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Creeper – “American Noir”: EP Review

Sex death voids abound, illustrious English quarter of – – –

C R E E P E R are making their Vampire-Slayer-esque debut with American Noir.

Ditching their safe rock passages of discussing typical conversations like sex and death, they face an existential crisis of the ages with their operatic-rock filth gorging on the delights of human sacrifices. This is American Noir. A stockpile of rock ballads – eclipsed with sorrowful tales amongst mourning those already dead – is Creeper’s iconic sound that has amassed an engorged following, eager and sprightly to catch up on anything they release as a band.

Midnight plays a track with oozy synth slides chilling piano accompaniment, a worthy soundscape echoing the halls of a stoic castle, while Ghosts of Cavalry draws on the scope of Scorpion, One of Us is a bittersweet epiphany-symphony piece sharing the love amongst those misfits once lost (Born in the shadows/To die in the dust/Not like the others/You’re one of us) that really channels in Creeper‘s creativity here.

Their art always trail-blazes the elaborate theatrics of amnesty and solidarity, and this EP collection is no different. With the songs perceived as misfits in their own right from their previous anthemic Sex, Death and the Infinite Void (2020), they fit together like clock cogs and lubricates the machine once more for a seamless transition into the work of Creeper.

Imposed more as an EP – with its sombre running time of 15 minutes throughout – it is nonetheless a compelling and contexual chapter that is worthy of its place among life … and death.

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The Wombats: “Fix Yourself, Not The World” – Album Review

After finding renowned TikTok success, The Wombats find new form in their Talking Heads-esque style of modern music – without the album being “too pandemic-y.”

Reflecting modestly on the horrors of the past few years in regards to COVID-19, the trio of Matthew Murphy, Tord Øverland Knudsen, and Dan Haggis wanted to keep the bold and fun of Beautiful People Will Ruin Your Life interloped with the fragile and fragmented of self-reflection … and the hopes of seeing those lights at the end of the dark, long tunnel.

Murph’s zany lyrics are here in their comfortable masses (“Don’t wanna be talking to myself in a supermarket/Watching myself sink into a carpet somewhere/Don’t wanna end up there”) and truly incorporate an expertly-built album that encompasses new sounds of highs and lows fitted into a Wombat wonder that we’ve all grown accustomed to over the years.

Ever since they shared their love of Joy Division and ultimately forgetting the irony over ten years ago, The Wombats have become a musical – and cultural – phenomenon to the world of indie and rock abound. In the time that an unknown remix of Greek Tragedy came one of those re-used songs used by millions on TikTok, their following and listens skyrocketed and resulted in a profound reflection on their chaotic journey to achieving international fame.

Their fifth instalment is a true telling of captivating songwriting, modest musical moments and a band that are well and truly in the element. With a pre-tour to boot with more to come in the Summer, it will be a year for the ages.

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Twin Atlantic: Transparency – Album Review

FIRST WEEK, PLENTY OF NEW 2022 MUSIC: From a change in era to another, there seems to be an apparent monsoon of new music in our midst this week, with the 7th of the day the first Friday into the new year.

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Emblazoned in the comfort of remote recording during the time of a pandemic, the album is more of a happy accident rather than that of a cultivated design. Still, the album is bold, abrasive and another synth-inducing powerhouse inciting that of our past tenures from 80s synth-pop and early 00’s dance electronica.

Despite the rapid change in electronica for Twin Atlantic since their underwhelming POWER turned the tide in 2020, this album steers a band in a more compulsive direction with fun one-timers One Man Party and Bang on the Gong simply being ordered to play loud.

It may be a stretch to conclude that the Twin Atlantic of 2011’s Free and 2021’s Transparency are the same band but alas, for a band faltering for new material in their past state of songwriting, any change is a good change. At least they’re evidently making music they love making.

Despite the album being somewhat safe and flat in some places however, the narrative is a feel-good setting with the lads just merely experimenting when forced into a studio during lockdown.

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Sharing fulfilling stories on the absurdity to social media in parenthood, the album is an intriguing and exciting prospect for a new dawn eclipsing onto one of our favourite Glaswegians

LET ME KNOW YOUR THOUGHTS BELOW! Any ideas coming to mind?

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Singles Review: “karma” by Arlie

On this relaxing pyjama-Sunday afternoon, I thought it be best to do another topical singles review by none other than alternative American misfits of Arlie.

Measuring litres-worth of ultra-alternative and dance pop works, Arlie are an American musical group that doesn’t do much by halves. Crashing down to a North America tour next year, the shimmer style of karma is yet another display of fantastical songwriting by a group reaching for new heights.

Braving the storms of breaking UK scenes, Arlie are the sparkling peach water to the surf rock sunshine. Although it’s certainly unusual to discuss a ‘summer-esque’ group deep within the December winters, it’s never too early to start getting excited for Summer all over again.

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Back to the 2000s: Avril Lavigne’s “Bite Me”

For this week’s singles review, it seems we are discussing the fashionable return of Avril Lavigne. In a bid to stay majorly relevant among the revitalised punk scene that is happening right now, Sk8er Boi punk-queen has since signed with Travis Barker’s DTA Records, and released snap-and-heel single of “Bite Me” in quick succession.

Since becoming more than acquainted with rap-punk protege Mod Sun, Lavigne has since eclipsed her days of bittersweet melodies – which comes with growing up – and entered the territory of angsty pop-punk yet again because it’s come full circle and returned in emphatic fashion.

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Nothing says the revitalisation of a genre than rekindling one of the old flames that was at the forefront of it all at the start of the 2000s. Certainly, the combination of Lavigne and Barker is a worthy team to bring it all back. Nostalgia for the ages.

Anyone up for sticking on MTV again?

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