Evening, folks. I thought I would jump on here and share my thoughts with you.
Following from my album review yesterday about The Vaccines’ recent bout of retro cities with Back In Love City, I’ve played it non stop.
Not only have I invested my time into these indie favourites, but I’ve actually invested time in their past albums which I’ve managed to missed or not invested a lot of time into. Trawling through an artists’ past work all the while going back to their recent work is a fantastic way of seeing the artists’ journey through song writing but it also allows the artist to stay relevant and in our minds – all the while benefiting from the influx of listeners, tribes of music purchases and avid watchers of their next leg of tour.
It really shows the power of staying relevant and fresh by creating new music. Especially if that new music is fantastically inventive and ultimately reinvents the artist wheel of their music. It keeps you around for longer!
I’d love for anyone to put me in my place with snarky comments like, “oh well this is why they do it..” and “it’s common knowledge about new music..” but I’d just thought I would share my recent thoughts with you!
By the way, The Vaccines are touring in the spring next year across the UK (in case you wondering)!!
The Return of the Indie Mythicals is FINALLY HERE! Dowsed in feelings of beautiful sorrow and emotion, Mercury – Act 1 takes us to a side of the group we haven’t really heard of before.
Featuring the usual individual in spectacular locations – from Giants‘ Causeway in 2012’s debut to rising in the sky among the colours of the rainbow in 2017’s Evolve – the album is a pinnacle Dragon discovery of charm, class and hideously catchy indie pop waves of beauty.
The fond pre-singles of Wrecked, Follow You and Cutthroat are obvious favourites among the album, resulting an impressive record of stream listens. This of course, harks back to their familiar song-writing skill that are known for just creating instant classics that will be certainly remembers in the coming years.
The album features a more elaborated dissonance with the use of synth electronics and creative sounds dominating a lot of the tracks, with Giants and Monday being my instant go-to so far. It seems that Reynolds plucked a leaf out of Tyler’s book from Twenty One Pilots for this record, as the dark storytelling with the occasional harmonious and chaotic screaming ark through the 13 track setlist. This is not necessarily bad thing per se, as I love this style of music writing more so than ever.
This is not a particular charm of theirs that draws me to their music but its understandable that it appears on this album, especially after the natural progression from Origins in 2018 to now.
But, it isn’t too long before the mystical quartet remembers their true sounds and they’re back to their acoustic best with My Life and It’s Ok and One Day. More importantly of all, shock entry Dull Knives certainly needs a mention as this is an emphatic change for the bright-pop dwellers but I’m all for it.
I genuinely love the feel of this album and has certain stir-crazy moments that is a joy to listen to. Another stellar performance from the LA guys for their fifth studio attempt. Nothing rings more true than their Demons debut, but this is certainly not bad going considering.
Hey folks! After taking a much needed week off for my holidays, I’m back with a bang. With more reviews, artist choices, playlist and music industry news on the horizon, Man v Music is taking one more step into the unknown of the music industry.
We at Man v Music, also have our published magazine set this weekend, so be sure to pick up our very first copy with avid industry reviews all in a delicate edition of beautiful graphics.
It seems that I need to be caught up with all things music so tell me: what are you listening to? What’s on your mind? What’s the most exciting thing you’re looking forward to this year now?
Another Friday rolls around, and more yearning continues for new music.
It’s been a fair while since we’ve delved down the rabbit hold of new music in the industry. Let’s have a look, shall we?
Nothing But Thieves are back with their profound, raucous rock under, Moral Panic II. The smaller second act of Moral Panic is here with more disaster-abound music with 5 more instalments with the likes of Futureproof and Miracle, Baby.
WILLOW removes her attachments to the old life of hers, and goes full steaming punk with the help of punk icon and esteemed benefactor, Travis Barker. lately i feel EVERYTHING is another trend-setting punk album that is firmly placed in its genre. WILLOW screeches and screams her away to the pursuit of answers she’s been looking for.
Although not as remotely emphatic and europhic as their debut, The Hunna are added to Travis’s roster, as he inputs his name into another rock album with I’d Rather Die Than Let You In. Their third studio album comes with more darker undertones and a serious mentality to approaching metal music full pace. Hopefully, I will get around to a full album review soon.
The splashy ’70s alter-ego of Grohl enters the scene with Dee Gees. Hail Satin. It seems that the Foos have stripped away their hard-edged rock, and flaunted on stage with disco alternatives. Embracing the sheer fun and boredom of industry lockdown, they just play music because they love it. And that’s why we love them.
Hailing from Dublin, Inhaler made their presence known among the spheres of indie-rock with their new debut album of It Won’t Always Be Like This. With My Honest Face charting pretty much every ad sponsor and TV endorsement that headed the bands’ way, the album allowed the Dublin boys to achieve a heroic position in the charts, and an even more commendable fanbase as them and their music, explode. Shifting from the likes of classics, Radicals from the early 2010s, they’ve brought an adapted, fresh new sound to the world of rock.