#Review: Fickle Friends – You Are Someone Else


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Fickle Friends are a Brighton-based, indie-pop band who have gone from strength to strength, since their humble beginnings. Now signed to Polydor, they are releasing their long awaited, debut album, You Are Someone Else. Here’s what we have to say about it…

Fickle Friends - You Are Someone Else.jpg

It’s been a long time coming, but Fickle Friends have finally released their eagerly anticipated, debut album and it certainly doesn’t disappoint! This is an album packed to bursting point with catchy choruses, groovy guitar licks and salacious synth sounds.

The record opens with the darkly addictive and super chant-able, Wake Me Up’ and manages to maintain momentum throughout, whether it be the huge pop anthems like ‘Glue’ (a personal favourite!) and ‘Swim’ or the more placid, mellow offerings such as ‘In My Head. This is an incredibly diverse album that has a little something for everyone, yet still manages to come together as a superb collection of hard work, perfectly crafted and super skilled songwriting. It is also nice to see that the band haven’t followed the current trend of putting out a standard 10-track album, with a special deluxe edition, but instead have just the one version with a very decent, 16 tracks.

There are strong resemblances with the likes of The 1975 (on ‘Say No More’ and ‘Bite’), MUNA (on ‘Hard To Be Myself’ and ‘In My Head’), Shura (as with ‘Hello Hello’) and Rae Morris (on ‘Swim’) and it would certainly fit well with fans of theirs, but could equally find a place in any trendy, pop or indie-lover’s music collection too!

This is an album packed to bursting point with catchy choruses, groovy guitar licks and salacious synth sounds.

One thing is for certain, the band have managed to produce a fantastic sound that is both contemporary, modern pop yet strongly 80s tinted at the same time; something which is even reflected in their music video imagery and album artwork.

Although the sound throughout is fun and uplifting, that is contrary to the deeply personal lyricism, which finds singer, Natti Shiner, touching upon topics like self-doubt and anxiety, as can be heard on ‘Hard To Be Myself’ or rocky relationships, like that of ‘Wake Me Up’.

Other songs to take note of include the beautifully soothing ‘Paris’, the incredibly pop-tastic, ‘Bite’, the incredibly funky ‘Lovesick’ and the mammoth banger that is ‘Glue’. However, ‘Rotation’ is the only track I find to be somewhat disappointing; it’s quite repetitive and stands out from the rest of the album (and not in a particularly good way). That’s not to say it’s bad, it’s just not particularly memorable and doesn’t seem to fit nicely amongst the rest of the, otherwise perfect, album.

Fickle Friends have undoubtedly created one heck of a masterpiece; this is not simply shallow, meaningless, throw-away chart hits but rather, relatable pop music with a purpose. The band have made good-quality and fun songs with real depth and meaning, that is definitely going to get stuck in your head. This is sure to be just the beginning for the band. I’m certain this will pave the way for a long and successful career; one which I can’t wait to witness as they continue to grow.


‘You Are Someone Else’ is out now and can be downloaded from iTunes – https://itunes.apple.com/gb/album/you-are-someone-else/1312920152

You Are Someone Else on Spotify

Hard To Be Myself (Official Video)

Glue (Official Video)

Brooklyn (Official Video)

Swim (Official Video)

We hope you’ve enjoyed our review of Brighton-based, Fickle Friends’ debut album, You Are Someone Else! What do you think of it? Are you as much of a fan as us? What would you rate it? Please leave your thoughts in a comment or chat to us about it via our social media.

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Matt – Muzik Speaks


#Review: Editors – Violence


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Editors are an English rock band from Birmingham who have enjoyed many career successes, including two platinum studio albums (out of five, to date), a Mercury Prize nomination and two albums entering the charts at Number 1. Now, in 2018, the band are releasing their sixth studio album, Violence. Here’s what we think of it…

Editors - Violence.jpg

Let’s just start by saying that this album is a far cry from their post-punkesque, 2005 debut, The Back Room, yet somehow they’re still recognisable…but then maybe that’s the beauty of this band; they’re always growing and always changing, but manage to still be the same, iconic band.

