my sound, and It was just such a good fit. I traditionally don’t like writing with others, I’m a solo gal but they really get it – particularly instrumentally. The lyrics and vocal melodies are my strengths I’d say.

Your lyrics tell such bold, tongue in cheek stories. What made you put across a message in such a fun but truthful way in your songs?

Thanks! Bluntly that’s just sort of who I am. Personality wise, I have a dry and dark sense of humour and that seems to fall out in everything I do. I like to say it how it is.

‘Shark Week’ is a shift in tone in so many ways, how did it feel writing a song that was very different to most things you have written?

It’s funny because on paper that’s true, it’s a shift in tone but I started out as a folk artist so for me the other stuff, the slacker pop tunes are the shift in tone. I was nervous to see how people would react to Shark week, but people seemed to really get behind it. I think we all love a sad song, and it still carries so much humour in some ways. It’s one my favourite songs of mine for sure.

It’s great to see an artist sing so honestly but with a great blend of humour and fun. It must feel very rewarding playing live, seeing people resonate and really enjoy themselves to your music?

Definitely! It’s baffling for me to see how far it’s all come, I’ve played to no one and I’ve played to over 2000 people so it really is the most rewarding and humbling feeling. It’s also dead reassuring, because it means something is working haha!

‘Old Nudes’ is amazing! How did it feel writing a song based on what you say was a mistake in such a funny but empowering way?

Thank you! I love to dig my teeth into a taboo subject, and I like to flip situations on their head. I personally was quite proud of the way I managed to warp Old Nudes into celebrating a mistake and being body proud etc. I’m out here for the nude senders! My fan base is vast, but a lot of young girls find happiness in my songs so I think I like to bare that in mind and pass down things I’ve learned etc.

What are the plans next when things become safer again? Two singles out this year, could there be another EP or something more?

Another EP is definitely on the way this year, and as soon as we are allowed to gig there will be no slowing me down. I’ve written my debut album also so work will begin on that soon too eeeeeeek!!

Lauran Hibberd’s current single ‘Old Nudes’ came out in April and is available on all streaming platforms. Go check her debut EP too, ‘Everything is Dogs’!

There is some of the bands best work within a very wayward album number 4. It will divide people but deserves respect for what it offers. The question I’m left with this LP, is that….could of it been split into two for the Music For Cars era? Nevertheless this a must listen record by Britain’s most defining band of the last 10 years.

Notes On A Conditional Form begins with such an impact, the Greta Thunberg’s essay on Climate Change and the need for civil disobedience regarding the humanitarian crisis. It’s an iconic piece that leaves you thinking we are on the edge of change when Greta ends with ‘rebel’ (sadly a long way to go).

We then get hit for six with the monstrous rock song ‘People’. It’s calling us to ‘WAKE UP WAKE UP’ with a bonkers guitar lick; it’s just everything you want from the band when they go full on rock. There is also a very sexy guitar riff during the verses, which is very reminiscent of Queens of The Stone Age, credit to Adam Han on guitar there.

The End (Music For Cars) is one of many instrumentals. First off here is an extraordinary orchestra piece with a humbling brass section, wind instruments fluttering and a seducing harp to lead us out from the track.

‘Frail State Of Mind’ follows on, which shows how far the band have come with its ambitious takes on left field music styles. Obviously it’s always been impressive these attempts, but it’s definitely the first time that they’ve truly made it their own. With a great blend of U.K. garage and trip hop, the band deliver a beautiful and honest song based around mental health. “I haven’t told a lie in quite some time…..if you keep lying, don’t lie behind you frail state of mind”, is one of the many lyrics that should be noted as a great take on dealing with mental health problems.

The definite grower in ‘The Birthday Party’ is after the instrumental ‘Streaming’. It seems like Matty is simply chatting in a casual, self indulgent way about certain social circles and people that aren’t good for his drug habit. The tranquillity nature in the production by George Daniels is outstanding. At times it feels so fresh and clean, you think it’s breathing like one would in the clean air countryside.

Then in regards to the Pinegrove reference within the song (which got the all clear by said band): for me, it’s a comment on how some people don’t care about the deeper context with art. They just want to consume and not dive deep into nitty-gritty of condemnation and righteousness of people who they just want to enjoy. Most probably I’ve overthought this, but what’s new there folks.

‘Yeah I know’ has a nostalgic Sony video game running keyboard part with a subtle trap beat, though sadly by the end you are wanting the outro to end. ‘Then Because She Goes’ just seems like a track that just exists so that Matty can just proclaim his love to his fans at the live shows.

