Sometimes there are days when people can’t get out of bed. These are days where life is hell and you feel like there’s no point to anything. Productivity goes to zero and you just sit there, almost stunned. You do anything to block out the pain, listen to music, watch tv, play video games. But when the video buffers or the music dies down or you simply pause the game to go to the bathroom you remember all the self hatred, the doubt, the memories of every mistake you’ve ever made coming back to haunt you. It hurts so much but you don’t even have the energy to cry. Crying would be good. It would be the release, the big explosion that you are waiting for that will tire you out and allow you to sleep. Then tomorrow you can start again. But until that happens, if it happens at all, you just sit and wait. You get angry at yourself because you can’t function. You haven’t had a shower, you’ve eaten a load of junk food and your room is a mess. You had plans for today, You’re so angry at not being productive that you’re writing your feelings down to post online just to think I’ve done something today. Tomorrow You’ll probably delete it out of shame that you allowed yourself to be so open. Constantly angry at yourself, the world and whatever cruel thing put you in this position. But the worst part is you don’t even know how you got like this. Is it simply yourself? Are you being a drama queen? Are you lazy? The doctors say you have a condition but is that really the truth? Perhaps it’s all in your head? The fear of the unknown gets to you. You pray to gods you don’t believe in just in case they help. But they won’t. You suffer in silence. Too afraid to reach out to a friend in case it’s some sort of social faux pas. Even if you manage to speak to someone how do you open yourself up like that? How do you explain articulately how you feel when you don’t even know yourself. They might ask you why you feel this way but you can’t explain. Is this feeling going to last an hour? A week? A year? You haven’t the faintest idea. You’ve been through this before. You survived but you don’t quite know how. You are doing what you did then. Sit there. Eventually it passes you know this. But as much as you want to sleep you fear tomorrow. Because you are scared that you will still be this way. Because you know it will come back again if not tomorrow then when? This haunting thing that follows you everywhere that you don’t even understand. The day gets longer and longer. You are both exhausted and unable to sleep. You feel like you’ve been awake for days and perhaps you have been. You don’t remember. You question everything. No matter what you do it will affect you. You are vulnerable in this state and you have to force yourself to not do anything stupid. To not message your abusive ex because you still think they can protect you in some weird fucked up way. To not shout and scream at your mother who’s just come to check if you’re okay. Simply the act of defying the overwhelming urge to hurt yourself takes everything you have and you don’t always succeed. You might think thoughts of death but you are too much of a coward to actually do it. For some reason that makes you hate yourself more. You know that if you were in your right mind you could dispel those thoughts. You know deep down that it is strength not cowardice that stops you from ending it but you can’t think that right now. All you know is this numbing sensation that’s both nothingness and agony.

This is mental health. This is one of those days. But you will get through it. You’ll get up tomorrow or in a week or in a month and you will move on. It may come back but you will beat it then too. You won’t give in because you are strong. You are powerful and you will not let this force defeat you. You will look at the people around you and think they will never understand but they will. Everyone has or will go through hardship. Maybe not exactly like yours. We are all different. But you can bond through your pain and become stronger than ever. You can teach those others who have their own struggles how you deal with yours and perhaps it will help. Perhaps not. But you can listen and offer words of encouragement and even then they might not listen. Not at first. But if even the slightest bit of positivity can get through to them then it will ease their burden. Don’t put yourself at risk to help your friends that isn’t good for you and if they are true friends then they won’t want you to do that. But if you can use what you learn on days like this to listen and if they ask for it, help. Show them that they are not alone. And when the next day comes where you once again can’t get out of bed. When the world feels like it’s over. Perhaps they will remember your kindness and help you in turn. But if they don’t? You will still get through it. You are strong. You are powerful. You will not be defeated.