The lead single, ‘Magazine’ is a bold, electro-rock song that is like something you might expect from Depeche Mode, whilst ‘Hallelujah (So Low)’ is acoustic and melodic in places, yet very heavy and industrial-sounding in others; it’s like the lovechild of Coldplay and Nine Inch Nails – not two bands you’d ever expect to be put together, but oddly…it works! Whilst the album has moments of purposeful, off-key darkness, there is just as much positivity and lightheartedness. ‘Darkness At The Door’ is probably the most out-and-out electro-indie/pop song on the album, whilst ‘Cold’ is a stadium-filling, lighter-waving ballad.

This feels like something very different, very new and very exciting for the band.

In other places, this album has similarities with Take That (‘Nothingness’) and even a melody from Chicane‘s ‘Come Back’ struck me in the title track, ‘Violence’. That’s not to say the band are copying from others; they’ve actually just produced an incredibly diverse and eclectic album, that truly has a bit of something for everyone. It has been largely supported by a guy called Blanck Mass (aka Benjamin John Power), who is known for making heavy electronic music and produced by a man named Leo Matthew Abrahams, who has worked with the likes of Imogen Heap, Brian Eno and Florence And The Machine. That’s perhaps why this album has so much distinctiveness to it.

Having worked closely with the two, singer, Tom Smith, said, “When it’s electronic, it’s very electronic. But then when it’s guitar-y, it’s very band driven. I think we’ve managed to find the balance of those two things better than we have done before.” He goes on to say, “I think there’s a balance here between melody and brutality that I don’t think we’ve managed to get before,” and that’s very true; this feels like something very different, very new and very exciting for the band.

This is an incredibly strong album from a well-established band. For so many others, it’s easy to slip under the radar by your sixth album but that won’t be a worry for Editors with this release. Whilst the band have not had a Number 1 album since their third record, In This Light and on This Evening, they’ve managed to create something special with Violence. In fact it would be very surprising if this doesn’t reach enter the charts inside the Top 3, if not Number 1.


‘Violence’ is out now and can be downloaded from iTunes – https://itunes.apple.com/gb/album/violence/1328602125

Violence on Spotify

Magazine (Official Video)

Hallelujah (So Low) [Official Video]

We hope you’ve enjoyed our review of Editors’ sixth album, Violence! What do you think of it? Are you as much of a fan as us? What would you rate it? Please leave your thoughts in a comment or chat to us about it via our social media.

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Matt – Muzik Speaks

#Review: George FitzGerald – All That Must Be


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George FitzGerald is an English, electronic musician who previously worked for London label, Black Market Records, but after relocating to Berlin in 2010, began recording and releasing his own music. 2015 saw the release of his debut album, Fading Love, and now in 2018, he’s releasing his second record, All That Must Be. Here’s what we have to say about it…

George FitzGerald - All That Must Be.jpg

The album opens to the sounds of the hustle and bustle outside FitzGerald’s London studio, nicely setting the theme for the rest of the record, which very much echos the thrum of urban life.

In amongst the production, vocals are present, however, save for the tracks with guest vocalists, Lil Silva and Tracey Thorn (Everything But The Girl), they are barely recognisable, through much distortion and production wizardry. This is executed perfectly though, as they blend so well with the instrumentation, that it actually takes a few listens to properly realise they are in fact vocals.

George further explains, “In many of the songs the vocals are disembodied and processed to the point you can’t make out what they’re saying. I wanted that to mirror the uncanniness you feel when a massive event happens in your life. Everything looks and sounds the same but it’s somehow different. Your surroundings are less intelligible.” This is very much reflected in the album’s lead single ‘Burns’, which was also played regularly on Radio 1.