‘Jesus Christ 2005 God Bless America’ is a wholesome duet with Phoebe Bridgers. With subtle vocals from Matty and elegant singing from Phoebe, the venerability of the song is it’s strongest aspect. George’s production shines here, its tremendous how angelic, pure and dramatic his production can be. Possibly the highlight of the whole record is his magic in all honesty.

Roadkill makes a return to the alternative country vibe, the keys we hear during it makes me want to go to the barn dance! Anyway….Matty sounds fantastic singing a country esq melody, howdy. It’s playful and really pleasant, despite needing a better shift in the middle eight.

Honestly I want to know how Busted inspired ‘Me and You Together Song’ is, come on….its gotta be? Me and You is a shoegaze, pop punk song that’s narrative is about a love interest. Also how the character within the story, faces confusion by many love interests with regards to their campness and natural feminine body language.

Notes then follows with another instrumental…..they are fascinating but you are wanting to move on from them after a while. Nothing Revealed/Everything Denied’ is a r’n’b number which may have a random vocal part somewhere, yet it’s epic chorus is wonderful.

‘Tonight (I Wish I Was Your Boy)’ is worth mentioning with its decent beat; it’s gentle and makes you want to grove along, a great edition to The 1975’s catalogue. As that concludes, you can guess what’s next……you guessed it…..an instrumental. ‘Shiny Collarbone’ is an interesting deviation, its fascinating and somehow brilliantly amusing. Have to say though, I worry it will get lost due to how far gone we are in the album.

We then reach the huge single of ‘If You’re Too Shy’, it’s flown by right? The beautiful production and euphoric chorus just slaps you back into the 80’s, it’s beautifully devine and playful. A side note: the placing of the song really helps the listener continue further as we get closer to the hour mark (good tactics there boys).

Another turn in the many styles of ‘Notes’ is ‘Playing On My Mind’ and it is up there with their best straight acoustic tracks. Matty seems to be at amazing crafting an acoustic hook that’s delicate but still infectious (has been playing on my miiiiind).

*drum roll please* More instrumentals and beat centric songs come to pass. They are unfortunately, the least interesting thing the band have done since their deep cuts off their debut record. It’s a shame because Notes is potentially pulling off the running time but in its penultimate chapter, it lingers on for no reason.

‘Guys’ is a lovely sentiment around the journey the band have been on and the love for your friends who you grow up with (what an intense/confusing/wacky experience right?). But seriously the song is a beautiful way to finish the record. It’s again venerable and feels even more pure amongst the self indulgent lyrics we find on the LP.

Despite it not feeling as long as the 72 minutes that it is, there isn’t enough consistency needed to pull off such a long LP. We have a more self indulgent The 1975 this time around and I can imagine that being very hard and even boring for some.

Due to the length of time we waited for the record and the actual length of the record itself, many will forget what makes this album amazing sadly. It’s definitely one of the years must listen releases due to its ambition and leaves the question, what next for this amazing and wacky band?

Rating: 7/10

What are your thoughts? Leave a comment on our Instagram: @bringmethemusic_ or send us a tweet: @bring_themusic

With love, Tom x

Coach Party are based on the Isle of Wight and already staking a claim that we should all contribute to their ferry tickets, they are just so addictive with their charm and music!

Three singles are now available from them, all offering a fun, angst and grunge sound. What’s so impressive is that they are making their songs sound so angst but very playful, so it was great to be able to find out how the band work and see how they are doing!

How did you guys all meet? Aren’t you all from the Isle of Wight and what was it like starting a band there?

We all meet through the music scene on the Isle of Wight (which is just basically everyone knowing each other), and we all were in different bands at the time. Joe and Guy played in a band called Polar Maps, and myself (Jess) and Steph had something small of our own going. Long story short, we managed to get Joe and Guy in the band and THANK GOD! They make it 10000x better. It’s hard setting up a band here as we are limited to what we can play, this is of course due to the incredibly expensive ferried across to the mainland. But we love the Isle Of Wight, so it’s the price we have to pay!

What was the first moment you guys realised you had something as a band to go somewhere and eventually get signed to a label?

The moment we felt like we had something as a band was probably when our manager, Jonathan Morley came along, his belief in us made us believe in ourselves.

What music influences you guys individually and collectively? I can hear a lot from Wolf Alice to Nirvana, are they two bands you sight as playing a part in your musical journey?

