Taken off their just-dropped 10-track album that communicates to us their ‘Transformation‘, Movment returns gloriously with their 2nd single that unconditionally heats up the veins and this one is called ‘We All Must Go‘.
Movment is an Ireland-based indie alt-rock/post-punk band that is honest to the core and make a gripping blend of hard-edged music that slices diligently through into the truth and endeavours to set us free.
”There is a divergence in society. The new album Transformation, due in December 2021, explores this situation. We are bombarded with information, opinions, viewpoints, and words. We drown in ideas, in solutions, in propaganda. There needs to be a TRANSFORMATION from where we are now.” ~ Movment
Movment smartly slam the door on anything that isn’t sincere and toss away the key. They alternatively ask us to have faith and climb off this fake mountain we live on right now and join them into a new world where everything is completely transparent. With simmering energy that urges our confusion-filled eyes to see clearer, this is a precise effort from an introspective band.
‘We All Must Go‘ from the Ireland-based indie alt-rock act Movment, is a colossal track from an experienced band who seem like they are on a mission. Fed up with all the nonsense and false news narratives that confuse so many – this is a ravaging effort that should wake up those slumber-filled minds – into finding out what really is going on. The truth shall set you free after all.
Educate your ears on Spotify and see more about their evolution with IG.
With a scuzzy punk rock viciousness that could only have ever come from NYC, New Rock City’s latest single, Da Ratman!, is a blackened bop-worthy hit that could single-handedly and simultaneously restart the New Romantic and Horror Punk scenes.
With no two singles from the duo ever the same, they keep their fanbase guessing what revivalist tones they will deliver next. Based on Da Ratman! It’s safe to say that they know just how to pull different stylistic elements together to energetically complement each other. It’s as hooky as any Misfits track, jangly as Johnny Marr’s licks and comes with devilishly macabre undertones in the same vein as The Creepshow. Da Ratman! is a firecracker of a track that no one will regret hitting play on.
Hard rock hits don’t come much hookier than the latest single, I Will Rise, from the UK-based alt-rock outfit, Lazywall. They give Rise Against and Shinedown a run for their money when it comes to curating bursts of energy that you can’t help getting caught up in.
It’s rare in the industry to find an artist getting the kind of attention they deserve but from the moment that you hear the volatile post-punk vocals against the steady rolling swagger of the grungy basslines in the intro, you know exactly why they have had such a successful run since 2003. It makes sense why Steve Albini worked on an album with them, why they have performed at SXSW in Austin and Garorock in France and to 50,000 people at the Festival of Casablanca and why they have amassed a global and loyal fanbase.
Bravely, Lazywall doesn’t care about catering to hard rock purists; notably, they have far too much fun pushing the boundaries to the point of eruption to create a brand-new sound. After the teasing post-punk nuances in the intro, I Will Rise bursts into a defiant feat of Avant rock sound with the vocals carrying a Dave Grohl-Esque robustness. Then, it demands repeat attention.
I Will Rise will officially release on November 30th. The lyric video will be available to stream on YouTube.
If artists climbed the charts on the poetic intrigue of their track titles alone, the UK-based outfit, The Ninth Configuration, would never leave the top of the billboard charts with their latest single, Love is a Want of Reason.
Even before you hit play on the track, you’re desperate to hear what introspective gold is nestled inside. Hint, you definitely won’t be disappointed. The dark electronic post-punk single has exactly what it takes to win over Alex Cameron and Jack Ladder fans with the crooned indie post-punk vocals that effortlessly fall into the synthesised pool of relatable melancholia.
The official music video for Love is a Want of Reason is now available to stream on YouTube.
For their latest single, Millennial’s Song, alt-rock artist, PH Mazza, turned the reality of millennial life into a theatrically sinister feat of baroque post-punk complete with symphonic scores, Elton John on acid vibes and filthy Crampsy garage rock licks.
PH Mazza succeeded in creating a brief reprieve from the crushing existentialism that comes with our avocados and inability to get on the housing market. If that wasn’t enough, the pioneer threw in just as much psychedelic experimentalism as the Legendary Pink Dots. If anyone has what it takes to dethrone Nick Cave, it is PH Mazza.
The official music video is available to stream on YouTube, or you can add Millennial’s Song to your Spotify playlists.
After the successful release of his 2021 debut album, All Through Time and Space, J.T. Rogers teamed up with Carter Costello for his latest alt-pop hit, The Cycle of Orbit. After hearing the synthy-sweet hooky chorus, I’m fairly sure I surrendered a significant proportion of my soul to the mesmerising collaborative duo.
I don’t make Peeing Tom reminiscences lightly. Yet, the Seattle-born, LA-based artist warranted it with his uniquely evocative mix of vocal vibrato and reverb atop of the baroquely twisted instrumentals.
J.T Rogers took space pop to a fairly dark place, but those who find their minds in the shadows regardless will find plenty of salvation in this gorgeous amalgamation of bedroom pop, lo-fi and emo which is just as psychedelic as the most Avant work from the Legendary Pink Dots.
Costello adds a gorgeous dynamic single with his commanding debonair-vibe vocals. It comes as little surprise that J.T. is starting to amass so much traction in his career. We can’t wait to hear what he pours onto the airwaves next.
