Committing blood, soul and mind to their art, Badflower are a cathartic Los Angeles-bred quartet that you require to be on your rock radar.
Hailed for their triumphs of their debut album, OK, I’M SICK in 2019, their rock stardom catapulted to them to unimaginable scenes, as they achieved commercial success with their hauntingly powerful punches of Ghost, Heroin and The Jester.
The confessions of musicality are in droves as the album implores the discussion of sleep, sex, sadness, mania and pain in doses of hot flashes. Relevant, fresh and fresh, Badflower are continuing to be the thorns in our side as the rock powerhouse we have to listen to as part of our rock ritual.
Recent releases of 30 and Family in 2020 has allowed them to clock up to 280 million streams collectively, and they only plan to go further with their music.
Even if you don’t believe the hype as such, be sure to not miss it – because you can be sure you will. I almost did.
Whilst on the topic of The Beatles, Tenacious D have returned to the rambunctious escapades of their lyrical ingenuity and musicality with their cover of You Never Give Me Money / The End by The Beatles. Fun and simply stupid in all the right places, it’s a fantastic depiction of the terrible twosome who make fantastically hilarious music, and a fantastic little nod to one of the greatest bands in the world that ever decided to pick up their guitars and start playing music.
If you grab a couple minutes, I implore you to have a watch and a listen, it’ll be sure to crack up a smile on your weekend.
Back in April, I implored you to witness the dazzling rock mafia duo madness of Cleopatrick with Artist Spotlight for the month.
Now, two months later, I’m back with an album review as it’s finally here. Since they’ve been young, the Canadian lifelong childhood duo have always wanted to release a debut album they’ve been immensely proud about. Well, in June of 2021, vocalist/guitarist Luke Gruntz and drummer, Ian Fraser managed to do that.
Simply loud and rife in the dirty and gritty, BUMMER has neither a lethargic or dull moment in its 10-song length longevity.
Emphatic, bold, specially written and so well richly produced – considering its the sounds of just two blokes – it is the one album I’d love to get sweaty with a bunch of strangers in one of those intermingling cesspits of tomfoolery, when they head off on their BUMMER tour in August.
With this album, it is also safe to say that Cleopatrick love to get their money’s worth out of stuff. The amount of sheer fuzz and distortion inclusive within the opener, VICTORIA PARK and WHY JULY, is frivolous manic punk and it’s f*cking fantastic.
Not dearly refined in some moments – and rightly so, because it’s well within the discomforts of punk – the debut is simply a fashioning for the love of music that these two boys have, and this comes out in the bucket loads.
GOOD GRIEF and THE DRAKE mark the end of doing anything by halves and release the handbrake with full rock powerhouses. The album tones it down with oozy drones of 2008 and Great Lakes, but still implores a different edge and style that the band incorporates and ultimately, shows their competency in producing music with the “less is more” mentality.
If you were disappointed with Royal Blood‘s recent third album, fear not. Here is a far better alternative than anything we could’ve ever imagined.
If you manage to catch them on their BUMMER tour, good on you.
Now, I’m not normally an avid watcher of the Official Charts as popularity does not ultimately result in good music all the time. This is clear from the evident trawls of music the Charts has splurged out over the years.
But, my ears perked up when the local Leicester lads of Easy Life’s debut, Life’s a Beach is giving Olivia Rodrigo’s album, SOUR, a run for its money. An album that has taken the world by storm with its glossy but gritty angst to love with consecutive weeks in global sales, could Olivia be toppled from the spot in glorious fashion with one of my avid favourites of Easy Life?
So, I implore you gorgeous lot to buy it, stream it, share it – do whatever we need to do to get their deserved number one spot. It’ll certainly be a hard feat as I imagine Olivia has a greater international pull than the boys from Leicester …
but still … this is the music industry – anything’s possible!
Shake Your Money Maker: Southern Rock and Blues-Rock Fashions into a RE-BRANDING
One particular release that you may have missed this year was the sixth release from Black Pistol Fire. Raucous with their fusion of southern rock, blues and garage punk, Look Alive is a stand-out album that is emphatic in its style aswell as its music production. Fused between the boisterous concoctions of The Black Keys, Cleopatrick and the quirky expertise of Queens of the Stone Age, comes a rock-child that joins the list of ever-growing duo rockers.
Accustomed with the stigma of charcoal black already in a rock deluge, Black Pistol Fire have a certain class and persona when it comes to their tastefulness of blues-rock, which goes farther than merely immersing in the black décor. The album comes out swinging with self-titled, Look Alive and Pick Your Poison, with both indulgent songs swinging a depth into the work of Cage The Elephant and among others. Rampant throughout, the album boasts and brags with such a large pair of cajones, as we’re dazzled through the bright funky lights of of Never Enough and spat out the other side with Level.
The album is not just an aggressive boaster though, it has passive – often contemplating – slow-burners like Hope in Hell and Always On My Mind that wouldn’t be a shock to see such songs escape the song-writing booths of Pixies.
A glorious reprise for a fusion of classics – southern rock, blues and dripped in garage punk – Look Alive is a fanatic favourite to swoon and enjoy within your own time, and will no doubt become a classic in it’s own time.