After we joined the Worcestershire, UK three-piece pop-punk powerhouse, Project Revise, in ‘Free Fall’ with their previous release, we’re stoked to announce that they’re back on the airwaves with their nettled with emo nostalgia latest single, Take the World.
Fans of Taking Back Sunday, Funeral for a Friend and New Found Glory will easily find a place on their playlists for the caustic cuts of the guitars, chugging basslines that leave you psyched for the gravity-defying choruses and adrenalizing infectious vocal lines which soar through the lyrics that run through the pitfalls of staying loyal to toxicity within a scene.
Project Revise’s tracks have previously been heard on BBC Introducing and seminal Spotify playlists, including New Punk Tracks, Pop Punk’s Not Dead, Skatepark Punks and Punk Unplugged. Given that Take the World is some of their viscerally viral-worthy work to date, we expect this rancorous hit to take them to the same heights as Hawthorne Heights.
Take the World will be released on October 20; stream it on SoundCloud.
Fans of Thrice, Glassjaw, and Reuben won’t be able to resist the hooks which punch with 00s emo volition in the latest single from the UK pop-punk powerhouse of a trio, Project Revise.
The ragged with rancour basslines wrap their snarls around the cacophonously tight drum fills beneath the nostalgically crunchy guitars as the vocal lines mainline antagonised adrenaline into Free Fall. There are high-octane hits, and there are releases that make you wonder if the instruments were plugged into nuclear reactors instead of amps, Project Revise is well and truly in the latter camp with Free Fall, and they’ve been there ever since they crashed into the scene in 2017 and started snagging accolades left, right, and centre.
They’ve been lauded by Kerrang, shot music videos with the Bowling for Soup frontman, Jaret Reddick, landed themselves on editorial playlists, and received endless BBC Introducing airplay. If they keep on releasing hits in the same vein as Free Fall, we’re pretty sure their career highlights will become infinitely more incandescent.
Watch the official music video for Free Fall on YouTube or add the track to your pop-punk playlists on Spotify.
Here to prove that emo isn’t a phase is the antagonistically enticing up-and-coming outfit, Hound, with their nostalgia-driven post-hardcore anthem, Ghost in the Grey.
The debut single is – almost – enough to tempt you to chop your hair into a side fringe and whip out the checked sweatbands, skinny jeans, and studded belts. Failing that, you’ll get to relive the glory days when Hawthorne Heights, Dashboard Confessional and Senses Fail reigned supreme in the alternative music charts, and it only felt like your internal sanity was failing instead of society as a whole.
Describing themselves as five 30-somethings with dodgy knees and broken dreams scarcely does their heavy pop-punk/emo mashup justice, especially with the sharp hooks, tight instrumentals and choruses that you will want to scream as though you’re performing your own exorcism. But it just goes to show how committed the powerhouse is to providing an escape from modern maladies and melancholy by creating pretension-less atmospheres in their music and at their live shows.
Ghost in the Grey riled up the airwaves after its debut on August 21. Stream it on Spotify.
Finding the wavy lo-fi middle ground between Nirvana and Elliott Smith, the latest single, Take Me Home, from the DIY indie originator, Peach Giraffe, is a soporifically sweet visualisation of the desire to be enveloped in the irreplicable comfort of home.
In spite of the succinctness of the instrumental arrangement, led by the definitively 90s indie guitars, the single is underpinned by a precariously resonant state of unease that anyone who has a proclivity towards detachment and disassociation will find themselves connecting to.
After this installation of enticing artfulness and expressive candour from Peach Giraffe, our breath is bated for the next authentically raw hit from the artist who holds little loyalty to genres in his fluid discography, constructed by their desire to create whatever comes to mind with minimal inhibition.
Take Me Home was officially released on July 7th; hear it on Spotify.
Eguie5 became a conduit of post-rock and pop-punk alchemy in his anthemically hooked debut single, One Last Dance, which efficaciously captures the bitter-sweetness of goodbyes before bringing in the cacophonous drums that pay homage to the superlative skin-beating style of Taylor Hawkins.
After spending two decades cutting his teeth as one half of the alternative duo, TUNNL19, the Puerto Rico singer-songwriter reconnected with his artistic roots via his solo venture, which keeps expressive experimentalism at its core.
The emotively melodic structures in One Last Dance made the heart-in-throat choruses all the more riotous, in the same way Linkin Park allowed their audience to feel the sense of resonant vindication while screaming the reprise of “I’ve given up”, One Last Dance became the silver lining of heartbreak. The atmospherically intuitive hit struck all the right chords to affirm that Eguie5 is a one-man monolith of innovation.