This album is a complete body of artistic work that has a unique story-like quality to it.

All That Must Be is very much an album of music that brilliantly depicts urban life. It is almost a soundtrack to the commotion of a city and represents the rhythm and heartbeat that so many cities often seem to have.

On first listen it’s easy to feel like all the tracks on the album are quite similar and that it stays the same from start to finish. However, it’s only when you listen again that you can truly appreciate just what a remarkable piece George FitzGerald has created, with subtle, intricate variations and changes in atmosphere. This is a complete body of artistic work that has a unique story-like quality to it. It might not be to everyone’s taste but it is astounding how an almost entirely instrumental album, can so clearly illustrate a picture in the mind and audibly represent so many moods. It’s both hypnotic and melancholic in places and there is a real sense of motion about it; it certainly doesn’t stand still.

Some of the most stand-out tracks are ‘Frieda’ for its meditative quality, ‘Burns’, for simply being the monster track that it is and ‘Roll Back’ and ‘Half-Light (Night Version)’ for their collaborations with Lil Silva and Tracey Thorn, respectively.

This is a record that could easily be experienced and enjoyed on a long drive at night, with the warm summer air breezing through the open windows or as something to ultimately sit back, relax and chill out to.


‘All That Must Be’ is out now and can be downloaded from iTunes – https://itunes.apple.com/gb/album/all-that-must-be/1322664114

All That Must Be on Spotify

Roll Back featuring Lil Silva (Official Video)

Burns (Official Audio)

George FitzGerald Tour Dates

All tickets are on general sale now, via www.george-fitzgerald.com.

19 March – Munich, DE – Ampere
20 March – Berlin, DE – Schwuz
21 March – Cologne, DE – Yuca
22 March – Paris, FR – Nouveau Casino
23 March – Brussels, BE – AB Club
24 March – Utrecht, NL – Catch Festival
26 March – Brighton, GB – The Haunt
27 March – London, GB – Islington Assembly Hall
28 March – Glasgow, GB – The Art School
29 March – Manchester, GB – Gorilla
09 May – San Francisco, US – The Independent
10 May – Echo Park, US – The Echo
12 May – Salt Lake City, US – Kilby Court Gallery
13 May – Denver, US – Larimer Lounge
15 May – Chicago, US – Subterranean
16 May – Toronto, CA – Drake Hotel
17 May – Montreal, CA – Bar le Ritz PDB
18 May – Boston, US – Great Scott
19 May – New YorkUS – Rough Trade

We hope you’ve enjoyed our review of George FitzGerald’s second album, All That Must Be! What do you think of it and what would you rate it? Please let us know your thoughts in a comment or share your feelings about it via our social media.

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Matt – Muzik Speaks

#Review: Geowulf – Great Big Blue


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Geowulf is a duo comprised of members Star Kendrick and Toma Banjanin, originally from Australia. They started writing music a few years ago and released their first track, ‘Saltwater’, in July 2016, which now features on their debut album, Great Big Blue. Here’s what we had to say about it…

Geowulf - Great Big Blue.jpg

Self-described as ‘Beach Pop’, this album is exactly that; it’s hypnotic, easy listening music with a brilliant blend of laid-back guitars, floaty vocals, subtle synths, down-tempo beats and all-round melancholic vibes.

This album is Americana through and through and could quite happily be the soundtrack to a lazy afternoon around a Californian pool-side or whilst hitting the open road in a big convertible, wind through your hair, driving down an American highway. It has a strong resemblance to some of Lana Del Rey‘s music too…just with a slightly more light-hearted feel to it.

