Browsing Category

Punk

Bad Friends With Black Cats Let the Cat out of the Bag in an Exclusive A&R Factory Interview

Ahead of their eagerly anticipated EP, I WANT TO MOVE, Bad Friends With Black Cats shared insights into their evolving sound. From acoustic beginnings to a dynamic full-band experience, the group delves into how they’ve layered darker, more vulnerable lyrics with robust energy, underpinned by acoustic rhythms. The lead single, “OKAY, BYE,” encapsulates key personal milestones, setting the tone for the EP’s raw, candid vibe inspired by influencers like PUP and The Front Bottoms. This conversation invites listeners to peer deeper into the essence of their music, promising an intimate connection forged through shared struggles and high-energy anthems.

Bad Friends With Black Cats, thanks for the opportunity to sit down with you ahead of the release of your EP, I WANT TO MOVE. Can you walk us through the journey of your sound evolution leading up to this EP? What elements did you experiment with or push to the forefront this time around?

Well up until this EP, everything released had only been acoustic demos. So the biggest step we took was definitely incorporating the full band sound while still maintaining an acoustic rhythm guitar driving it. Marcelo couldn’t have written better drums to the tracks and was able to always push the energy and keep attention on the song. The lyrics continue to get darker and more vulnerable while keeping a sense of relatability, leaning on heavy influences from bands like PUP and The Front Bottoms.

What’s the story behind the lead single of the EP? How does it encapsulate the essence of the entire project?

“OKAY, BYE” is a song about meeting my partner, Melissa, in Ottawa back in 2017. It describes several aspects of our lives over the first 2 years of our relationship. It touches on my state before meeting her, my anxieties of living in a new city, and the struggle of finding a place to live. It is literally about the stage of my life where I found the music that would go on to influence this entire project (The Front Bottoms, Modern Baseball, PUP) and for that reason I think it’s the perfect introduction to the new era of Bad Friends With Black Cats.

What lies behind your motivation to deliver raw and candid music?

It’s what I’ve always connected with and listened to personally. I’ve always gravitated to the lyrics and meaning of a song and really loved when it was vulnerable and authentic. Bands like PUP, who deliver such high energy and emotion despite yelling about everything they hate, have always hit home for me and have been my preference; it only makes sense that would bleed over into my writing and what I want to make.

Which artists are the most influential on your sound, and where else do you pull inspiration from?

The biggest influences on our sound are bands like PUP, The Front Bottoms, Jeff Rosenstock and Modern Baseball. However, I have gone through so many phases of my life listening to different styles, and I believe they all play their own part on influencing our music. (Green Day, MCR, Avenged Sevenfold, Mumford and Sons, Aesop Rock)

Growing up, Blink 182 was also a huge influence on both Marcelo and I. You can really hear Travis Barkers influence on the drumming as well as the idea of not taking ourselves to seriously with the lyrics.

How do you hope the EP will resonate with your audience or shift listener perceptions about your music?

I really just hope listeners find the struggles in daily life relatable and worth yelling with us about. I think we touch on a variety of very relatable insecurities while delivering high-energy tunes that people can enjoy.

How do personal experiences and emotions feed into your songwriting and music production?

Paul: That’s really the driving force of our music. Our music starts and ends with the struggles we face every day. It’s the reason I pick up the guitar and start writing. Personal experiences and emotions are what sparks creativity, at least for my personally.

We’d love to know the story behind your endearingly unique artist name, and a little bit of the band’s history and inner workings.  

I originally started this band with a high school friend, Connor Ratayczak. After going 5+ years of barely communicating and being flakey, we reunited to try and start a band. We each had black cats and thought the idea of being “bad friends” had a ring to it. I think it really fits the “goofy punk” band name style and fits the brand very. My black cat, Shady, is also my best friend (concerning, I know) and having her incorporated somehow makes me happy. I got Shady at the beginning of the toughest phase of my life, so she’s been through it all too!

Looking beyond this EP, how do you see your music evolving in the future?

It’s hard to say. Obviously we’ll strive to improve our sound and quality and take another step forward in the next recording venture. But in terms of style and inspiration, I don’t think we know. We have a ton of songs we’re sitting on that fit this style that we’re so excited to start recording, but it’s hard to predict what we’ll write next. I’ll continue to listen to amazing artists that inspire me to create.