Wolf Alice and Nirvana are defiantly two we are very interested in collectively as a band, and also a great compliment! We all have different roots, however, more bands we all love are Weezer, Alvvays, The Beatles…..we could go on. So if we manage to radiate anything similar to that along the line, then we’ll be happy!

‘Oh Lola’ was your first single out last year, it sounds so angst and the chorus hook is playing around in my head non stop! How did the song come about?

Lola actually started out being an acoustic song for a few weeks before actually taking it into the rehearsal room. On one of the bad snow days from last year, Steph and myself got together to played it, and the rest is history, I think it just managed to come out like that. It might have been due to the annoyance we were feeling from now being able to go anywhere because of the icy roads. I also have to add, when we recorded it, our drummer Guy produces us, and he could make anything sound incredible.

Now you have your third single out, ‘Space’, can you tell us a bit about the track? The lyrics on this are so intriguing!

The lyrics in space are my favourite, myself and Guy wrote it lyrically, but he came up with all the interesting parts, haha. We did base it on how tormenting it can be when you put your feelings on the line, for someone to just then abuse it and take advantage of that.

What are your plans next? I read there was or is a mini album set for Spring 2020, is that still happening or been affected by the current climate?

YES! Mini album, on the way…So, the next plan is to release the EP (mini album is a cooler name) and then hopefully start playing live (if we’re ever allowed again). If not, we’ll stay an internet band and live life in lockdown forever.

What music have you all been listening to that you would do a cover for an ‘isolation cover’ post, that we so many acts doing right now?

We’ve all been loving the new Clairo album, so I’d say, we’d try something off that. We are trying to still release our original songs and hoping for the best possible outcome for them, so covers are on hold currently 😁

Charlie Moss is an ever growing solo artist, who is a great example of what it is to be an artist from Brighton; a cultured inspired artist who wears theirs inspirations proudly with a sunny and DIY sound. With a variety of singles already under his belt, an interesting pop rock sound is developing and it was fascinating to hear from him about his musical journey so far!

What were your earliest memories of music and do those memories still stick with you today when writing?

My earliest memory of music was probably starting to learn the drums from the age of 8. My dad always played classic rock bands to me in the car which inspired me to take up learning an instrument. Although I started off learning the drums, I picked up guitar and piano soon after and haven’t stopped since! These memories definitely stick with me now especially when I write music, as I draw huge inspiration from both my dad and the bands that originally got me into music.

How does Brighton impact your music due to it’s cultural and music significance now?

I absolutely love Brighton and the music scene it holds. I played my first ever gigs in Brighton doing the pub circuit as a solo acoustic musician which soon turned into clubs and venues when I got a band together. Brighton has some fantastic grassroots venues which are amazing for up and coming and emerging bands such as myself, its musical significance seems to be ever growing and becoming more popular which encourages me to get on stage as much as possible and also makes me proud to be from Brighton!

Your first single ‘Wait for You’ came out two years ago, how do you think you have changed since as a songwriter?

I released my first ever EP in 2014 as a solo artist and it was really acoustic / singer-songwriter based. After 2 solo EP’s I then realised that I wanted bigger and better and needed to get a band behind me. Wait for you was my first release under a band and I still play it live now. It was definitely the direction I wanted to head in as I was learning more about the complexity of writing both lyrically and musically, but I’d say I’ve changed since in terms of song structures and scales for sure. I try to mix it up a bit and have different sections and chord changes as opposed to just 4 chords going verse, chorus, verse, chorus, end.

‘Never Stop Loving You’ sounds very Manchester sounding melodically and it’s main riff, is that a fair reflection and how did that song come about?

This is probably one of my favourite songs that I’ve written. I wanted to write a bit of a heavier guitar track with a hook, heavily inspired by one of my favourite bands The 1975 (I know it doesn’t sound too much like them though). I feel like it’s a fair reflection because I’m heavily influenced by bands from Manchester and surrounding areas, I love the vibe they have going in up there in the music scene and the bands that they birth into the music world! The song came about just messing around in rehearsals one day. My guitarist Scott came up with the intro riff on top of some chords I was trying to put together whilst my drummer Ash was slaying the kit as always.

How has lockdown impacted on you creatively?

Lockdown has been a weird one. I’ve ended up trying to make as much content as I can for people to listen to, to watch and to enjoy as a form of escapism whilst they’re stuck inside. I’ve always been scared of making videos of myself, especially covers (for some unknown reason) and posting them online, but I have now taken the plunge into the wide world of Tok Tok! Other than that, I’ve been writing music in my home studio setup and trying to lay down some demos, so as soon as this is over I can jump in the studio and get some new tunes out as soon as possible!