Peace, Love and Cowbells,

Oscar

For this post I want to do something a little different. I was recently put in contact with The Idealistics, a Cambridge based indie/punk three piece who, while also having kick ass music, have a member (the wonderful Ali Hirsz) who suffers with a series of rare disabilities, in particular Ehlers Danlos Syndrome. I wanted to get an insight into what it was like being in a band with such a debilitating disability, to both bring awareness to Ali’s struggles with EDS and support the band. So I set up an interview and I’d like to share with you what Idealistics have to say both about their music and EDS.

For my readers who aren’t aware, can you tell us a little bit about Ehlers Danlos Syndrome?

Ali: it’s a genetic condition that is connective tissue disorder. I’m being queried with which kind of EDS I’ve got but a few of my doctors are almost certain it’s arthrochalasia EDS. EDS affects people in different ways but for me I dislocate and subluxate (partially dislocate) all of my joints, and I usually get three dislocations a day. I bruise really easily, have fragile skin so scar easily and have abnormal scarring. I’ve also have 3 other syndromes related to EDS, including postural orthostatic tachycardia syndrome which is an autonomic nervous system disorder so I get dizzy very easily, have heart palpatations and have blood pressure issues. A big symptom that impacts my life alongside the dislocations and chronic pain is the fact that my digestive system rejects food. Doctors aren’t quite sure why and they haven’t really got a proper cure so I was fed with feeding tubes that went into my digestive system. When that didn’t work they decided to put a feeding tube that sits in my arm and goes to my heart and I feed that way now, which is called parental nutrition.

How does that effect you both as an individual and as a musician in a band?

Ali: in some ways it’s not too bad, I’ve got a lot of support from family but if I walk down the street or go to the shop, people stare and some people pull their children away. I heard one lady say to someone else ‘I didn’t know they let people like that out’. In the music industry, it completely halted our career as I was told we couldn’t play gigs because I’d ‘deter’ a crowd. People think I’m too sick and I can’t put the time and effort in and they hate the look of the tube coming out my arm. People say it’s disgusting but it’s part of me, so they’re calling me disgusting. It’s keeping me alive and I fail to see what’s disgusting about that. Other artists have told me to keep quiet about my disability but why should I?

How did Idealistics start?

Ali: I was introduced to George through a Manic Street Preachers fangroup, I watched his videos of him doing guitar covers and I got in touch with him, he asked if I played bass and if I’d he interested in joining his band, I jumped at the chance! We had a few changes in our direction, mainly maturing as people and when we struggled to find a drummer who would support our views my sister, Dom, offered to learn drums. She’s been learning for a while now and it’s been going really well. We’re very close knit.

Dom: I’d say the band started with me trying to play a prank on Ali by adding George as a friend on Facebook on her behalf, which ultimately ended up in them forming a band and begging me to learn drums. Eventually I gave in and it was an amazing decision I wouldn’t have made without them.

George: Ali saw my YouTube channel and pushed her way into the band. Luckily for me she could write better lyrics and sing better than me so it wasn’t all bad. She also had no issue making phone calls which you wouldn’t get me doing. I’d also like to add, Dom’s reluctance to join was reduced greatly when I agreed to be her drum teacher for free. Like all good teachers, the extent of my tuition was making her buy a book and read it herself. She picked it up too quickly for me to know how to go about teaching.

How do the rest of the band feel about Ali’s condition?

Dom: Obviously we want to support Ali in every way we can! We don’t experience any of the pain or stigma she does, so all we can do is check on her, make sure she we keep things as accessible as possible for her and lift up her voice. Also putting back dislocated arms and legs from time to time.

George: luckily, we’re a very close group and we’re usually able to tell when she’s feeling particularly sore or if she’s in any more pain than usual. Being aware of that really helps. Having to eat her share of our dinner is a nice perk too.

What’s next for Idealistics?

Ali: we are releasing an EP and hope to be able to give a push with that, it’s got some personal songs on there about my experiences in hospital. We really want to get back on stage and we’re hoping to do a few gigs after the EP is released. Obviously we want to find a manager and get signed but that depends if we find people who are willing to support us and not treat me or the rest of the band badly.

