|Since forming in late 2016, Girls In Synthesis have quickly forged a fearsome reputation as one of the most exciting and volatile live acts in London. In equal parts frantic, considered, ear-splitting and melodic, the group take their cues from the early DIY punk and post-punk pioneers to keep everything in-house; artwork, videos, performances and recordings are created entirely by the group and their handful of trusted collaborators, under a bedrock of heavy, bludgeoning, dark, post-punk. ‘Now Here’s An Echo From Your Future’ is their first release for fabled experimental punk label Harbinger Sound and finds the band advancing their sound, making subtle but experimental shifts in texture and tone, helping to break free from the shackled straight-jacket of punk rock that, to be fair, never really held them down in the first place.Across the album’s ten songs, Girls In Synthesis explore a wide range of sensations and sounds as the album detonates into life with opening track ‘Arterial Movements’ in a screeching flurry of over-driven guitar and hammering drums. The contrast between the slow, mesmerising look into aging and dying in ‘Human Frailty’ (‘The realisation that you cannot halt their impending death’), to the aggressive attack on the rise of the right-wing in ‘They’re Not Listening’ (‘The time-old tradition of the right wing accosting desperate working class people has returned’) shows a wide range of subjects and reactions aggressively tackled. Mental health in a fast-moving, unforgiving world, media control, the divide widening between the have and the have nots, the class divide, the blaming of the poor, NHAEFYF bristles with an unforgiving frustration and temper.The recording of NHAEFYF started at Rockit Studio, Hull in April 2019 during days off on the UK tour to promote the ‘Pre/Post’ compilation album. The Hull sessions were engineered by studio owner and local musician Sean Tomlinson. The remainder of the album was recorded and engineered by the band throughout summer 2019 in a large rehearsal room at Gun Factory studios, Homerton. Production and finishing touches were completed at GIS bassist John’s S.I.C.K Studio in Hither Green. The album was mixed by long-time band collaborator and engineer, Max Walker (currently studying at Abbey Road). The album was mastered by Brett Shaw at 123 Studios, Peckham.In their few years of existence, fans and critics alike have been stunned by the bands pure visceral and punishing wall of sound, as well as applauding the groups way of making a GIS show an all-inclusive experience; playing from within the crowd to create a unique and awe-inspiring spectacle.Being hand-picked to support acts as diverse as Damo Suzuki, Slaves, Bad Breeding, Warmduscher and Wolf Alice has seen a widening of the groups fan base. Sold out headline shows across the UK have led to frantic and chaotic performances, and packed, sweaty venues, the word is getting out and spreading rapidly. Catch GIS while you can and witness the rise of one of the UK’s most original and unique underground bands.Preorder ‘Now Here’s An Echo From Your Future’ At This Location ‘Now Here’s An Echo From Your Future’ track-listing:|
The Images Agree
They’re Not Listening
Cause For Concern
Coming Up For Air
Set Up To Fail
Tirades Of Hate and FearTour: Girls In Synthesis will soon be announcing UK/EU tour dates (original tour rescheduled due to Covid 19 pandemic)Girls In Synthesis are:
John – Vocals/Bass
Jim – Vocals/Guitar
Nicole – DrumsPhoto Credit: Bea Dewhurst
Photo in high-res HereGirls In Synthesis:
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“THE band to watch…huge choruses” – Tom Salmon, BBC Introducing
“Riff-based guitar music at its absolute best, well-crafted songs…truly excellent” – Get into This
Primyl Vinyl are ready to storm into the centre of the UK music scene and blow fans away with their new single ‘Baby Steps’. The trio formed whilst they were all studying in Liverpool, but they are now spread out across the UK. From Peterborough (Matt, lead vocals and guitar) to Fareham (Steve, vocals and lead guitar) to Barrow-in-Furness (Nahum, drummer and vocalist) the band are miles apart…but this won’t stop them from making their mark!