‘I’m not Leaving’ is your latest single, it’s fantastic! Can you tell us a bit about it’s inception? There’s a great blend of indie rock of Catfish and The Bottlemen and classic singer songwriter influence on the track!

Ahh thank you so much! I think overall this is probably my personal favourite to have written, and I’m SO gutted that I haven’t been able to play it live yet, but when I do it’ll be big! I’ve always been a massive fan of Catfish, I’ve got the logo from their album ‘The Ride’ tattooed on me as it’s one of my biggest inspirations towards writing and playing as a musician, definitely in my top 5 favourites and this definitely inspired me to write ‘I’m Not Leaving’. I almost wanted to try and create a pop version of Catfish and blend them with The 1975, I try not to draw too much inspiration to the point that I’m copying other peoples work so I always try to be as original as possible. Once I’d got a tempo for the track and knew what vibe I was going for it came together pretty quickly. In the studio we actually completely changed the intro from what it originally was when I wrote it but I think it works so much better. It’s always a learning curve and new bits always pop into tracks during recording, that’s why I love it so much!

The current single by Charlie Moss is called ‘I’m not Leaving’. He can be found on all streaming platforms and on Instagram: ‘@charlie.moss.music‘.

Ocean Flaws are an Essex based band that have been putting out music since 2017. After a great debut EP called ‘Cosmic Tropics’, they really hit their stride with last years release, ‘Deep Sea Dreaming’. The lush sounding song got a spin on Radio X which was a really big turning point for the lads.

Sadly their recording for their follow up single was cut short due to COVID-19, though we know it will be worth the wait and that Ocean Flaws have a bright future after lockdown. We were fortunate to catch up with all the band members and hope you enjoy this great interview!

What were your earliest memories playing together?

Sean: We’ve all been playing together for quite some time. Hamish and I used to jam at school together, same as Callum and I around each other’s homes. Hamish and I were introduced to Alex through a mutual friend and we started playing / writing pretty much anywhere we could; garages, village halls, school classrooms etc. Callum was the final piece to our jigsaw and we’ve all clicked ever since.

What songwriters or artists inspire you independently and collectively?

Sean: One of the beautiful things about this group is that we’re all individually into different genres of music which trickles into our writing. I think it’s healthy that way as your music can grow quite stale and uninspired if you listen to the same genres and bands constantly.

However, collectively we’re into the same genres / bands otherwise we wouldn’t be together – we all take influence from groups like Tame Impala and Arctic Monkeys. They’re without a doubt the most influential bands of our generation so why wouldn’t you want to take influence from them?

Your first single was ‘20:22’ back in 2017, when did you guys write it and how do you view the song now? Been three years! Has it gone quick?

Callum: 3 years does seem to go quick! I remember this one was penned whilst half of us were at University and we still play it live! It’s definitely the most sinister song in the set (which is a good thing as it adds some dynamics). We also tend to shake it up a bit with an impromptu jam/groove at the end. You should come see it sometime…

(I’ll happily take up that offer….venue’s got hand sanitiser right?)

How important is playing live for you as a band? What are the key ingredients to nail your sound live?

Callum: Oh massively! It accounts for 50% of how people listen to our music (the other half being on record) so we’re constantly in talks of how we can keep things as fresh as possible.

The main task at hand is how we can adapt the tracks we’ve recorded in the studio to have that little extra oomph when playing to a room of people.

This might include Hamish whacking up the distortion on his guitar in some parts.

Are there people outside the band that you feel like have played a huge part in where you guys have got to so far?

Alex: Absolutely. We’re really lucky to have supportive families and friends who have turned up to almost every gig and listened to our music since day one, even throughout the early years when we were rubbish! We’re also grateful to the people who have produced our music along the way and helped us to hone our songwriting skills; we’ve learned a lot from them. There are a few other people who have looked out for us, too, and it’d be criminal not to mention John and Vic who own the Control Rooms where we practise in Shenfield. They’re legends.

What was the experience like writing your first EP, ‘Cosmic Tropics’?

Alex: We used to always find ourselves in a cycle where we’d struggle for song ideas for ages then they’d all come along in one ago. ‘Cosmic Tropics’ was definitely written in one of those creative spurts, so that was both exciting and relieving.

EPs are always really rewarding in a creative sense, because you have to employ more artistic sensibilities than on a one-off single; how do the songs tie together sonically and thematically, how should the tracklisting go?