George: we’re always writing new music, I’m definitely hoping to experiment with new sounds and instrumentation in the future. I’m looking for an excuse to shoehorn in Ali’s Phantom of the Opera-esque vocal abilities and Dom’s love of synths! We also have folders full of songs that are already written we’re just waiting for the right time to record them and play them live.

What would you say to anyone suffering with EDS who wants to get into music?

Ali: never ever listen to other people’s negativity. People will tell you to hide your disability, they will weaken you and they will say you have a ‘disease’. No. You don’t. Never accept that and never let anyone dictate your life or your achievements. Do what you can at your pace and don’t give up!

Truly inspiring words from Ali there and I give huge props to the rest of the band for being so supportive. It can’t be easy trying to make it as a band while going through such hardship. Despite Ali’s condition I am confident just from listening to them that they could go far. The blending of various influences, Ali’s haunting vocals and the excellent guitar work are all to be admired. Their music is awesome and if they can find the right label or manager, one willing to support them, who knows how successful they could be. I am a firm believer that through music anything is possible, even the most unlikely underdog can find themselves at the top. I truly wish Ali, George and Dom all the fame and fortune they absolutely deserve. Keep on rocking guys!

Peace, Love and Cowbells,

Oscar

The fact that these testosterone filled, perverted bastards feel that they can prey on young women without consequence is just abhorrent. I’m not saying every man is like this but it seems like the majority of men I come across are privileged arseholes, you might say it’s just a loud minority but when we live in a society based upon male dominance then surely the majority of men are going to get a sense of entitlement and abuse their power. When I hear stories of mental, physical and sexual abuse. When my friends lives have been torn apart because some scumbag noticed they were vulnerable or perhaps were doing the high crime of not watching their drink closely enough. When you get straight white men strutting about like they own the place, but is it a surprise when it is 99% of the time a straight white man does indeed own the place? I feel such hatred towards these scum. I myself am a white man coming from a middle class background and yet even with that privilege I can fucking control myself unlike these filth. You get men crying “crazy SJW libtard” whenever a woman stands up for herself or simply gets sick of the system. You get male politicians strangling female protestors. Male rockstars and sports “heroes” raping young girls who’ve been brainwashed by the media to submit to them. Men who feel they are well within their right to impregnate a girl half their age and then leave them with a baby to take care of and not pay child support. To the minority’s who have to struggle under the patriarchy allow me to apologise for the members of my gender who decide to act in such awful ways. There are those of us who aren’t like that, as rare as we may seem. You aren’t alone. You have allies. You are powerful. Keep fighting.

Peace, Love and Cowbells,

Oscar

Despite being heavily into Skinhead culture, I’ve always remained on the punk and ska side musically and never really explored reggae that much, despite it being the roots of the scene and being a great genre of music in its own right. So when One Drop Pony asked me to review one of their songs, I chose the chilled out electro reggae tune Home to either endorse or eviscerate, depending on my findings (Really? Your findings?Oscar you’re a music writer not a detective you tit). Anyway I am definitely not going to eviscerate these lovely chaps, as Home is a banger. Admittedly a slow, chilled banger but you’ll still find yourself nodding along to this absolute tune.

Home has got all the hallmarks of a reggae song, a booming subby bass, flaring horns, a steady guitar and drum groove. Yet the addition of synthesisers adds a really cool electronic vibe which I would not expect in a tune such as this. The vocals are also excellent, very psychedelic and chill, thanks to both the production and overall tone and pacing of the vocal track. Can I just say? That guitar solo is freaking awesome. Such a delicate tone yet it has such a fat groove to it. Whoever the guitarist is, props to you my friend. Then again props to everyone who worked on this single. It’s brilliant! I really enjoyed the organ solo/swell towards the end. It really adds a some dynamic before the last chorus, giving it quite a bit of punch.