‘Baby Steps’ looks to cement them as THE rock band to take note of in 2020. Although their legendary live shows are temporarily postponed, the new track combines riffs, electronic earthquakes and vocals that compensate for the loss of seeing the trio play live.
Primyl Vinyl create their songs as both a unifying experience for their legions of fans across the UK and to help deal cathartically with individual mental health issues, as well as wider social anxieties – with ‘Baby Steps’ comes a message to stay grounded, whatever is happening in the world around you.
Here’s what Matt has to say: “Having witnessed first-hand the internal mental battles of two people very close to me, I started to write more consciously to open this topic up – to make it feel more normal to discuss; to make our gigs feel like a sanctuary to reflect and then to forget it for 40 minutes. Music has to mean something to somebody, or else what is the point?”
Despite currently mourning the loss, via a puncture wound, of their inflatable whale mascot Jeremy (who hadn’t missed a 2019 gig!) the band recorded their latest track in an old barn to capture the reverb and energy of their live shows. Though Jeremy is only a cherished memory, Primyl Vinyl are in it for the long run.
Gabor Lesko has had a very successful career as a session musician in Italy (playing, producing and arranging several soundtracks for TV and film) as well as writing guitar tutorial books published by Carisch, an Italian publisher. He’s also established a solo career as a musician in his own right!
Fingerfusion Project is his latest album and it’s a demonstration of his insane talent as a writer and guitar virtuoso. It takes on elements of Jazz, Prog and Rock, bringing them together effortlessley. One of the tracks from the album ‘Faith and Glory’ made it as Jazz FM’s ‘Track of the Week’ recently.
Gabor and his band skirt on the edges of jazz highlighted with some brilliant sax courtesy of Eric Marienthal, but ultimately take more of a progressive approach with moving time signatures and fluid chord structures that keep the listener on their toes.
“Italian Fingerstyle Master” – Acoustic Guitar Magazine
“The record is killing, such great musicianship!”– Nile Rodgers
“Acoustic Maestro…thrilling acoustic work. The Italian ace deploys his immense technique to serve the song, not the reverse” – Pete Prown, Vintage Guitar Magazine
Alberto Lombardi’s latest single ‘Start Again’ is an intense single with lyrics pulled from some of the most beautiful lines of the Italian poet Dante’s Inferno. Dante imagines that Ulysses sails to unknown shores with his men, instead of going back to Itaca, leading them beyond the pillars of Hercules where the world was believed to end. His speech to persuade them to endure the challenge is a literary milestone and shines a light on the human soul’s infinite capabilities.
“Ma per seguir virtute e canoscenza” [“we were born to pursue virtue and knowledge”]
‘Start Again’ is a rich, epic ballad with revelatory guitar work and powerful lyrics about a fresh start after overcoming challenges, reflecting some of the most beautiful lines in literary history. Coupled with a superb video, it shimmers with the timeless sound of bands like The Eagles and a Sting-like vocal, whilst feeling completely contemporary.
Alberto Lombardi has already built a huge fan base with his expressive guitar playing and rich songwriting, including celebrities like Chic’s Nile Rodgers and legendary engineer Bob Clearmountain (Bruce Springsteen; David Bowie; Rolling Stones).
‘Start Again’ is taken from the forthcoming album, Home, which is currently available to support via crowdfunding here: http://sostieni.link/23630
When you consider that Rocketsmith’s roots trace back to the rural town of Pickering – which, per head, probably has one of the most vibrant music scenes in the UK – the formation of a band of this ilk makes perfect sense. In a place where there’s little else to do other than go to the pub, play music and be in bands (in this case, all three!), they embody the very nature of reet-good rock’n’roll. A fact that is reflected in the title of the EP ‘Balancing Act‘, which nods to balancing their hectic work lives with their desire to perform.
