Sundile

Sundile Interview

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He’s an upcoming talent and has featured heavily on the BBC’s Introducing playlist, so what makes Will Strickson aka Sundile tick, read below to find out more:

  1. Could you tell us a bit about yourself and how you got into music?

“So, my name’s Will Strickson.  I chose the name Sundile, after being at Leeds Festival a few years back, on a Sunday, I think it was, and I was in a really weird mood. A mate of mine, said ‘See ya later, Alligator’ and instead of replying with the usual refrain, I think I said something about. ‘In a while Sundial’ or something like that. Then later on, I was trying to think about a cool name to give myself and I remembered that. Unfortunately, Sundial had been taken, but I remembered the crocodile thing, and so combined the two. I was thirteen when I first started playing originally on the bass guitar. I formed a band with a few mates, and we mainly played covers of the Arctic Monkeys and Kasbian. At our first gig, we were going to be doing I think it was an Arctic Monkeys song, and our singer didn’t want to sing it, so I took over on the vocals, and that was my first experience of singing. It was roughly around that time that I started learning how to play guitar. Having played bass before, it was somewhat easier, as I was used to looking at tabs and transposing chords from bass to guitar.  I was around seventeen when I started performing covers myself, and just sort of getting a feel of what I could do.”

“When I went to Uni, my parents got me a Macbook, with Garage Band on it. I got the hang of recording on it, and kind of stumbled into recording full band songs with the tools available on the programme. When it came to ‘Late Night Love Songs,’ I recorded a couple of different versions. The one that appears on BBC 1 Introducing is different to the original version I recorded. It was kind of mad, because after that happened, I heard from a PR company exec who asked if I had anything more to produce. I didn’t at the time, but he told me to keep in touch. And after recording something with my cousin for BBC York, another PR management/label exec came by and since then we’ve kind of been working on getting some stuff written and recorded.”

 

2. What has changed for you in terms of writing songs since you started out?

“Well, I think the most obvious change is that I’ve gotten older. So, there’s less angst I guess in some of the songs. Now the themes are about anything really, be it drinking, snacking, drinking and moving to a new place, masculinity and not wanting to grow up. A few long distance relationship songs as well, which is always something that seems to crop up. In terms of songwriting, sometimes it can be scarily easy to write songs that people like, such as ‘Late Night Love Songs,’ that’s always something I find a bit weird. And other times it can be really hard, if you think too hard about it.”

3. What are your influences?

“It’s varied, I grew up listening to classic rock, that my dad liked, bands like The Who, and songwriters such as Lou Reed or Leonard Cohen. But then there’s also The Fratellis, Arctic Monkeys, Kasbian, and now some hip hop artists as well. It’s a mixed bag really.”

4. Do you have any plans to perform live?

“At the moment no, I’m trying to get more writing and recording done first before I do anything live. Plus I’d need to find the right people to perform live with, and also try and fit it in with the masters and having a part time job as well.”

 

Late Night Love Songs is available to listen to on Spotify now, do yourself a favour and listen to it.

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Althea

Althea-The Art Of Trees Review

“For Now,” is ambient, filled with interesting melodies and noises to really get things moving. “Deformed To Frame,” is somewhat heavier, a little bit like Dream Theater it shifts and moves with the times and brings about some interesting progressions. “One More Time,” is slightly more discordant and dark, with added frills but with the melodies still prominent amongst it all. “Today,” slower, thoughtful and buoyant. “Evelyn,” heavier and discordant with added edge but also a slight penchant for rage.

“Not Me,” softer and more melodic. The acoustic guitar adds itself nicely here. “The Shade,” acoustic melodies with heavier counterpoints adding to a nice little affray. “The Art Of Trees,” fast paced, melodic and symphonic, the stand out track on the record. “Away From Me,” heavier and more aggressive. “Burnout,” the closer, bringing added reach and depth.

The Art Of Trees is released on 8th January.

Watershape

Watershape-Perceptions

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“Beyond The Line of Being,” is a haunting and clanging introduction, a song that turns and twists with an interesting flourish. “Cyber Life,” comes in with a thunderous and interesting riff, turning with the thunder and bringing the vocals to the fore. “Alienation Deal,” a jagged, stop and start, shifting once and then again. “Stairs,” moves between jazz and then another twisting turn. “The Puppets Gathering,” a harmonised and edging slant that twists with the wind and again.

“Inner Tide,” a ambient piece, that has many a layer atop it, before shifting with the wind and ensuring that none can quite understand the pain that is coming through. “Fanciful Wonder,” ambient and dark, with the flourishes that bring anger and pain. “Seasons,” a soft and fluorescent ambient peace that changes with the wind. “Cosmic Box #9,” a dark and fierce piece that brings the energy of the cosmos to bear.

The album is out now.