What I really like about One Drop Pony as a band is their variety of influences and unique sound. The influences I can hear vary from Frusciante to The Beat. You can’t tell if these guys are black, white or anything in between. You’ve got the melding of a more typically white electronic sound with the slower dub grooves generally associated with black people (and before anyone has a go at me, yes I know people of other skin tones listen to the other genre, I’m making a point to do with musical context. Deal with it). The multicultural sound of One Drop Pony give them both impeccable style and important edge, two things any band desperately needs and the two things I mention most when talking about any band.

All in all I can highly recommend One Drop Pony for their electro reggae grooves and chilled out attitude. They’ve got such a great vibe and as all the American politicians are saying on their tv adverts at the moment, My name is Oscar Quick and I support this message.

Peace, Love and Cowbells,

Oscar

Bea Kristi, or as she’s known to her legions of fans Beabadoobee has achieved massive success in the past couple of years, and for good reason. Starting out as a simple singer songwriter, she managed to garner three hundred thousand views without even realising it on the first song she ever wrote on guitar. Coffee, a song that she called in an interview with Vice “the cringiest love song” kickstarted her career and got her signed to Dirty Hit. Not too bad then eh Bea? Truly a case of hidden talent popping up and changing lives. Coffee now has a whopping Eight and a half million listens on Spotify, with her other tracks not far behind. Her original stripped back vibe, taking influences from Simon and Garfunkel, Nineties angst and even her Filipino roots, brings forth a simple and fresh sound .

Over time Beabadoobee’s sonic vibe has developed, her latest track She Plays Bass, released just a few days ago, is a far cry from Coffee, yet it is still unmistakably Bea’s work. That same stripped down atmosphere and vocal style is still prevalent despite the new additions of drums, bass and electric guitar. She Plays Bass is brilliantly awkward and harkens back to bands like Pixies, while still maintaining a modern pop sensibility. I get kind of a slower Wolf Alice vibe on this one and is a welcome change from her earlier work without excluding her original fan base, which is a very hard thing for any artist to do, especially one so inexperienced. While I gather from a bit of searching on the internet that Bea has a boyfriend, the lyrics have an LGBT+ edge to them which is a nice touch and adds an air of mystery about her sexuality. Mystery and edge are a winning combination for an artist to have, it garners interest and attraction, which are the biggest things up and coming acts need in this brutal industry.

Beabadoobee’s success is proof that an artist can change their sound without completely ruining what makes them unique. Bea maintains her awkward, stripped back songwriting and lyrics, yet in a whole new context. So many artists change their style, and I’m not against that, however the band must maintain their original voice. If they don’t, they lose what made them interesting in the first place. The fact that Beabadoobee has signed to a label, changed her sound and not (while I hate the term, it’s appropriate here) “sold out” is a rare feat indeed, especially for one so young. heartily recommend that all my readers pay close attention to Beabadoobee’s future work, I reckon she will achieve even greater success in the next couple of years.

Peace, Love and Cowbells,

Oscar

I find something wonderfully funny about the fact that while I write this review of Gaffa Tape Sandy’s brand new EP/LP Family Mammal my own family mammal Chop is sat behind me licking the back of my head. He’s been doing it for like five minutes now and I don’t know why. Just thought I’d let you folks know that. Anyway, I’m supposed to be doing a review here. So. Family Mammal. What a record. Now they’ve marketed as an EP however it’s definitely album length with an assortment of charming yet angry tracks to choose from, including four new never before heard tracks, along with four songs released as singles in the past. Beehive however has a slight edit with a new intro of a man and a little boy, Isaac, discussing Gaffa and their banging tunes, which is a funny and charismatic start to Family Mammal. I bought the vinyl for this the moment I could and I heartily recommend my readers do the same as it’s a brilliant record and there’s only a few left. Instead of going over the tracks we’ve heard before (though they are definitely worth talking about) I’m going to discuss the four new banging tunes on offer from our favourite garage punks.

