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We’re pleased to bring you Pretty Pistol’s latest single ‘Drive Me To The Dogs’, which comes from the band’s upcoming EP ‘Welcome To The Dead Club’, due out on April 13 through SaySomething Records. The band will play a free release show for the single at London’s Birthdays on March 1, followed by an EP launch tour in April.
“‘Drive Me To The Dogs’ is about gritty nights out in the seedy parts of town, drinking too much, waking up the next day with someone you don’t recognise and a pounding head,” the band explain. “Then when you look back at the night before in the cold light of day, you decide to do it all over again. It’s about making the same mistake over and over, and never learning your lesson.”
Check out ‘Drive Me To The Dogs’ below, and pre-order the EP here.
It’s time for Taking Back Sunday fans to get seriously excited; their spiritual successor has arrived. The lead single from Hot Mulligan’s upcoming album ‘Pilot’ is an upbeat emo/pop punk crossover, confusingly titled ‘All You Wanted By Michelle Branch’. Retrospective verses that will make you nostalgic for events that never actually happened give way to a chorus which is the equal of any well known acts from the scene, with an infectious “woah oh” line that a few of the more disenfranchised Blink-182 fans would presumably like to present to John Feldmann as an example of how it should be done.
I couldn’t help but listen to the traded, back and forth chorus vocals and attempt to sing along to every word, despite the obvious overlap making this impossible. “Now you’re just a singalong for lonely nights and drunken drives home” will be enthusiastically shouted in many a venue over the next couple of years. It’s difficult to stave off the hype for ‘Pilot’, the upcoming record that will either propel Hot Mulligan to a new level or at the very least further demonstrate their massive potential. Check back soon for a full review.
‘Going on hiatus’ is never a statement you want to hear from a band you love and Underoath’s announcement was devastatingly timed. Their final album ‘Disambiguation’ managed to consolidate everything they were best at, while still offering a fresh new angle, with Spencer Chamberlain getting the opportunity to showcase the unbelievable progress he’d made as a vocalist since the start of his career. Throughout the band’s hugely emotional, tear-inducing documentary ‘Tired Violence’, you could sense unfinished business between the band, but as much as I wanted to hope for more Underoath in the future, the healthy thing to do was move on and celebrate what they’d achieved. That was until they toured last year and stoked up all those emotions again, but even though it was a highlight of last year for me, I still didn’t dare to dream.
But now it’s officially happening. Underoath’s brand new album ‘Erase Me’ will be released on April 6 through Fearless Records and ‘On My Teeth’ gives us an explosive insight into what to expect. When you’ve waited this long for a revered band to release new music, it’s common to be apprehensive, but such has been the consistency and superiority of Underoath over the years, that it never crossed my mind that a new track could be anything but superb. And I wasn’t wrong.
The opening, with its build up of electronic effects, is a perfect segue from ‘Disambiguation’ until returning sticks-man Aaron Gillespie tears it to shreds with his signature, pummelling drum style. Though Gillespie is back in the fold, Chamberlain still dominates the vocal melodies, picking up where he left off on the previous record, with the help of some excellent harmonies from his old vocal partner. The abrupt ending makes me desperate to hear more; it’s amazing how quickly you can go from thinking you’d never get another Underoath record, to impatiently demanding the whole thing. The next six weeks are going to be painful.
Australian band Earth Caller shot down the fast lane in their early career; their first album ‘Degenerate’ made a mark in hardcore. Soon after, the band imploded with front man Josh Collard being the last man standing. Armed with a new line-up, ‘Crystal Death’ has arrived.
‘Pipe Dreams’ introduces the album with a punch. Collard’s vocals have improved, they feel rawer, you can connect with him better and his hip-hop style keeps things flowing. ‘Sucka’ and ‘May 16’ are prime examples of the growth in his style.
There’s a lovely balance in ‘Crystal Death’. Aggressive riffs and barking vocals hit hard, but the melodies capture a myriad of emotions. It’s an angry pain that this album makes you feel, you want to punch things, you want to cry.
Despite the positives, at points the album shows definite flaws. ‘Ghost’, with its orchestral elements, doesn’t fit the way it was intended and though small details have been put into the mix, they perhaps should have been left out, because Earth Caller are at their best when they’re at their rawest.
Thankfully, the good outweighs the bad on ‘Crystal Death’. This album sticks with you, it makes you feel. When it falls flat, it’s not for long, as the aggression rips back in. For a sophomore effort, after having the odds stacked against them, the album shows outstanding growth and maturity and is a definite step in the right direction.