As our attention spans falter, and our music preferences irate, we’re finding new ways to divulge into our music via streaming services and sheer ease of access.
It seems that the radio’s playthrough preferences and inane adverts are being cut out of our music listening as we crave for the instant.
Now, whether we listen more to radio in the car, or in businesses where we have no choice, radio has and is a crucial part of the music industry and how we consume music – radio is a fantastic way of sharing with the creative communities and represents our love for music in a concept that is enjoyable and delectably consumable.
Despite everything, radio is a service we can’t really get with any other music consumption platform and is unique. Not just to its audience, but to its artists the stations play.
Whatever side you’re on, let me know! Radio or Radi-NO?
As another day passes, another album project involves the punk icon of Travis Barker. It almost goes without saying that Barker will be involved in some punk cross-collaboration with any artist who seems to afford him. There is certainly clique of quality that resonates with him and I’m fairly confident that certain people may only listen to new punk decorum if Barker is on the throne.
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WILLOW’s ‘lately I feel everything‘ is no exception. Shedding away her bubble-gum pout, and flashbacking to her involvements with her mother’s nu-metal band Wicked Wisdom when she younger, she brings along a colossal tarnishing of pop-punk and emo of fistfuls as transparent soul, GROW and Lipstick awaken this punk beauty out from her childhood and into mature musicality and and an ever-growing stage presence.
It’s worth mentioning that the album is not all fast and blurry. don’t SAVE ME and 4everbring tasteful breaks in the incessant album that add depth and further introspective thoughts to the world of Willow. The transcendent of pop-punk are ever-present too with the dark, drull tones from the likes of The Cranberries and Nirvana crawl through, which is even better for me. ____
She also brings childhood heroes of Avril Lavigne and of course, Barker along for the ride.
Although somewhat cringey at times, that somewhat fall flat in places, its pop-punk. Through and through. There’s no disputing that and if you like a bit of pop-punk easy on the ears musically, then look no further.
And it’s another Travis Barker project to add to the roster. Score.
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.
Despite it being a fairly recent release as it came out earlier this year, Arlo Parks’ Collapsed in Sunbeams is a perfect storytelling soundtrack of luscious expressive indie-pop that encompasses the magnificence of British summer beautifully.
I had presumed that I had done an album review to showcase this beautiful album, but it appears not. Fear not, if you wish for me to review this album, let me know and I’ll get right on it. It is a perfect Summers’ collection after all. It is very fitting as we enter record-breaking heatwaves on our British shores. I’ll include the necessary links to have a listen to the album in full before you glance over this review of mine. Thanks all.
Adding to his punk roster, Sueco enlists the help of Travis Barker again for his feature-length return of SOS. It certainly seems that Barker is yet again making his presence known within the punk world, being the leading man with the sticks. Anarchic, contorted and brazen, the triumph of punk’s return is a blistering one. And with the unfortunate news of Mark Hoppus’ diagnosing cancer, it’s certain that all these music artists and avid old-school fanatics of Blink, are doing their best to revel in loyalty and honour to one of the OG’s.
Perfect for a intrepid rock list, a scrum or a scuffle in the playground, it comes with all the tips and tricks that you expect from punk.