The first of the new songs, My Desperate House starts almost jazz like with a clean guitar intro and walking bass line, but fear not punkheads after a few seconds it hits you in the face with a massive distorted punk pop power chord sequence before the guitar dies down, giving rise to a mighty bassline from one of my personal bass heroes Catherine Lindley-Neilson. The hook of this song for me comes with guitarist/singer Kim Jarvis’s repeated lyrics “I was choking, I was choking out”. It’s not even in the chorus but for some reason it’s been stuck in my head since I first heard the song and that’s a serious thing to say because the entire vocal track is brilliantly catchy. A banging tune and my favourite off of this stand out record.

The second of the new tracks Dinner Jacket slows things down with a slower steady drum beat from the wonderful Robin Francis and Catherine’s beautiful vocals complement Kim’s expert rhythm playing perfectly. The drums are so tribal and is an unusual choice of beats for a song such as this. Dinner Jacket kicks in with force just after the two minute mark to finish out the song and the build up before hand makes it definitely worth the wait. Another banging tune for sure.

Turnstile is up next and while it’s my least favourite of the new tunes it’s still wonderfully catchy and powerful. The lyrics here are arguably the strongest the Gaffa crew have ever put out, definitely for me the most emotional. “I’m Apathetic, happy, passionate and sad at the same time” is such a powerful lyric for anyone who struggles with mental health to hear. The backing instruments support the vocals excellently. I only say Turnstile is my least favourite on Family Mammal as the other tracks are so astonishingly awesome. This is still a banging tune. What else can you expect from Gaffa Tape Sandy?

Kill The Chord is the last of the new songs and the final track on Family Mammal. And what a finale it is. That opening riff my god. The little bass and guitar runs aswell, so awesome. This song hits with such impact in the chorus and yet has such atmosphere in the build up to it, Catherine continually singing “I’m getting sick” over and over before that equally sick guitar riff kicks you in the teeth for the chorus. Don’t underestimate the drums either, Robin is easily one of the best drummers I know and should not be overlooked. Yet another banging tune.

So, four new banging tunes on a banging record from a banging band. We haven’t even discussed the other other tracks which are also, banging tunes. Family Mammal has my vote for EP of the year and Gaffa Tape Sandy have cemented themselves as my favourite band. As little Isaac says. Banging tunes.

Peace, Love and Cowbells,

Oscar

PS: Chop is still licking the back of my head. I think he means to eat me. Slowly. Send help.

With a sonic vibe that sounds more appropriate in 1960s America than in 2019 Switzerland, psych/surf rockers Valhalia hail from Geneva and bring forth a blast from the past in a modern context. I can perfectly imagine these boys playing Woodstock in that oh so famous summer of love, and yet Valhalia are wonderfully suited to modern times, their refreshing take on surf rock mixed in with psychedelic influences really make this band stand out in today’s music scene. I’ve been going to gigs for years and I’ve never heard another band sound quite like these guys.

First released in 2017, their debut EP Hula Hula, Valhalia is a brilliant example of nostalgia done properly. Far too many bands look to the past and completely mess it up, yet these unlikely chaps completely get it right. The pure musical skill displayed on this record is astonishing. The guitarist in particular has written his parts brilliantly to accompany the vocalists soaring highs. His playing is just brilliant. Displaying a technical knowledge while still keeping it tasteful. There are plenty of good guitarists out there, but this guy is clearly a master of his craft.

The rhythm section is also well put together, doing exactly what any rhythm section should be doing in this context, supporting the rest of the band. Sure you have a frankly blindingly good guitarist and epically powerful vocals but without those subtle bass notes and without that gentle drum beat they would be nothing. Any band is only as good as it’s foundation. Consistency, drive, energy. All these things this rhythm section provide and I encourage any of my readers who want to start playing bass or drums to look at these guys as they are an excellent example of a rock n roll rhythm team.

Lastly we come to the vocals, which should not be underestimated. Hauntingly beautiful the melodies hear really bring out some emotion. You can really hear the rawness in his voice, which in an age of auto tune and overproduction is something to be applauded. All in all the parts come together flawlessly. Seriously, keep an eye on these guys, their sound is pure nostalgic euphoria. The place to start with Valhalia is the first track on this stand out EP Under Your Spell. It has all their strengths on display and cuts absolutely no corners. Hugs Time is another brilliant tune. Then again all these songs are stellar. Anyway that’s all from me, check out their Facebook and Spotify, you won’t be disappointed.