Great Big Blue is hypnotic, easy listening music with a brilliant blend of laid-back guitars, floaty vocals, subtle synths, down-tempo beats and all-round melancholic vibes

Prior to its release, the album enjoyed several successful singles but some of biggest highlights on the record include; ‘Sunday’, which is a beautifully mellow ballad, setting the tone for what’s to come (plus the opening lyric gives the album its title), ‘Saltwater’, is slightly more up-tempo with a real summery warmth to it, ‘Get You’, has an almost African rhythm, topped off with Star’s long, drawn-out notes, whilst ‘Drink Too Much’ is probably one of the most conventionally pop tracks, with a tongue-in-cheek look at how drinking a little more than you should, whilst on a night out, can land you in trouble when you get home, with the simplistic yet honest lyrics; ‘Coz I get myself in trouble when I drink too much, Think too much, And you’re somehow on my mind when I drink too much, Think too much.‘ At face value, it sounds cheerful and uplifting but when you listen to the lyrics, it’s a real oxymoron to the sound.

On first listen, the songs tend to blur a little into one, however it’s after a few plays through that you can begin to detect the differences between each track and truly admire Star’s euphoric vocals, Banjanin’s stunning melodies and understand the complexity behind the simplistic-sounding, psychedelic production, appreciating just how much time and effort must have gone into producing Great Big Blue. I have to say, whilst I really did enjoy this record, from start to finish, it is not necessarily an album that you will want on repeat for weeks on end; it’s a very good album but will it stand the test of time? Sadly, I’m not convinced.


‘Great Big Blue’ is out now and can be downloaded from iTunes – https://itunes.apple.com/gb/album/great-big-blue/1316527015

Great Big Blue on Spotify

‘Saltwater’ (Official Video)

‘Don’t Talk About You’ (Official Video)

‘Get You’ (Official Video)

We hope you’ve enjoyed our review of Geowulf’s debut album! What do you think of it? What would you rate it? Please leave your thoughts in a comment or hit us up via our social media to talk about it.

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Matt – Muzik Speaks

#EventSpeaks: Erasure @ Brighton Dome, Brighton – 19/02/18


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On Monday 19th February 2018, Erasure arrived in Brighton, on their World Be Gone Tour, performing at Brighton Dome. The duo were supported by Welshman, Rod Thomas‘ moniker, Bright Light Bright Light – it was an incredible show!

Bright Light Bright Light

Rod Thomas and his band mates took to the stage and put on a fantastic show, performing his own unique brand of electro-pop – it’s a combination of contemporary pop music, with an 80s tint to it; clearly inspired by bands such as Scissor Sisters and Erasure themselves. The use of modern technology produced a really full sound to the performance and filled the concert hall. The songs were well written, but there were a couple of songs that I felt blended into one. Undoubtedly Bright Light Bright Light has a big following and has worked with some incredible people but I was looking for a couple of stand-out tracks that I wanted to come home and listen to, which unfortunately I didn’t really find.

Highlight: The incredible harmonies Rod performed with himself (using his pads) as well as the brilliantly vibrant suit he wore.


Erasure were incredible! Having been in the public eye since the 80s, this duo are clearly professionals at what they do, but it seems to come so naturally to them; Vince Clarke, although almost a silent partner when it comes to fronting the duo, clearly puts a lot of effort into his performance and production of the backing tracks, whilst Andy Bell is the camp, extroverted individual, fronting the outfit. Somehow though, it just works – whilst they might appear to be polar opposites of stage personality, I loved it…and so did the audience!

The pair were accompanied by two sensational backing singers who produced some incredible vocal harmonies alongside Andy and altogether, they performed a string of hit after hit.

The stage lighting was excellent and felt a bit like a club and the different combinations of light movements and colours helped add some visual diversity to the set. Andy‘s gradual removal of his clothes, down to his catsuit was very funny and lead to screams and cheers throughout the building.

Naturally, performances of songs like ‘Chains of Love’‘Phantom Bride’‘Sometimes’ and of course, ‘A Little Respect’, brought the house down, but they made sure to not only pack out their setlist but fill it with a wide range of career-spanning tracks to ensure there was something for everyone.