Listen to Bad Friends With Black Cats on Spotify.

Follow the band on Facebook and Instagram.

Interview by Amelia Vandergast

Chasing Shadows: Hazard’s ‘Never Going Home’ Echoes the Depths of Desolation

For their standout single, Never Going Home, the Welsh three-piece Hazard filtered psyched-up shoegaze-y post-punk through a grungy and intensely evocative lens, resulting in an emotionally tumultuous outpour of despondence. With vocals spilling into the middle ground between the haunting timbre of Placebo and the sharp confronting antagonism of Angels & Airwaves as the monochrome guitars carve a chill into the mind-bending production, Never Going Home unravels as a dark narrative that tears into the soul and triggers empathy as a dual-sided vignette of loneliness and displacement pours across the alchemic instrumentals.

If the reprise of “She’s never going home/I feel so alone” doesn’t hit hard, there’s probably not much hope for your soul.

There’s no better single to discover Hazard through; after ceaselessly evolving their sound since their 2019 dawning, their sound has culminated in an unflinchingly agonised attest to their ability to stir visceral emotion within their fans

Stream Never Going Home with the rest of Hazard’s sophomore LP, On a Dark Night in My Room via Spotify.

Review by Amelia Vandergast

Yur Mum – Duality: Unflinchingly Authentic Brazilian Punk Rock

I may be late jumping on Yur Mum’s scuzzy punk rock bandwagon, but after feeling how deep the unique angle to their visceral edge cuts while they played in support of The Battery Farm and witnessing how they can merit the title of their latest LP, Duality, I discovered a duo that’s criminal to sleep on.

The way their Brazilian roots pull through the complex fusion of frenetic percussive rhythms creating a thunderous heartbeat pulsating through rapid and intricate cadences against the snarled basslines incited a riot of distinctly augmented annihilation.

Affectingly authentic to the core and so much more than the sum of their synergistically dualistic parts, Yur Mum is destined for bigger stages; the intuition into each other’s pandemonic energy is evidenced in every antagonised aural atom of their sound.

Two of the standout singles from the duo’s latest album, Anhangá and Hands to the Sky encompass the versatility of the London-based Brazilian duo comprising Anelise Kunz (bass/vox) and Fabio Couto (drums).

Hands to the Sky goes heavy, low down and dirty, and infectiously kinetic with the grooves that leave the rhythmic pulses in a vice grip as the bass lines whip up hypersonic fury around Anelise’s rock reverent vocals. Anhangá hits even harder, orbiting around profane levels of distortion while Anelise uses the gratifyingly discordant noise as the playground for her chameleonically charismatic presence.

Stream and purchase the Duality LP on Bandcamp.

Follow Yur Mum on Instagram or hit their official website for more info.

Review by Amelia Vandergast

Love, Builder of Worlds has unleashed their synth-punk manifesto, Scared for the Climate

Love, Builder of Worlds

With the release of “Scared for the Climate“, the independent artist, Love, Builder of Worlds, delivered an electrifying DIY alt-rock anthem that captures the essence of punk rebellion with the precision of a seasoned artist.

The single encapsulates a raw, urgent message wrapped in the infectious energy of funk-drenched synth punk—a stylistic nod to the dance-punk vibes reminiscent of Kathleen Hanna’s work in Le Tigre. The track’s short, snappy runtime is no barrier to its impact; instead, it enhances its punchy, protest-driven ethos. The lyrics hit hard and fast, their pseudo-hip-hop delivery layering a sense of immediacy over the compelling synth rhythms. The result is a powerful musical manifesto that does more than just sound an alarm—it’s a public safety announcement for the planet.

Love’s unique artistic background, as part of the Olólúfè Collective, infuses their work with a profound understanding of intersectional struggles. They navigate through genres—from punk rock to afrobeat—with the ease of a genre-defying originator, underscoring their commitment to challenging colonial binary frameworks through music.

Scared for the Climate is a fiery call to awareness, urging listeners to confront one of the most pressing existential threats of our time. Through this track, Love, Builder of Worlds, doesn’t merely aim to entertain but to galvanise action, making it a quintessential listen for those attuned to the pressing issues of our era and the potent power of music as a form of resistance.

