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Just Pathetic are wondering just what happened ‘Since College’

Describing themselves as ‘a band specialising in substandard music and haphazard melodies’, Just Pathetic’s ‘Since College’ is a poppy-punk number, with elements of Bowling For Soup, The Police, Sum-41, and Journey all mixed up with a Blink 182 tongue-in-cheek bouncy, upbeat ode to time since…well, you guessed it, since college.

There’s a nice little break-down mid-song, a nice flanged-and-octaved guitar-line throughout, and lyrically there’s some not-too-serious digs at teen entitlement, angst, and ‘emo-days’ mixed up with underage drinking and ‘interesting’ cigarettes. It’s fun, it’s vaguely silly, and it’s catchy, energetic, and exuberant mixed in with laid-back ‘stoner’ vocals (there’s a tiny hint at ‘Superfuzz’-era Mudhoney to the delivery), with the fuzziest guitar tone we’ve heard in a long time. It’s the age-old question: ‘Where have the days gone since college?’

You can hear ‘Since College’ on YouTube; check out Just Pathetic here.

Review by Alex Holmes

Fastride are taking us all the way to ‘Sin City’

Fastride cut their teeth on the USA’s East Coast, playing clubs and bars like the Whiskey and the Viper Room alongside such luminaries of the rock scene as Black Star Riders, Jake E Lee, Hookers & Blow, and Michael Graves (The Misfits); formed around lead guitarist Ty Asoudegan, an alumnus of Berkelee College of Music who’s been featured in Guitar Player Magazine and name-checked by none other than Guns n’ Roses’ Slash, new single ‘Sin City’ is down and dirty, gritty, no-frills rock n’ roll. Hard-riffing straight from the off, this is proper LA screaming vocals, overdriven guitars, and thundering drums. There’s touches of ‘Slave To The Grind’-era Seb Bach to the vocals, the obligatory rip-snorting guitar break – all pinched harmonics and staccato muted flurries, trills, and hammer-on/pull-off runs – and a shouty, gang-vocal chorus. It’s the essence of 1980’s debauchery – sleazy, trashy, swathed in bandanas and black leather, and reeking of Marlboro and Jack’n’Cokes. Rock and very much roll.

Check out ‘Sin City’ on YouTube; Find Fastride on Facebook.

Review by Alex Holmes

That Extra Edge: Observe the 93rd sharpen up the mic with the rock anthem ‘Archaic’

As their quick-fire sound of carnage stretches your mind like a fragile elastic band, Observe the 93rd makes all parts of your speakers shake in disbelief, with the shock-educing new banger called ‘Archaic‘.

Observe the 93rd is a powerfully struck two-piece alternative rock band from Mechanicsburg, Pennsylvania. They build up stream like the click of a lighter — and smoke forcefully into our lives with a fiery performance of epic magnitudes — that has you turning this up all the way real loud, to get the best experience possible.

The focus will always be raw, authentic expression. The songs are guided by a feeling, an idea, an experience, failure, triumph, suffering, joy…any abstract internal entity that yearns to be externalized. Sometimes the expression of this is a means of reflection, sometimes a means of relief and survival, and other times merely an exploration of the mind or ideas.” – Observe the 93rd

Archaic‘ from Pennsylvania two-piece alt-rockers Observe the 93rd, teaches us about the wild world that is currently transpiring before our eyes. There are so many demons around and we need to extinguish them quickly, otherwise they shall burn your important senses down like a tree burning in the forest. This is sublime stuff and a new rock song that certainly has your attention, due to its heart-stopping ferocity and excellent execution.

Hear this fine new song on Spotify and see more on their IG music page.

Reviewed by Llewelyn Screen

KAIS sends us back to the alt 90s with his psych-tinged indie track, ‘Spirit City Kiss’.

‘Spirit City Kiss’ is the latest single released by alt-indie-rock artist KAIS, the suitably sweet grungy tones are tinted with the nuances of psych-pop and swathes of alt 90s nostalgia. If Dinosaur Jr’s 2021 album didn’t hit the spot, the hazily over-driven tones in Spirit City Kiss definitely will.