Peace, Love and Cowbells,

Oscar

Before I begin this particular rant, I want to put a little disclaimer forward, I in no way whatsoever harbour any ill will towards Pale Waves or any other band I criticise in this short piece, while I obviously am not a fan, I am merely using these bands as an example for my point. This is simply my take on their music, look and the impact or rather the lack of impact of Pale Waves and bands like it on the music scene at the moment. I am not questioning them as people, I’m quite sure they’re quite lovely. I strongly believe in supporting young acts and I genuinely hope that the band has continued success in the music business, after all not many people can make it out there and every young musician we get out of a dead end minimum wage job and into doing something they love is hugely important. Now that’s been said I can continue with a clear conscience.

Pale Waves represent a problem the indie music scene faces at the moment, this eighties nostalgia gone wrong. Now I love the eighties, especially the alternative scene, from post punk Joy division to alt rockers Hüsker dü to alt-pop sensations The Cure, I love them all. I grew up listening to Boys Don’t Cry in the car on the way to school, or rather on the way home from school after I’d been sent home for misbehaving, misbehaviour inspired by Robert Smiths lyrics. However in this modern age of indie music, that sound has been imitated by many bands but has unfortunately lost it’s all important edge. The Cure were a pop powerhouse, but they maintained an attitude influenced by punk from the previous decade, hell, The Cure started out doing punk songs like I Want To Be Old as many new romantic and new wave bands did. So why has indie lost its edge? Is it due to new technology? After all tape and analog equipment have a different quality than modern digital production. Is it the record labels pushing for a poppier sound to sell more records or is it these bloody millennials ruining things? I don’t know if I can answer this today but I’ll sure try.

It’s obvious Pale Waves are taking elements of eighties pop culture into their style, from a power gothic vocalist to a subdued indie kid bassist, and that’s just talking about their look. The music has the cornerstones of eighties indie music, synthesisers and jangly guitars, and yet Pale Waves fails to add the emphasis and impact to their sound that a band like The Smiths or (early) Depeche Mode, and Depeche were more dance pop than indie, even if they had started on an independent label. Morrissey had haunting vocals and powerful lyrics and yet Heather of Pale Waves has overly processed generic pop singing and writes basic love songs. The production as a whole is far too much. Over production can work on a song, such as Peter Gabriel’s Sledgehammer, but on a song that’s claiming to be cut from the same cloth as Siouxsie and Banshees? Come on!

Pale Waves have found mentors in The 1975, yet another band ruining the good name of indie music. They toured together and it’s clear they rubbed off on each other. They both have that same bad pop songwriting that’s all too prevalent in today’s music industry. I’m not saying all pop is bad, look at an artist such as Prince, or for a more modern example, Billie Eilish (ignoring the fact she did a song with Bieber) both Prince and Eilish possess a darker, edgier sense of songwriting. But this is what I mean, music has to have an edge, otherwise it just doesn’t have the same emotional impact. Some might say it’s great that indie guitar music is coming back into the mainstream, but these guitars are watered down, processed and in my opinion lacking the ability to inspire young budding musicians to pick up their instruments. Some areas of guitar music are doing things especially well such as in the modern punk scene but indie? Indie is really struggling to retain the emotion heard in earlier generations of indie music.

To summarise, this modern age of indie pop lacks that all important edge largely due to poor songwriting and over production. However, as I like to keep this blog largely positive and don’t want this whole rant to be me shitting on a band, a few good bands have shined through in spite of this modern pop rubbish, such as Blossoms, who also have an eighties vibe, are quite heavily produced and write love songs. Yet the songwriting and atmosphere is so powerful and brilliantly raw despite the production. It just feels more genuine and therefore has that needed edge. I hope you’ve all enjoyed this ramble I wrote at two in the morning.