Collectively they are consummate performers both live and in the studio but strip away the rock’n’roll and you’ll find that Andy is an egg farmer, Hank is a painter and decorator, Anth is a tiler and Matt is an electrical engineer. Between them, they’ve played in countless bands over the years, but have always known of their desire to step out of the shadows with their own original material. A family friendly bunch, led with the track ‘Give Love‘, which stands as a resounding proclamation of all people really need to give to one another – Be it a smile, a laugh, a hug or any simple gesture that can change someone’s life for the better.
Andy has commented how, on a personal level, Rocketsmith helped him through a trough of depression and elevated his sense of self-worth and confidence. In the true essence of what forming a band is all about, that love for meeting new people and that feeling of winning over a crowd are in equal parts overwhelming.
The EP ‘Balancing Act‘ (Out Now) was written over the autumn of 2018 and early 2019, incorporating two previously recorded tracks ‘Hope in the Beat‘ and Give Love backing up Jenny, Chasing Ghosts, Beautiful Soul and Real Life – six songs that the band feel are the strongest material they’ve recorded to date.
See Rocketsmith Live
July 13th – Rocking All Over the Wold, Easingwold
August 18th – Rocketsmith live at Tribfest! Tribfest, Driffield
September 13th – Apollo Bar, Scarborough
September 15th – The Little Angel, Whitby
September 22nd – Sun Inn Beer Festival, Pickering
November 23rd – The Little Angel, Whitby
December 7th – The Lettered Board, Pickering
December 20th – Market Hall, Scarborough
On 22nd October this year, Troxy Theatre in London will host a special ‘one night only’ performance of Romanian playwright Tibor Molnar’s rock opera Cruel. In the tale of an almost impossible love affair between a married man and a libertine girl dying of cancer, the audience will explore the emotional universe of four characters in a journey through their thoughts, doubts and temptations, with an acute focus on their psyche and inner turmoil.
Tickets are available here: https://dice.fm/event/6evab-cruel-the-rock-opera-22nd-oct-troxy-london-tickets
Musically staged combining a church organ with a full rock band, a string quartet and four of Transylvania’s top rock vocalists, Tibor Molnar’s original script will be brought to life through the vision of artistic director Cezar Ghioca – the only Romanian theatre director specialising in musicals having studied in the United States while also holding a Ph.D in theatre from the Bucharest National University of Theatre Arts and Film. Ahead of the performance, he has already laid out some of his overall guidelines for how the performance will be orchestrated.
Drawing on influences ranging from Schubert to death-metal, the performance is largely staged as a rock concert – visible scaffolding, lights, smoke and projections, but, as a play, less importance is given to the narrative plot with a larger focus on the overall explorative process of the themes being portrayed. In utilising a small cast of characters, this affords the Mise-en-scène greater potential for exploring their emotional universe. The staging will employ similar-bodied dancers to project the alter-egos of the characters through their choreography, further emphasised utilising video-wall projections as either a subjective mirror, to convey personal memories or simply to heighten the illusion of a ‘dream space’.
Aural and visual factors will have equal and fluid importance. At any time – the band, the projections, the singers or the dancers can take precedent in what will be constructed as a surreal narrative. Theoretically, this is envisioned to harmoniously bring about a variety to the performance and flesh out the same organically created world.
The show promises a high degree of originality. With little to no experience or tradition in musical theatre coming from Romania, and therefore this, in turn, extends itself to the highly ambitious nature of the project. Cruel is set to be a stage experience that no-one will forget.
Created by Tibor Molnar
Directed by Cezar Ghioca
Raluca Stoica – soprano
Andy Ghost – baritone
Alexandru Arnautu – tenor
Sara Hajdu – alto
Chordis string quartet
Lehel Lorinczi – organist
Sometimes, it’s circumstances completely beyond our control can affect the way we approach songwriting. Although Aditya Virmani (the creative force behind Indian Industrial rock band Nivid) has rarely lacked for creative vision or direction, it was a sudden circumstance that forcibly dictated a choice that would shape his musical output forever.