Fans of Blur, The Charlatans, The Beatles and Dinosaur Jr alike will want to delve into the psychotropic soundscape inspired by the cities that make us feel home, even if our home is on the other side of the ocean. The dreamy reverb wraps around the subversive lyrics that may sound like your usual amorous tropes at first but if you read between the lines, you’ll find that KAIS has, once again, explored ubiquitous social dynamics and tapped into a relatively unexplored part of our consciousness that yearns for our spiritual homes.

Being no stranger to international travel, the Canadian, Jordan-born singer-songwriter and instrumentalist now finds himself residing in Cyprus, where he works out of his recording studio, Hot Soap Studios.

KAIS has been travelling the globe and gracing stages since the early 00s. In 2014, he took part in the Mayor of London Big Busk. In 2014, he graduated with a diploma in Music Production and Sound Engineering (Point Blank Music College). With a full band, he performed throughout Vancouver, Toronto, and Seattle in 2016 and 2017.

With an EP in the works and due for release later in 2021, you’ll want to save a spot on your radar.

Spirit City Kiss released on May 14th; you can check it out for yourselves by heading over to Spotify.

Review by Amelia Vandergast

Jared Harper has unleashed his garagey indie anthem, ‘All for Me’.

Jared Harper

Plenty of people became familiar with San Francisco’s Jared Harper’s smoother than smooth falsetto vocals through his  audition on The Voice that saw him put a roguishly sweet rendition of The Rolling Stones’ iconic track, Satisfaction. The audition has garnered over half a million streams on YouTube, but discernibly, singer-songwriter comes into his own by bringing his original material to life. His latest single, All for Me, is the perfect example.

In All for Me, Jared Harper carries his influences in his vintage guitar tones. Any fans of the Strokes will get the same buzz from the kicking instrumental progressions that create an anthemic platform for Harper’s endlessly imploring vocals that would have sent 60s psych-pop fans into hysterics back in the day.

He’s perfected the art of the pop-rock choruses, but All for Me is so much more than your average baseless earworm. The single is an invitation to listeners to seize the day and break out of periods of stagnation; you almost don’t need the lyrics to say anything; the over-driven fuzzed-up instrumentals will leave you psyched until the outro.

You can hear All for Me via Spotify and SoundCloud, or by heading over to his official website.

Connect with Jared Harper and stay up to date with his latest releases via Facebook and Instagram.

Review by Amelia Vandergast

Joonas Tanner – Ordinary Day: A Cinematically Raw Sign of the Times

Austin, Texas-based singer-songwriter Joonas Tanner finds the inspiration for his country-pop crossover singles by introspectively delving into the complexities of love, life and human emotion. His latest single, ‘Ordinary Day’, explores the relationships that reached a breaking point during the 2020 lockdown. Even if you didn’t feel that disjointing feeling first-hand, Ordinary Day still hits bruisingly hard by stripping the grandiosity out of modern romance and replacing it with the reminder of how mundane loveless ordinary days can be.

Ordinary Day was produced by Nashville’s very own Simon Reid, who allowed the soundscape to unfold as an all-consuming feat of country pop-rock that holds sonic reminiscence to the likes of Shinedown and Staind. If you want to test your soul’s capacity to feel, hit play on this cinematically raw sign of our times.

Ordinary Day is now available to stream via Spotify, Bandcamp and YouTube.

Review by Amelia Vandergast

Ares Adamidis – Black Flower: Entrancing Indietronica

Here to prove that drummers can write music is 20-year-old instrumentalist Ares Adamidis with his album, ‘Yellow’. The lead single, ‘Black Flower’, is a spacey electronic indie garage rock testament of Ares’ playful, unpretentious explorative style which bears not even a fraction of assimilation.

With hints of 00s indie with 00s pop-punk weaved into the futuristic soundscape that throws even further back to the golden age of post-punk, it doesn’t matter how many obscurities Ares threw at Black Flower, the swathes of nostalgia swallow you; while nothing in the bright and punchy mix feels stale.

His aural distinction is one thing, the energy he brings both vocally and instrumentally is quite another. You can expect the same level of energy in the most anthemic tracks by The Vaccines.

Black Flower is now available to stream on Spotify.