One Last Dance hit the airwaves on June 14th; stream it on Spotify.
Forget the latest single from Royal Blood; Southampton’s Lewis Shepperd is more highly suspect than, well… Highly Suspect in his bass riff-driven, grunged up, and modernistically garagey track, Bite.
Entwining melodicism in the same vein as Nirvana’s Heart-Shaped Box around the higher-octane elements of this spectrally sublime feat of more Emo than Placebo alt-rock resulted in a multi-faceted incarnation of accursed seduction.
The guttural vocal breakdown towards the outro is a stark contrast to the placid harbingering harmonies that led to the fierce middle-eight that could give Frank Carter a run for his money.
After recording and mixing Bite at home, it was none other than Pete Maher (Pixies, Linkin Park & The Rolling Stones), who mastered the monolithically sharp release that will impale you on the hooks.
Bite was officially released on May 25; stream it on Spotify, or check out the official video featuring model & actress Ola Johnson on YouTube.
After spinning a charming pop-punk tale about a cat and its psych ward-frequenting owner, Donny Meowz will be irresistible to crazy cat ladies the world over after the launch of his latest music video, Kitty Crushed. You can probably count me among those enamoured masses.
No longer is Plea from a Cat Named Virtue the best track that traverses themes of mental health and feline affection. Donny Meowz hit all the right notes with his insanity-encompassing hit that rolls with all the entropic punches. Keep your next mental break at bay with the stellar ode to 00s emo.
Check out the official video for Kitty Crushed by heading over to YouTube.
If two things on the airwaves never get enough respect or recognition, they are ukuleles and emo alt-rap; the up-and-coming alternative artist Jesus B. fused the two in his latest single, Love Means, which unravels as the ultimate scripture of bitter-sweet affection.
Bliss and agony are two sides of the same coin when it comes to love, and the diehard romanticism evolving into dejection in Love Means is the ultimate affirmation. Your breakup playlists won’t be the same without the gritty yet twee lo-fi single from the Alaskan artist, who is picking up where Lil Peep left off with his command over moody melodies. His authenticity is one thing. His ability to project intimate emotion so that it resonates with universal commonality is another entirely. We can’t wait to hear what comes next from Jesus B.
Here to prove that emo was anything but a phase is the Delaware-hailing pop-punk revampers, Pharsalia, with their latest physics-defying single, Gravity Killer.
The catchy heart-in-throat choruses have kept their original form, and there’s plenty of punch in the dynamically bouncy guitar riffs, which keep you palpitatingly sweet in the lead up to the euphoric chaos in the pit-worthy choruses. The 5-piece has made a name for itself in the local scene and beyond with its fan-first lyrical relatability and approachability. This track is only going to take their renown to the next level.
If any single has what it takes to tear your attention away from the new album material from Fall Out Boy it is this scintillatingly scorned anthem for the disenfranchised that is super-charged with earworm-y energy.
Gravity Killer hit the airwaves with the force of a hadron collider on January 27th. Hear it on Spotify.
The candid uncut nature of EM$o’s debut LP, Differences, was a promising sign of more expositional visceral hits in the pipeline. He more than delivered with Dark Rooms. The rhythmically disarming reggaeton single strips the glorification from self-destruction and glamourizes growth. You can’t afford not to have him as a role model. In 3-minutes, EM$o takes you on the emotional journey of a lifetime.
After growing up in one of the most dangerous cities in Europe, EM$o knew he had to break away from the past, but distance and growth weren’t enough to cut the haunting ties forged through anxiety, depression, and addiction. His latest single, with the accompanying music, video artfully unravels his redemption arc. From insular isolation to embracing gratitude and willingness to make the most out of his life, the bright lights were turned on. Dark Rooms shows you how to find the switch.
“Dark Rooms is a tribute to a very special woman who went through hell trying to prevent me from doing something stupid and fatal. After my past life in the streets, I was severely depressed. Days would pass I did little more than drink in my house to numb the pain.
She walked into my life, everything became easy and moments of happiness were achievable – while sober. She empowered me to get healthier, better, stronger, and more resilient. As much as this is a tribute, it is also an ask for forgiveness and acknowledgement that she walked through the fire for me, despite the burns from her past.”
The song was written, recorded and mixed in EM$o’s home studio and mastered by Slade Templeton at Influx Studios. The official video was shot and produced by Tec. and Film.
The single and the official music video will release on February 10th. Check it out on all major streaming services via this link.