I can’t recommend seeing Erasure highly enough – whether you know just a track or two, or their whole back catalogue, they do not disappoint. You are guaranteed to have a fun-filled evening of dancing, singing and laughing.


  • Andy Bell‘s sassy, between-song banter, was on point! He knew his audience and was hilarious from start to finish.
  • The sheer tightness of their performance just highlighted how professional this duo are.
  • The vocal harmonies between Andy Bell and his backing singers was marvellous.
  • The string of hits they performed has the audience singing and dancing throughout the show.
  • Andy Bell‘s gradual removal of his clothing, down to his catsuit, was hilarious – it certainly made a statement.
  • Lastly, the set design was pretty cool too – the lighting was amazing and I particularly loved that Vince Clarke was able to do his thing from an elevated platform throughout the set.

This slideshow requires JavaScript.


Oh L’Amour
Ship Of Fools
Mad As We Are
Just A Little Love
In My Arms
Chains Of Love
Sweet Summer Loving
I Love Saturday
Victim Of Love
Phantom Bride
World Be Gone
Who Needs Love Like That
Take Me Out Of Myself
Blue Savannah
Atomic (Blondie Cover)
Love You To The Sky
Here I Go Impossible Again

A Little Respect*

These songs can be viewed in the YouTube playlist, below.

Finally, I want to say an absolutely HUGE thanks to Thom Williams for setting up this review and to both Erasure and Bright Light Bright Light for their incredible performances. Oh…and Alan Carr for taking the time to have a couple of selfies with me!

Matt – Muzik Speaks

#MuzikSpeaks: An Interview with Everywhere


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Everywhere released their most recent single, ‘Moments’, back in 2017 and their fantastic EP, Fiction Act back in 2016, but have been busy doing a whole range of things, from writing to gigging and much more, since then. We were lucky enough to get some time to catch up with them and chat about a few things. Here’s what they had to say…

Hey, how’s it going?
Hey man! Awesome, how about you??

Very well thank you. Obviously you recently released your awesome new single, ‘Moments’, and the reception seems to have been great. Is this a sign of a new EP or album in the pipeline?
Thank you so much! Yes, ‘Moments’ was a sort of in the middle kind of track to keep the juice flowing. We’re currently penning another bunch of tunes that should end up on another EP, hopefully around this fall!

What other future plans have you guys got?
We’re looking at getting out on another tour to promote some new music, also doing loads of writing for film and TV in Hollywood. We’ve become kind of a factory 🙂

That sounds incredible! Where do you take inspirations from when writing your music?
We recently discovered a pretty neat trick, think it was Taylor Swift who said it. Basically, we write down fun and cool titles as they come to mind and during our daily writing sessions, we work these titles around tracks that we make. It’s an easy was to stay creative and never let the process stall.

What’s your usual process for writing/recording?
Our frontman Max has his daily sessions, when he sits down and builds tracks in Logic, he then takes those tracks into writing sessions with London writers and producers and builds demos. He then takes those demos to the rest of the band who expands on those arrangements. When we have a good amount of songs, or sketches we then head into a bigger studio such as Abbey Road, or if we happen to be over in LA we go to East West where we create the final master.

Wow! Abbey Road…pretty cool. So, if you could do a collaboration with anyone, who would it be and why?
It would be a pure pleasure to work with Max Martin. Just for the pure fact that he’s had so many Billboard hits and is a fellow Swede.

What music have you been listening to most recently?
Mostly our own, as we’re currently doing loads of writing. Other than that it’s the usual suspects, a good mix of classic rock and top 40 hits. Recently rediscovered Echo & the Bunnymen, The Cure and loads of other nice little nuggets from the past.

If you had to cover a recent chart song, which song would it be and why?
It would probably be ‘Rockstar’ by Post Malone, such a masterpiece.

What makes a great show for you?
One where people turn up and go nuts. A sold-out show is always a great one.