Review by Amelia Vandergast

Borrowed Souls hit the ‘Killswitch’

Borrowed Souls

Borrowed Souls started out life, in 2016, as a covers band taking in the likes of Portishead, The Black Keys, and Alabama Shakes. As sometimes happens when a musical chemistry is formed between members, they realised they’d got something between them, and started writing their own original material. Finding their own, signature sound – a lo-fi mixture of jazzy, soulful blues-rock – the trio put together their debut EP, ‘Baxter’s Kitchen’, following up now with their debut full-length album, ‘Epiphany and Revelation’, ‘from which Killswitch’ – their debut ‘proper’ single release – is taken.

‘Killswitch’, then, is exactly that – bluesy, soulful, rocky, chilled yet powerful; opening up with some delicate guitar arpeggios, ‘Killswitch’ sounds exactly like something from the Sons Of Anarchy or Strike Back soundtracks, that gruff, vaguely Americana-tinged rock in the vein of The Forest Rangers, Billy Valentine, Mark Stone, or the Shapeshifters, but with a modern twist: Laid-back, groovy, swaggering alt-blues-rock – think ‘Short Change Hero’ by The Heavy, The Black Keys, or The Revivalists, and you’re not far wrong.

You can check out ‘Killswitch’, and the rest of the ‘Epiphany And Revelation’ album, here, and follow Borrowed Souls on Facebook and Twitter.

Review by Alex Holmes

Werewolves prove punk does have a place in 2021 with their frenetically fierce debut album, ‘Enjoy Your Fat Self’.

‘Enjoy Your Fat Self’ is the iniquitously confrontational debut album from Flint-based alt-rock outfit Werewolves that shakes the mindlessness out of consumerism and compliance.

The title track is a frenetic feat of high-octane sleaze rock that will be a hit with fans of the Cramps and Motley Crüe alike. With rock rhythms distorted into tumultuous discord under the whiskey-soaked brash vocals, it is adrenalizing from the intro. The release proves just how far Werewolves have taken their sound since establishing their line-up in 2017. In their current formation, Werewolves is Bruce Horn (guitar & lead vocals), Paul Owsinski (guitar & backing vocals), Aaron Reinhard (drums & backing vocals), Doug Wilson (bass & backing vocals (on album)) and Nick Baker (bass & backing vocals (current & live)).

Through the rest of the album, you’ll find plenty of exhibitions of Werewolves’ versatility. With some tracks oozing the stylish despondence of Dinosaur Jr. and others being experimental with psych-laden prog structures; there isn’t a skippable track.

The debut release shatters Danzig’s claim that ‘punk can’t happen in our woke generation’, punk tears through this release with sharper teeth than ever, and discernibly, far better musicianship.

With their next LP already in the works and their motivation to release a constant stream of high energy, angsty life-affirming tracks, Werewolves are worth getting acquainted with as they take the scene by storm in 2021 and beyond.

Enjoy Your Fat Self is now available to stream via Spotify & Bandcamp.

Connect with Werewolves via Facebook & Instagram.

Review by Amelia Vandergast

HEwas give us a new, bang up-to-date take on a classic with ‘2 + 2 = ?’

Ok, so first things first; yes, this is a cover of Bob Seger’s classic anti-war song, from Seger’s ‘Ramblin, Gamblin Man’ album in 1968, at the height of the Vietnam war and as anti-war sentiment in the US was growing. It’s interesting to see how much, and yet how little, has changed in the intervening 53 years – anti-war feelings still run high, race-related civil rights issues still grace the news seemingly every day, and LGBT rights are still abused and debated daily.

Into that mix comes HEwas, singer, songwriter, activist and LGBT campaigner. Already a ‘million stream’ artist with his first two releases, ‘Lemon’ and ‘WHOLEthing’, which featured Grammy nominee Afroman. Now, with ‘2 + 2 = ?’, HEwas has taken that old Seger classic, with updated instrumentation but no change to the feel and groove of the original, making a perfect homage meets timely update to a pertinent and completely relevant song, to produce an utterly modern take on a song that’s as relevant today as it was fifty years ago.

You can hear ‘2 + 2 = ?’, and the rest of HEwas’ releases, on Spotify, and follow on Instagram.

Review by Alex Holmes