It can be difficult to keep that sonic consistency while managing a little variety in flavour, but I think we achieved that balance on ‘Cosmic Tropics’ – ‘Beach Heads’ is essentially an R&B song, ‘One Night In Palolem’ is a dancy indie cut, the title track is a trippy instrumental, ‘Heartshake’ is an anthemic singalong and ‘The Greatest Show On Earth’ is an emotional builder.

‘Heartshake’ is such a great journey sonically, how did that song come about?

Alex: That’s kind of you to say, and I think you’re right – it builds quite nicely with the electronic drums and Hamish’s emotional e-bow, all the way up to those big choruses, and then drops down and kind of comes full circle. We definitely had that arc in mind as we wrote it.

But I remember when we entered the studio, what’s now the chorus was just a post-chorus and only appeared once; the current bridge was the chorus at the time. Our producer Mitch heard the then-post-chorus and said: “That has to be your chorus.” So he deserves a lot of credit for that! The hits in the chorus are very War On Drugs and kind of anchor the song now.

Lyrically, it’s about how people change when they drink. Some people aren’t affected much, but there are those who get really aggressive, others who get quite sad… There’s even a known condition where you legitimately change personalities entirely when you’re drunk.

You most of been so amazed when John Kennedy played ‘Deep Sea Dreaming’!! How did you guys find out about the X-posure king wanting to play your track to the country?

Hamish: We’d sent our tracks in before, without much luck – and understandably so! We sent this one in, as usual, and forgot all about it. I remember walking into work one morning, and for some reason, I checked the band’s spam emails. We’d recieved a message from one of the producers saying “I think John is playing it tonight…

I stopped walking and convinced myself someone was having a laugh. But, once I realised, I sent a voice note to the band – we were just buzzing.

How do you view your growth as a band since the start? A more assured sound is heard in ‘Deep Sea Dreaming’?

Hamish: Like most bands we started off playing poor covers of the songs we liked, even recording them!? Looking back though, that phase was formative – it helped us establish the palet of sounds we would draw from later.

Once we started writing our own material, there’d be a constant argument on how to steer songs to back to “our sound”.

Today, the Ocean Flaws sound just comes out in practice, and we don’t question it. To me, that means we’ve found ourselves – what you hear is a natural byproduct of us just playing together. That confidence comes through in Deep Sea Dreaming, I think.

What are the plans next for you guys post lockdown? Hope you and your loved ones are all safe and well!

Hamish: Funnily enough, we were actually stuck up in Liverpool recoding a follow up single when lockdown was declared. That night, we mournfully packed up our gear and drove home at midnight. As soon as we can get up there again, we will be hitting the airwaves with that as yet unfinished track.

Cat SFX signed to Creation 23 back in January, the label that Alan McGee started up in 2018. Clash Magazine premiered her debut release and the ‘Stay Young’ track‘s Music Video is on YouTube. With a great tone of guitars, ear for a catchy melody and distinct vocals, this artist is showing a lot of promise already and can really find herself collecting a lot of listeners in the near future.

We were very fortune to be able to ask her a questions and look forward to catching up again in the near future!

What are your earliest memories of music and do those pieces of musicstill resonate with you still?

I was about 11 and I saw NIN on MTV, it gave me a massive thrill, from there I became obsessed. Placebo, NIN, Nirvana, Depeche Mood and Marilyn Manson were my teen obsessions, and I still resonate with all of it!

How did you come together with your sound? What would you say influenced you the most?

Years of experiencing and trying different things, finally figuring out who I was and what I wanted to say, and finding the right person to work with, shout out to Gordon Mills!

Your new single ‘Stay Young’ is about how disconnected we are due to the digital era we live in today? How did the song come about and can you talk more about the lyrics.

Stay Young is actually the B-side to the single, that has been delayed due to covid, I just decided to make a little video to cheer people up! It’s about how the digital era has made everything so detached, the whole swipe and go culture, feelings being seen as a sign of weakness almost.

How’s it been being on Creation 23?

Yeah it’s awesome, we signed in January, and then the virus came so, looking forward to getting back into playing!

What are you next plans in terms of music and eventually live shows?

Next will be to release the actual single “Doom Generation” and then play a string of shows.

Do you think the lockdown and the virus will impact your music andwriting?

The music created while we’ve been in lockdown was very good! I write lyrics everyday whatever the circumstances or I go mad, it’s my catharsis, there is literally always a million things banging round in my head.

You can find Cat on Instagram @cat_sfx and can watch her new music video for ‘Stay Young’, on YouTube at Cat SFX!