Scared for the Climate is due for release on May 5th; stream the single on Bandcamp, SoundCloud and Apple Music.

Review by Amelia Vandergast

Far Below Perfect brought Hawthorne to even greater heights with their pop-punk LP, I’ve Been to Hell Before…

After teaming up with Pop Punk Wolf Records, Hawtorne’s Far Below Perfect is set to unveil his LP, I’ve Been to Hell Before…, which is cataclysmic enough in its cultivation of pop-punk evolution that the genre may never be the same again.

Starting with a glimpse into the Far Below Perfect live experience, the LP shifts into the hit, Isn’t Life Grand?, which echoes the influence of Blink-182 and Bowling for Soup, while the pop-punk agent provocateur blasts through their frenetically fierce progressions at a dizzyingly fast tempo, which only slows to inject some existential humour.

In Where’s Your Hero Now? Far Below Perfect continues to give the thrash pioneers a run for their frantic energy while working in elements which hark back to the legacy of the Beastie Boys. In the following track, Far Below Perfect finds their groove in groove metal while never loosening their grip on iconic emo aesthetics until the track culminates in a rallying cry for anyone who would rather die than surrender.

If anything comes close to a ballad, it is track five, April’s Fool, which injects melodic hooks around the agonised with ennui vocal lines before the following single, Headaches, exhibits the artist’s ability to weave progressive ingenuity into their hits. To conclude the LP, Far Below Perfect channels the bite of punk into the infectious volition of future-forward pop-punk in Be Fri Or St End, and ends the LP on an augmented high with On My Own, which proves that loneliness might be a curse, but people with enough resilience to endure isolation can’t be reckoned with. It’s quite the statement for a one-man pop-punk powerhouse to make.

The I’ve Been to Hell Before… LP will hit the airwaves on April 26th; stream it on SoundCloud.

Review by Amelia Vandergast

Lolita Terrorist Sounds – Mind the Gap: A Devilishly Arcane Avant-Garde Post-Punk Reverie

Lolita Terrorist Sounds, the Berlin-based avant-garde ensemble, ensnared once again with their latest single, Mind the Gap, which pulls you into the audacious heart of Berlin’s artistic underbelly.

Fronted by the enigmatic Maurizio Vitale, the band continues to smash aural archetypes with devil-may-care panache by blending provocative themes with ground-breaking sounds. Mind the Gap is a vivid reflection of this ethos. The single, an aural equivalent of arthouse cinema, swaggers through the debauched realms of Avant-Garde post-punk with a Lynchian flair. It’s a track that doesn’t just play; it prowls and gyrates, consuming the listener in its dark, hypnotic embrace.

It’s a journey beyond the tourist traps of Berlin, delving deep into the city’s hedonistic cultural epicentre. The track’s spoken word vocals demand you escape from banality as they wind around dark psych guitars and tribal percussion. The juxtaposing pianos add a cinematic touch, elevating the track to a realm of high art while never eroding the brooding experimentalism.

The invitation to lose oneself in a devilishly arcane reverie drips with artistic liberation, tearing listeners from the trap of mundanity. Lolita Terrorist Sounds, with their rich history of collaborations and innovative projects like Lolita Kitchen Sounds, continues to push boundaries. Their trajectory from Shaved Girl to Prison Song and now to Mind the Gap showcases a band not just at their creative zenith but as torchbearers of a genre that refuses to be defined.

Stream the official music video for Mind the Gap on YouTube.

Review by Amelia Vandergast

The Unbranded penned a riotous alt-90s love letter with ‘Novacaine’

If you’ve ever wondered what Dinosaur Jr would sound like with a bigger and louder sonic stature, find the answer in the high-octane riotous love letter to the alt-90s, penned through The Unbranded’s hit single Novacaine.

Once you let the impaled-with pop-punk-hooks earworm in, don’t expect it to depart any time soon. As the kinetically infectious chord progressions subjugate your rhythmic pulses into submission, the augmented-with-charisma vocal lines draw you further into the centre of the frenetic epitome of rebellion which spits in the face of anyone who wants to shunt people who don’t fit the mould of banality to the sidelines.

