Browsing Tag

Kasabian

South London’s One-Eyed Disco are curious as to what others are saying on ‘Man On The Moon’

Posted on 25 March 2022

With a look down to Earth as they are flying high above to find a better world for us all, One-Eyed Disco returns with an awesome track that will be stuck in your head for ages with ‘Man On The Moon‘.

One-Eyed Disco is a South London, UK-based indie-punk 4-piece band that have ravishingly likeable energy that might have you feeling a bit sweaty after a few listens.

”With lyrics that perfectly capture the darker side of modern society, and the joys that can still be found therein.” ~ One-Eyed Disco

Displaying a sound that has you edging up the volume and pestering the neighbours with a speaker-shaking track that is meant to uplift us to greater heights, One-Eyed Disco is quite fantastic with a new single that is up there with the best releases of 2022 so far.

”Their sound has been described as the love child of original Arctic Monkeys and Kasabian, with lyrics that perfectly capture the darker side of modern society and the joys that can still be found therein.” ~ One-Eyed Disco

‘Man On The Moon‘ from the South London-based 4-piece band One-Eyed Disco, is a proper catchy breeze-filled track that will have you in awe of their tremendously fired-up sound that reminds you of some of the great UK bands. They seem to have found a winning formula here and with this being the first release from their new EP, you might have found your new favourite British band to fall in love with.

Check out this new single on Soundcloud and see more via IG.

Reviewed by Llewelyn Screen

WE ARE MONROE – BABY LOVE: euphorically dark indie post-punk. 

Posted on 2 June 2021
‘BABY LOVE’ is just one of the three tracks that feature on the latest EP, ‘MOVEMENTS’, from WE ARE MONROE, a Canadian-based alt-rock powerhouse making waves by showing the softer, more affable side to post-punk.
With Kessler-style cuttingly angular guitar notes over danceable beats and shimmering synths, BABY LOVE is an enliveningly authentic track that proves why WE ARE MONROE hasn’t failed to gain plenty of momentum with their euphorically dark indie sound. With Gus Van Go (Arkells) on production, it comes as no surprise that BABY LOVE boasts an anthemically absorbing feel that you’ll want to delve into time and time again. BABY LOVE will undoubtedly be a hit with any fans of Franz Ferdinand, The Killers, Spector, Bloc Party and Kasabian.
BABY LOVE is now available to stream via SoundCloud.
Review by Amelia Vandergast

Leogang – Chance In Hell: A Moody, Rocky Fusion of Alt-Pop and Punk

Posted on 19 September 2020

Leogang are an up and coming indie five-piece from North East London. ‘Chance In Hell’ is a moody, rocky fusion of alt-pop and punk, the verses bass-heavy with a rolling picked guitar part behind the vocals before the chorus kicks in, all angry distortion and power chords.

‘Is There A Chance’ comes from the forthcoming (self-produced and self-released) ‘Shots Are Coming’ EP and given their pre-lockdown gig calendar there’s no surprise that this sounds like a band playing live, hungry, energetic, the bass a funky, rolling number before the ‘Is there a chance’ breakdown at 2’09”; there’s a Kasabian feel to parts, but it sounds original, comfortable, and fresh all at once. It grooves, it rocks, and it’s got a great earworm hook on that mid-song breakdown before the band rock through to a slow final fade out.

‘Shots Are Coming’ is out now on all major streaming platforms, or you can find Leogang on Facebook and Instagram.

Review by Alex Holmes

Moonlighter Break Even Against All Odds

Posted on 18 November 2017

Bandy around the term pop-rock and the mind initially goes to some sort of middle of the road, fashion-driven dross that neither delivers the immediacy of the former nor the integrity of the later. But what if there was a way of taking the instant hook and inherent melody of a pop approach and weld it onto a driving, urgent and robust rock vehicle. Surely anyone who could do that would be carried head high through the streets, would be called saviours, the rainmakers of this current music drought, would be regarded as heroes and brave cross-genre gene splicers of the modern musical age. Or if you are looking for a more modest title you could just call them Moonlighter.

And it is this balancing act which sets them apart. As popists and rockists wage pointless pitched battle, moonlighter adhere to the cult of the song, preferring to take the role of tunesmiths who exalt composition over flash and muscle. If this retrospective is the perfect rallying point for those who have long understood that this middle way has always sported brilliant acts — pop acts muscled up by a dash of rock, rock acts whose bluster is tempered by indie details and indie acts happy to explore pop immediacy — why can’t more bands understand this simple equation.