Prior to Nivid, Virmani had been playing with Pinnochio’s Moment of Clarity – a progressive rock band from Mumbai. The group eventually ran it’s course as they decided to go their separate ways before he then enrolled in Vancouver Film School to study Sound Design. Naturally, being based in Canada, the majority of people there spoke English and Virmani found himself more and more attracted to the prospect of writing music in his native Hindi tongue. Upon his return to Gurgaon, Virmani founded a boutique new media audio design studio – Barren Sound, where he would often work late into the evening working on his passion for writing music in Hindi. As things progressed, however, he then suffered a tragic bike accident. Breaking his collarbone, his injuries severely limited his abilities in playing the guitar for a time. Determined in his attitude, Virmani learnt to adapt his craft and he began to favour synthesisers and computer technology, writing 2 EPs and take huge strides towards the sound he is becoming well known for.
For his current project Nivid, Virmani is considered as the creative force in an evolving concept where he is the only constant member. Acting as singer, producer and multi-instrumentalist, Nivid are fluid in their adaptability when playing live in shows which are highly regarded as a sight to behold. With a sound that taken influence and inspiration from Nine Inch Nails, the stage is well set for an atmosphere that is heavily enhanced with dynamic light shows and thematic visual elements.
Lyrically, Virmani writes about a character who is clearly an aggressor in the beginning but, while riding the tide of nationalism, he comes to the realisation that his extreme behaviour that is causing polarisation in society – in turn causing his belief system to crumble. Through this kind of narrative, he is able to portray a variety of ‘voices’ in this society – the voice of the aggressor, the voice of the repressed, the voice of the enlightened etc… The release of Nivid’s ‘The World Around Me (Infinite Support)‘ speaks of a musical embodiment of anger felt by those who are bearing the brunt of this turmoil.
With a never-more-timely single “Keep The Euro, Keep The Pound”, James Day has become is a spokesperson for both sides of the Brexit war through the best way he knows how – song. Representing ‘the voice of the people’ Day issues a rallying cry for neither Leavers nor Remainers but for both to unite in the common goal of simply getting on with it!
A protest song which is on the side of everyone in the country, the song cries out for the nation to come together and help the country move forward before power struggles break it apart.
Armed with a blend of prog rock riffs, rustic vocals and a catchy chorus, Day sings “see the gathering crowd, why don’t we give ’em some sound? They all got choices, they all got voices, and they can make their country’s proud.”
Produced by legendary producer and engineer, Stuart Epps (Elton John; Led Zeppelin; Oasis), the track echoes the likes of Paul Weller and The Clash in its style, with the kind of rousing, sing-along chorus which would keep football crowds satisfied for many a season.
Rather like the situation the UK has found itself in, the track has found that by looking to successes in times-past, the route to the future becomes much clearer. What unites us is stronger than anything which divides us.
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Having emerged onto the music scene as the songwriter behind Carmen Grey – one of Finland’s biggest ever rock bands, Tommi Tikka has partnered with fellow lyricist Antti Autio to form The Impersonators, a two-man project journeying away from the generic production that’s typical of producing music while signed to a major label. From a period of having been signed to Sony/BMG came a longing to have complete artistic control over the final product, and thus gave rise to a duo which masquerades as a full band, born of the living room instead of the studio. In utilising all of his ability as a competent instrumentalist, Tommi notes that he feels like he’s impersonating all of the members in his imaginary rock group.
Speaking ahead of their forthcoming EP ‘Sad Cafe‘, released 22nd March this year, Tommi discusses their journey up to this point:
“The reason why The Impersonators took the shape it did was that I wanted to have complete artistic control over how my songs were produced. Writing and recording for major labels was awesome and I am so grateful for everything they did but at the same time, I wasn’t always happy with the sounds and the final product. My goal was to avoid the sterile production typical of modern pop/rock.”