Do you have any pre-show or post-show rituals?
The singer, Max, always stays sober but drinks a Red Bull while the rest of the band get hammered.

Haha! Has anything scary ever happened to you on tour?
This would be a perfect place to deliver a well crafted lie, but unfortunately, besides a few heavily overweight old women going for a good grab from behind, that large disaster is yet to arrive *knock on wood*

Do you have any other passions outside of music?
Politics, painting and reading.

What really grinds your gears?
Death Metal, not the greatest thing since bread. Wouldn’t categorically call it bad but generally it’s not up our street.

What’s the best film you’ve seen lately?
I must say The Disaster Artist was amazing, just had me nailed from beginning to end and would warmly recommend it to anyone.

If, in say 20 years time, a film was made about your life, who would you want to play you?
Brad Pitt, Tom Cruise, Edward Norton and Mark Wallberg, directed by Michael Bay.

Haha! That’d be one EPIC movie! If you could be any chocolate bar, which one would you be?

What’s the best advice you’ve ever been given?
Focus on your craft and the rest will follow. People tend to overestimate their skills and always wonder why the success never happens.

Everywhere‘s releases are all available:

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#Review: Rae Morris – Someone Out There


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Rae Morris is an English singer and songwriter, hailing from Blackpool, Lancashire. With an album already under her belt, she’s back with her second full-length offering, Someone Out There, released through Atlantic Records.

Rae Morris - Someone Out There

The album opens with the simplistic yet melodic, ‘Push Me To My Limit’, which feels almost like the starting narration of a musical or a soundtrack, leading up to something epic.

There isn’t a completely running theme throughout the album but each track has a way of telling it’s own little story. Some of the most stand-out tracks on the record include; ‘Atletico (The Only One)’ for its unusual and bold use of choppy vocal hooks and melodies – it’s a really stunning song, ‘Do It’ has a very atmospheric, electro-indie vibe that’s truly catchy, ‘Wait For The Rain’ has a beautiful vocal melody that I love more and more each time I hear it – it also builds up a quite dirty beat to become this massive banger and ‘Dip My Toe’ which is one of the most pop tracks on the album but it has a certain Grimes quality to it. You can’t help but love the vocal hook in the chorus and sing along to it.

It’s not a generic pop record by any means and that’s something to admire – her bravery and conviction to shape her own sound and stand out from the crowd is truly refreshing.

Throughout the album, there are strong similarities with Björk (on the track ‘Rose Garden’), Imogen Heap (on ‘Lower The Tone’) and (on ‘Reborn’) – there’s a ton of quirkiness in Rae’s vocals (she’s certainly not afraid to utilise her voice in weird and wonderful ways!) and a real boldness in the instrumentation, provided by collaborator Fryars – the clever use of subtle sounds that somehow stand out, make a real impression. There is plenty of space for the vocals to shine through in the production and vice versa.

One thing is for certain; whilst this is a major label pop artist’s release, it has a uniqueness about it and there’s a real essence that she was given license to create something that suited her style and make the record she wanted to make. It’s not a generic pop record by any means and that’s something to admire – it’d be so easy for her to pump out something to fit the mould of current trends but her bravery and conviction to shape her own sound and stand out from the crowd is truly refreshing. This is a pretty awesome album, that with each listen I’ve become more and more fond of – I think it has a lot to offer and it certainly shows that Rae Morris knows exactly the sort of artist she wants to be.


‘Someone Out There’ is out now and can be downloaded from iTunes – https://itunes.apple.com/gb/album/someone-out-there/1299762265

Someone Out There on Spotify

Reborn (Official Video)

Do It (Official Video)

Atletico (The Only One) (Official Video)

We hope you enjoyed our review of Rae’s second studio album. What do you have to say about it? Would you rate it the same as us? Please leave your thoughts in a comment or share your feelings with us via our socials.

Enjoyed this? Check out some of our other reviews here:

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Matt – Muzik Speaks