The Sticky Fingers Ltd

The Sticky Fingers Ltd. Point Of View Review

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“Bad Mood,” comes in with that rocking groove, slanting this way and that. Never quite letting the listener catch their breath, whilst at the same time ensuring that the listener is hooked on the edge. “You Don’t Have To Go,” filled with fat choruses, and fatter melodies, is a grooving song that changes the time and the pace. “Hope You Like It,” is classic rock in all its glory. Shifting with a pounding riff, and some awesome call and response vocals. “Be Your Man,” is another classic rocker, bringing out the stops in full and not stopping for its duration. “Shine,” a bluesy number, with the acoustic taking the lead before the guitars kick in hit you in the face.

“Underdog,” has some interesting components to it. A call and response intro, before moving into ball breaking riffs and energy. “I’ll Go Alone,” thunders in with the drums, but simmers down when the vocals kick in. “This Misery,” a jangling back and forth, shifting and turning with the winds, and the choral changes. “North Star,” another rocker led by a ball busting riff. “Naked Soul,” a bluesy finish that leaves the listener sated but also desperate for more.

The album is out now.

Firmo

Firmo-Rehab Review

“A Place For Judgement Day,” comes with an interesting melody on the guitar, it then slowly grooves with time and finesse to ensure that the listener is hooked. “Heart of Stone,” is slower, more reflective and a song that is sure to keep audiences hooked when performed live. “Shadows and Lights,” big and anthemic, a song that would get audiences swaying when performed live. “Maybe Forever,” a song that flits from one angle to the next, whilst maintaining the melodies. “No Prisoners,” is more of a rocker, driving the day with some serious hooks and whistles. “Didn’t Wanna Care,” is a ballad in the style of the Eighties and as such has some serious edge and moodiness to it.

“Unbreakable,” an epic song, shaped around a simple chordal arrangement and a serious melody. “Don’t Dare To Call It Love,” is another song that has an epic edge to it, ensuring that the listener is hooked once more, with a catchy hook. “Cowboys Once, Cowboys Forever,” is somewhat cheesy but also filled with that reminiscent tinge that makes such songs so memorable. “Rehab,” a fat packed action song with so many hooks and bells it’s a wonder it’s not swooping off somewhere else. “Until Forever Comes,” a song that jangles and then shifts with the rhythm. “Everything,” slower and more haunting a fitting closer.

The album is out now.

Amaranthe, Kissin Dynamite, Powerwolf

Powerwolf, Amaranthe and Kissin Dynamite Live @The Koko Review

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On Monday 12th November, London’s metal community were greeted by a heavy trio of Kissin’ Dynamite, Amaranthe and Powerwolf, all of them out to promote their new records.

First up on the bill was Kissin’ Dynamite, who delivered a smashing show complete with fireworks and some seriously fist pumping rock and roll. “I’ve Got The Fire,” started things off and immediately got the crowd moving, whilst songs such as “Somebody’s Gotta Do It,” and “Highlight Zone,” really brought home just how streamlined and experienced the band are. The crowd loved every moment of it and there was a mosh pit that developed at one point during “I Will Be King.” A fantastic opening set.

 

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Amaranthe were up next, and from the moment they stepped onto that stage, they gave it all and got it back in equal measure. “Maximize” and “Digital World,” were stellar choices delivering something fierce and pounding and getting the crowd pumped for what was to come next.  Next came the classic trio from the band’s debut album which got the audience moving and singing. “Hunger,” “1,000 Light Years Away,” and finally “Amaranthine,” all of which got the crowd together in one big mess of singing and moving. Then came some more dance heavy tracks. “Drop Dead Cynical,” saw the crowd dancing like mad people. Finally the climax “Call Out My Name,” and “The Nexus,” saw things off nicely.

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Finally, Powerwolf came onto the stage, to be greeted with a giant roar. They delivered a killer blow to begin with. “Fire and Forgive,” “Army of the Night,” “Incense and Iron,” and “Amen and Attack,” got the crowd pumped and ready to go. This was followed up with even more classics. “Let There Be Night,” and “Armata Stigoi,” got the crowd singing along. Whilst some of the newer songs such as “Killers With The Cross,” and “Demons Are A Girl’s Best Friend,” got throaty roars and participation. The band continued delivering knock out blows with every song on the setlist, and then as things began to slow down, came the encores and the rip roaring participation of the Koko. “Sanctified with Dynamite,” and “Werewolves Of Armenia,” kicked the shit out of the audience and ensured they were left singing well into the night.

 

偏執症者 (Paranoid)

Paranoid Interview

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I had the pleasure of speaking to Jocke the bassist from Paranoid about the band and the new album:

 

  1.  What inspired the formation of the band?

– The plan was that me and Åke would’ve recorded with our other band called “Desperat”. Lack of inspiration, and that I just got home from a funeral, made it not feel right. I needed to clear my mind and process my grief in a more violent and distorted way to fill that void. Paranoid was born.