Peace, Love and Cowbells,

Oscar

Now I don’t normally review the more heavy rock/metallic music on this blog, as my main focus is punk and indie music but this does not mean I don’t throw up the devil horns from time to time. In fact I’m a huge fan of Trivium and I always end up jamming their stuff with one of my best mates when I see him, it’s sort of a ritual of ours. So do not think me a stranger to the genre. Anyway, I had a brief chat with Rajeev of prog rockers The Multitude and after checking out their stuff I told him I’d be happy to do a review of their debut album Passing Into Time. And what music it is.

Soaring vocals, chugging guitar, heavy bass and pounding drums along with some more delicate moments make this album an emotional listen. You cheer, shout and headbang at the thrash riffs and pummelling drums on tracks such as A Clarion Call To Retribution and yet some of the occasional beautiful orchestral violin work (or is it viola? I can never tell) on Friends of Mine bring a tear to the eye. I’m now going to talk about my 3 favourite tracks on Passing Into Time.

Passing Into Time starts powerfully with the short introductory track Kyrie Eleison leading into the first full song and title track Passing Into Time. I’m going to talk about both here as one track as they are connected. The slow lead guitar in Kyrie Eleison almost has a stoner vibe before the follow up title track kicks it up a notch with blasting chugs and pulverising drums and bass, not to mention the expert vocal performance.

As I mentioned this album has its tender moments, especially with the collaboration between Multitude and Naviin Ghandharv On High Seas. The bass, while subtle and arguably drowned out on the rest of the album particularly stands out on this track and plays a wonderful counter melody to the beautiful guitar and orchestral arrangement while still laying down the rhythm which is exactly what a bass player should be doing on an album such as this. Loads of bands simply have the bassist follow the guitars but the bass player here has really shown his chops. Well done indeed.

Now my favourite track on this stellar album is the final track Friends of Mine. It seems to perfectly balance the slower moments to the smashing riffs we know that The Multitude are capable of by now. It sums up the album perfectly and is absolutely the right choice for the final track. Too many albums have the wrong choice for the finale, but this band have nailed it.

In summary this is an excellent example of progressive rock/metal and I urge any of my readers, especially those into the heavier side of rock to check this band out. Passing Into Time is available on the majority of music platforms including Spotify and iTunes.

Peace, Love and Cowbells,

Oscar.

“The noisiest thing from Barnsley” is noise rockers Toronto Blessings claim to fame, and while I don’t know Barnsley, from the sheer sonic force emanating from this cacophonous three piece, I’d reckon they are correct in this assumption. This is a rock trio out for blood.

Their latest single U V U is a stand out track from their short but mighty discography. With just 5 songs on their Spotify, U V U no doubt has the most impact, thanks largely to the brilliantly raw vocals. You can really hear the emotion and rage there. The singer is belting out lyrics with the impact of a battle axe, and when you hear his voice straining, it just adds to the sound, countering the harshness of his shouts with the higher register of the more stressed moments of the vocal track.

The other instruments are not to be scoffed at either, in particular the bass, it’s consistent drive and tone is reminiscent of Adam Devonshire of Idles, which I can assure you is the highest compliment I can give a fellow bassist. The rhythm section as a whole is wonderfully tight, with the quirky drum beat catching your ear while still maintaining a simple groove.

Lastly we come to the guitar, which provides a perfect accent to the track. Generally In a rock three piece such as this a guitarists job is to provide both the lead and rhythm guitar parts simultaneously, a difficult task indeed. Many three piece bands have the guitarists simply play rhythm guitar aside from a solo as it’s a lot easier, however the guitar here goes in the opposite and more difficult direction, taking a largely lead approach, counter balancing the steady bass and drums so excellently.

In summary, a powerful song from a powerfully under-appreciated trio. I still can’t believe that these songs haven’t hit a thousand listens yet, they are a superb example of noise rock. To any young budding musicians thinking of getting into noise rock, start here. Toronto Blessings have all the elements which make noise rock great, yet with their own unique voice.

Peace, Love and Cowbells,

Oscar