From the perspective of style, The Impersonators’ goal is to nurture and cultivate the creativity, spirit and warmth that graced the pop records of yesteryears – realised through poignant lyrics, emotive music and sixties-flavoured vocal harmonies. Partnered with their producer – Janne Saska, The Impersonators are a group of two songwriters, whose inspiration is inherently true to life.
“If you start with the lyrics and the story, it’s somehow easier to find the right mood musically. I like to write autobiographical songs that reflect what’s happening either to me or around me in real life. I dislike ‘cool’ love songs. I don’t think there’s anything cool about being in love – so much of it is actually difficult and unnerving. Love make you vulnerable and aimless in so many ways. It’s trusting the other person with your happiness and ultimately, with your life.”
Previous outfit Carmen Grey had enjoyed no less than 8 top-ten hits, including Tommi’s proudest feat ‘Gates of Loneliness’, which stood as the most played song in his native Finland during 2010. However, outside of the security of the ready-built music machine which generates both hype and distribution, it’s of little surprise that The Impersonators had struggled to take the first steps towards success in their own right:
“I pestered a few local labels trying to get them to sign us, but it was a real challenge getting them to listen to our stuff. One guy said to me that he’ll listen to the CD if I bring it to him dressed as Santa Claus (Christmas was just around the corner) and give everyone at the office a small present. I surprised him when I showed up with a sack of candy canes and, obviously, a CD.
You can just imagine his surprise when he realised it was me. He did listen to the CD, and although he didn’t sign us, he gave us a few names that turned out to be very valuable for us. It was a fun afternoon all in all and as the two absolutely gorgeous secretaries wanted to sit on Santa’s lap, I consider it an out-an-out success.”
He also reflects on his past with Carmen Grey detailing some crazy stories and experiences such as supergluing their manager’s door shut during a stint in Berlin:
“We cut the phone cord and stole the battery from his mobile phone, so he couldn’t call for help. It was a prank and we were supposed to let him out after an hour or so, but then we received the news that our song was #1 in Finland and forgot all about him. That evening at the airport we realised he was missing. Obviously, all it took was a quick call to the hotel and the help of the local fire department to get him out. He was pissed off but calmed down after a huge bouquet of flowers and a very, very expensive bottle of cognac.”
Tommi explained that his approach to life, music and everything in between has long since been in accordance with one of Abe Lincoln’s most famous quotes: “And in the end, it’s not the years in your life that count; it’s the life in your years.” Musically, this EP is etched in subtlety. Stylistically reminiscent of the bejewelled power-pop of The Go-Betweens, the effortless song-writing genius of Matthew Street and the immediacy and worldliness of early R.E.M., ‘Sad Cafe‘ succeeds in delivering timeless studio-based alt-pop melodies.
”A fluid, loose, almost drunken drawl that you can imagine playing in the background of one of those misty bar scenes in Twin Peaks” – Wonderland
Hailing from the far north and east of Sweden and offering a treat for fans of bands like My Bloody Valentine and Cocteau Twins, duo Pink Milk are back with their new single Heart of Fire – a track that exceeds the high expectations anticipated following the release of their critically acclaimed 2017 album ‘Purple’.
Known for their captivating use of guitars and bass and Maria’s spacey, transcending vocals, Heart of Fire comes as a devastatingly powerful shoegaze ballad with heaps of cinematic soundscape and a towering magnitude of noise. Lyrically the song is fueled with emotion, written for Maria’s recently born first child their latest track comes with a tenderness that isn’t always displayed in songs of rock genre.
With the past year presenting Pink Milk with nominations for best rock / metal of the year in the prestigious P3 Gold-award, Album of the Year and Breakthrough of the Year in Gaffa, WOW of the Year in Rockskallen Music Awards and Shoegaze album of the Year on the US radio channel DKFM the duo are set for a good year ahead.
Click on the links below to listen further!