The track is a clarion call to all the outliers looking for permission to transform their idiosyncrasies into fuel for their empowered fire. Following in the footsteps of the likes of Social Distortion, The Unbranded and their motivation to inject spiritual awakenings into their music are an essential listen; just one hit, and you’ll want to join them at the vanguard as they smash down toxic social constructions.

Novacaine was officially released on March 15; stream the single on all major platforms via this link.

Review by Amelia Vandergast

[SCRAP] pierced the post-punk innovation veil with their debut, All in Blind

With their debut single, All in Blind, the nefarious alchemists, [SCRAP], found the affecting middle ground between post-punk and post-grunge, the result is a culmination in artfully dark volition that will ensnare you from the first verse.

Reaching the epitome of deadpan seduction with the cadence of the devil may care spoken word lyrical delivery which cuts across the dark grungy pools of bleak ingenuity, [SCRAP] broke the post-punk mould with All in Blind.

In their own words, All in Blind puts you in the mind of a 21st-century East of England Joy Division, but even that is selling themselves short. They broke the spell of post-punk assimilation that has vexed the scene since the departure of the iconic Factory Records outfit with the rhythmics of All in Blind; especially when the unholy matrimony of the outro guitar solo affirms that, as a powerhouse, [SCRAP] is worth its weight in gold.

All in Blind hit the airwaves on March 5th; stream the single on Spotify.

Review by Amelia Vandergast

Super Love – Tell Me: An Alt-Rock Rebellion of Societal Oblivion

Super Love, the dynamic husband-and-wife duo, has unleashed ‘Tell Me’, a single that picks up where Le Tigre left off by blending lo-fi synthetics with complex time signatures and brashly protestive indie rock guitars. It defies convention and expectation, inviting listeners into a perception-shifting atmosphere which vindicates anyone trying to find meaning in a post-truth society.

The song’s unusual 7/4 time signature, combined with classic rock instrumentation and synths, creates a unique earworm which will pull you into the unapologetic rebellion time and time again. The dual vocal lines add a layer of dynamism to the track. While Jared’s imploring tones seek sanctity in these tumultuous times, Constance brings fire and frustration, painting a lyrical vignette of our contemporary search for salvation and optimism amidst fears of collective oblivion.

‘Tell Me’ is a rare feat – a single that not only ticks all the sonic boxes but also connects profoundly on a lyrical level. Super Love’s ingenuity shines through in this release; their ‘autonomous indie’ style, influenced by the local vibes of New York City, incorporates elements from various sub-genres, including punk and jazz, while never attempting to stay within the confines of any style or sound.

Tell Me was officially released on March 29th; stream the single on SoundCloud.

Review by Amelia Vandergast

Slip into the hypersonic vortex of Peach Giraffe’s latest experimental track, Intertwined

https://youtu.be/naEFngCu_2w?si=RpNo9ZUkg64hUqLS

Peach Giraffe’s new single, “Intertwined,” is a masterful blend of skate punk, hyper-pop, trap nuances, and a touch of Arcade Fire, creating a vortexical kaleidoscope of avant-garde electronica. The grungy and antagonised vocal lines sink into this eclectic mix, stitching “Intertwined” with a mind-altering amalgam of aural aesthetics.

This daring combination cements Peach Giraffe as one of the most bold, indomitable, and fearlessly innovative artists in the alternative music scene. As genre lines blur in “Intertwined,” Peach Giraffe’s commitment to sonically visualising emotional themes shines through. The single is a lyrically poetic exposition of a relationship where distance doesn’t necessitate disconnection, despite the ambiguous parameters that could easily send the mind into a spiral with too much contemplation.

Peach Giraffe’s approach to music is an unforced journey of experimentation, spanning over a decade. His process involves piecing together a puzzle of sounds and ideas, driven not by genre constraints but by spontaneous inspiration. “Intertwined” is a testament to this organic and free-flowing approach to music creation. It’s a track that doesn’t just fit into the alternative music scene; it stands out as a bold statement of Peach Giraffe’s unique and unbridled creativity.

Intertwined reached the airwaves on March 10; stream the official music video on YouTube now.

Review by Amelia Vandergast