The Cycle of Orbit is now available to stream on all major platforms via this link.
Staying true to their moniker, Dead Writers delivered poetry that scarcely feels of this century in their latest single, Among Spirits. If Oscar Wilde himself resurrected to write post-punk lyrics, they wouldn’t be as up to scratch as the arresting lexicon in this cutting track.
Right from the intro, the cavernous guitar notes hook you into the emotionally layered single that alchemically fuses melancholy with defiant bursts of energy that emulates the kind of euphoria that only those who have fought for it can truly understand.
When the chorus hits, Dead Writers prove that they have the rare ability to make morosity anthemic, and things get even sweeter in the instrumental interlude. Against the bitter-sweet piano melody, the guitars start to blazon the track with virtuosic rock n roll licks that feed Manic Street Preachers-Esque nuances into the mix.
Paradoxically, the vocals contain their suave indie-rock poise throughout the switch-ups between the evocative dark timbre that will be a hit with any fans of the Cure and the strident rock vocals that could easily fill a stadium. By all accounts, the London-based debonair powerhouse delivered an instant post-punk classic with Among Spirits.
The official video will premiere on October 29th; you can check it out for yourselves via YouTube.
The Scottish alt-indie outfit, Artie Ziff, is the kind of artist that leaves you instantly perplexed at how they fly under so many people’s radars with their ability to organically weave a myriad of genres into their captivatingly high-octane sound. Their latest single, Masquerade, proves that they have exactly what it takes to reach the same heights as Frank Carter and the Rattlesnakes, Bring Me the Horizon or Yungblud as alt-rock pioneers.
The proceedings kick off with a post-punk-style prelude before post-hardcore stylings start to work their way into the anthemically unpredictable hit. If you think The National’s guitars when they kick into sonic overdrive are something, you might want to strap yourselves in for Masquerade that brings just as much to the table vocally. Anyone that never completely grew out of their emo phase should definitely consider Masquerade a playlist staple.
The official video for Masquerade premiered on September 16th; you can check it out for yourselves by heading over to YouTube.
The Roulettes’ fourth single, Fading Sun, from their album, Demosphere,will be music to the ears of proto-punk, post-punk, garage rock and indie fans alike.
Straight off the bat, you’re plunged into a cold atmosphere orchestrated by throbbing basslines, harsh snares and rancorously overdriven guitars. Around the glitchy electronica, psych-rock tendencies start to flourish as the single unravels and warmth seeps into the mix through the vocals that carry the same enamouring appeal of Julian Casablancas (The Strokes).
The New Zealand-based duo’s album may have never seen a recording studio, but discernibly, that didn’t get in the way of the prodigal sons creating one of the most exciting alt-rock albums of 2021. Save room on your radar.
You can check out the official video for Fading Sun via YouTube.
Huddersfield may not be renowned as a thriving epicentre of alternative culture; it became one when some of the finest acts that the North has to offer raised the roof of the Parish in on September 23rd.
Hull’s finest alt-90s revivalists, Sweethearts, had the unenviable task of warming up a staunchly miserable crowd determined to reserve their energy for PINS. Even if you could have been forgiven for thinking that the crowd was mostly lobotomised, they persevered with their high-energy set taking every banter-fail in their enigmatically electric stride.
Their live set may have been my first introduction to their music which addictively mixes emotional vulnerability with unfalteringly performative insanity but I was gripped with every volatile second of it. I wouldn’t be surprised if half of Huddersfield heard their massive, cacophonously rhythmic drums, and the instrumental flair didn’t end there. If you can’t resist Pavement’s fuzzy hooks, you’ll find Sweethearts’ distorted hooks to be just as sharp. If you get a chance to see them live, take it.
It was my third time catching Heavy Salad live, and my god, their live performances have picked up extra instrumental grit and vocal soul since we last caught them in Manchester, shortly before the pandemic hit in 2020.
With less talent between them, their cultish wholesomeness would fall into the realms of esoteric novelty, but what Midsommar is to horror, Heavy Salad is to the airwaves. They find a way to add nuance to celestial conversation with vibration-raising mantras nestled into hooky psych-pop hits in a way that no one else could.
It was my first chance to hear some of the material from their currently-in-production sophomore album; it would appear that they have perfected the cosmic guitar-driven pop formula over lockdown. Watching them go from strength to strength following the release of their debut album, Cult Casual, in 2020 has easily been one of the gratifying feats of my PR career.
PINS may consistently get left out of the conversation when it comes to celebrating Manchester’s most iconic acts, but with their arresting, cooler than meth style and endless accolades, what more could you possibly ask for?
From the moment they stepped on the atmospherically lit stage with their post-punk-tinged danceable riffs and protestive lyrics that attack the fetid threads of our social fabric, their unshakeable demureness consumed the room. With the glamour of 60s go-go girls and their fiercely empowered poise, they are one of the few bands that can take influence from the original Riot Grrrls without allowing their sonic vision to feel like history revisited.
PINS took the often divisive girls to the front ethos to the next level with the final track on their setlist, Girls Like Us, by inviting the handful of women in the crowd up on stage to dance with them. How could I possibly refuse? With the outstretched hand of Faith, I grasped the affirmation that their motivation as an artist isn’t just to flaunt their autonomy; it is to extend it to anyone that witnesses it.