 

  1. Where do you draw your influences from?

– From everywhere, and inspiration and influences comes from different sources every day. Am taking notes and ideas in everyday life, but also from books and movies. It’s the same thing when it comes to the musical part Different influences, different days. But pretty much everything from John Coltrane to Strebers, back to Iron Madien and beyond… Another good example, just two weeks ago I witnessed this live ritual by “Ultra Silvam”. Their sound, approach and stench made a great impact on me. It’s long time ago something affected me like that. Which I will of course use as inspiration and input for upcoming shows and recordings in one way or another.

 

  1. How do you approach song writing?

– Both I and Henrik write all the material at home, on our own. Then we show and learn the others what we have in the practice room. Most of the time we try out ideas and versions of the riffs and arrange the songs together as a band. But on our last two rehearsals this last week we’ve spontaneously done two songs out of nothing.

 

  1. What themes are explored on the new album and why?

– War, death, devastation, massacre and darkness. Classic punk/metal themes I guess.

 

  1. What songs are you looking forward to performing live from the new record?

– We’ve actually already played half of the songs from the album live. But I would love to add both “復讐 (Fukusyuu)” and “侵略来たれり (Shinryaku Kitareri)” to future setlists cause I really like the riffs and the melodies on those songs.

Hypnos

Hypnos Interview

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  1. What inspired the formation of the band and what are your influences?

In 2013 Oskar W and Fredrik (guitarist in the first formation of Hypnos) started talking of starrting a band. They soon met up with bass player Anton and drummer Idun. The big question was who was going to be the vocalist? Idun had met Philip through mutual friends and they had played at the same shows together with earlier bands so they invited him which he accepted. In late 2015 Pontus replaced Fredrik. In 2017 Linus replaced Philip and in early 2018 Oskar B became the new drummer.Influences range from Thin Lizzy and Deep Purple to Iron Maiden and Judas Priest and alot of other bands of course. The band tries to find many different influences to try to make as much intresting and good music as possible!

 

2.     How do you approach song writing?

it’s a little bit different every time. Set Fire to the Sky was written under a short frame of time and therfore alot of the music was written individually at home, mostly by Oskar W and Pontus, and the rehearsed and finished at the rehearsal place. Some songs where however created while jamming and being together all or almost all of us. I think both ways are intreseting to examine and bring very different things to an album so I would think that both will be used on future works as well.

 

3.     What themes are explored on Set Fire To the Sky and why?

Set Fire to the Sky explores alot of different things. There are songs about bad break ups, feeling paranoid, partying to hard and the death of loved ones. Mostly the album has a forward rock ‘n’ roll feeling but the lyrics are often mellow and almost a little dark. I guess it has to do with the point of our lives being under alot of stress and such but to me it is also often more rewarding listening to somewhat darker themes.

 

4.     Which songs are you most looking forward to performing from the new record?

We’ve already been out for a four week tour and have played a few shows i Sweden backing the album so we have played many of the songs live already. Some of the favorites must be: “Looking Out”, “Set Fire to the Sky” and “Caught in the Night” however all of the new songs are always great to play and we try to play as many as we can. We also often change the live sets almost every night because there are so many fun songs to play!

 

5.     What plans do you have for the future?

We are playing the Sankt Hell festival in december and then we have some shows lined up for next year. Then we have some fun things in plan for spring that I really hope will come true and we will share more information about as soon as we are able. Then there will hopefully be some more touring and some nice festivals in the spring and summer!

 

Ashes Collide

Ashes Collide-First Collide Review

“Universe,” a rocker and a great opener, it comes with the sold thumping of the melodies and the beat. Taking charge, when the vocals come in and get the listener to move their head in time. “No Fear,” a song filled with swagger from the riffs to the vocal arrangements. “Talk,” a more modern day song with the frills and the spice added in for extra measure.

“Do I Have A Dream,” allows the vocals to take centre stage, bringing the energy and the desperation to the fore. “B.B,” a bluesy swagger keeps everything popping off.

The album is out on December 7th via Sliptrick Records.

Clegane/Father Merrin

Father Merrin/Clegane Split Album Review

Clegane kick things off with “Black Painted Girl,” a haunting sonnet toward the darkness, bringing with it all the tenants that make doom so fantastic. “Through Wounds,” continues down this line, bringing a snarling and menacing grit to the fore.

Father Merrin pick up the torch. “Those Who Worshipped The Stone,” an example of the haunting melodies interwoven within sludge. “A Prophet Self Denied,” haunting and terrifying in equal measure ensuring that the listener cannot but help focus on it all. “I, Son of Grigori,” a goliath of riffs and heaviness.

The album is out on November 23rd.