#WildCardWednesday: Broken Hands – ‘Split In Two’

 

 


   

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Muzik Speaks Loves Atlantic Records - SmallerLast week (18th October 2018), Canterbury rockers, Broken Hands, announced that they had signed to Atlantic Records by releasing a pair of brand new singles, ‘Split In Two’ and ‘Friends House’; their first new music since the release of the 2015 full-length debut, Turbulence.

The five-piece band, which consists of Dale Norton (vocals), his brother, Callum Norton (drums), Jamie Darby (lead guitar), Thomas Ford (bass) and David Hardstone (rhythm guitar & keys), have been busy working with Tom Dalgety (notable for mixing a lot of Royal Blood‘s work) on these two tracks – his style is particularly reflected on ‘Split In Two’, which has an amalgamation of both psychedelic and grunge vibes.

The band’s style is further reinforced by the fact they have played shows with the likes of Rolling StonesBlack Sabbath, Blur and Deaf Havana.

The music video for ‘Split In Two’ sees the band performing amongst a glowing green light with a Matrix-style code backdrop.

No details about their forthcoming album have emerged, as yet, but we’ll keep you updated.

Cover Photo 📸 – Hollie Fernando

What are your thoughts on this band’s latest release, since signing to Atlantic Records? Have you got a #WildCardWednesday track to recommend us? Please leave your thoughts or song suggestions in a comment or chat to us via social media.

Matt – Muzik Speaks
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‘Split In Two’ can be downloaded off iTunes now – https://itunes.apple.com/gb/album/split-in-two/1438777475?i=1438777478


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#WildCardWednesday: Good Charlotte – ‘Actual Pain’


   

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Good Charlotte are back and damn are we excited!

Their sixth studio album, Youth Authority (2016), saw the band rise back to the success of their fourth album, Good Morning Revival (2007), both peaking at Number 13 in the UK Charts. Now, with their seventh album, Generation Rx, due out in September 2018, we hope to see them replicate or even surpass this.

Certainly, if new single, ‘Actual Pain’, is anything to go by, that shouldn’t be a problem.

The new single has managed to strike a perfect balance between some of their more synth-driven, pop-rock songs like ‘Dance Floor Anthem’ and ‘Misery’ and earlier, guitar-infused and more sincere tracks like ‘Hold On’ and ‘We Believe’.

This type of combination of their sounds is driving the band into a new era and is sure to please both old fans as well as capture new ones. It’s a really strong single that’s got me excited to hear the rest of the new album! I wonder if they’ll have one of their epic, atmospheric intro tracks, like they used to?!

The music video for this track is emotive, depicting a boy reminiscing about the good times he shared with his mother, during his childhood and how that changed over time. It appears is a narrative-driven music video, interspersed with GC performance – a great, new video from the band!

What are your thoughts of the band’s latest single? Are you excited about their new album, Generation Rx? Do you have a #WildCardWednesday track to recommend us? Please leave your thoughts or song suggestions in a comment or via social media.

Matt – Muzik Speaks
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‘Actual Pain’ can be downloaded off iTunes now – https://itunes.apple.com/gb/album/actual-pain-single/1384922354


#Review: The Wonder Years – Sister Cities


   

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Muzik Speaks Loves Hopeless Records - SmallerThe Wonder Years are an an American pop punk band from Pennsylvania, USA that formed in July 2005. Since their humble beginnings, the band have released five full-length albums, two EPs, and had several split releases with other bands. Now, 2018 sees their sixth album release and possibly their most unique record to date. Here are our thoughts on Sister Cities

One thing is for certain; with this album, the band have all but shed their iconic pop punk sound and become more of an alternative rock outfit. That’s not necessarily a bad thing as it shows a certain maturity and evolution, but with that comes a much darker tone to their sound and far heavier themes to their songs. This is something fresh and rare for the genre.

The conception of this album stems from the band’s huge, 2 year tour in support of their 2015 release, No Closer To Heaven, which had frontman Dan Campbell (or “Soupy”, as he’s known to his close friends) reflecting about life on the road. It was whilst touring that he experienced heartbreak and took a somewhat emotional beating and this can be heard by the cracks and subtle imperfections in his vocals, showing a very real and very raw set of emotions.

From the thunderous and kinetic energy of opening track, ‘Raining In Kyoto’, we are taken on a journey from the bustling heights of Japan, through the catchy-as-hell choruses of title track ‘Sister Cities’ before ultimately ending on the thought-provoking, ‘The Ocean Grew Hands To Hold Me’.

The poetic lyricism and excellent musicianship make this an inspiring collection of eleven, achingly mesmerising tracks.

This is an album that is steeped with references of death and a genuine sense of nostalgia. Its realness is altogether dark; it’s both tense and intense. From the wonderful lyrics, “There’s a bird inside your rib cage,” on ‘Pyramids of Salt’, which starts as quite a twisted and emo ballad, before becoming a desperate plea for forgiveness, to the beautifully poetic language and crisp-sounding voice of the passionate ‘Flowers Where Your Face Should Be’, the band have captured their raw emotions with perfection.

The sounds on the record lie somewhere along the lines of Brand New but married up with a grittier sounding Panic! At The Disco vocal (as on ‘Raining In Kyoto’) and the melancholic intensity of Sonny Moore‘s days in From First To Last (like that of the rather heavy track, ‘The Ghosts Of Now’).

Kudos must go to The Wonder Years for taking a brave step away from a more mainstream sound and venturing into a more post-hardcore realm with certain emo qualities, to ultimately create a somewhat concept album; something that’s no mean feat to achieve. You won’t necessarily walk away from this album feeling as uplifted as you would after hearing bop-along, perfectly-(over)produced pop punk record, but the poetic lyricism and excellent musicianship make this an inspiring collection of eleven, achingly mesmerising tracks, documenting a 2-year insight into the band’s lives.

Rating


‘Sister Cities’ is out now and can be downloaded from iTunes – https://itunes.apple.com/gb/album/sister-cities/1337276526


Sister Cities on Spotify

Sister Cities (Official Video)

Pyramids of Salt (Visual Video)


We hope you’ve enjoyed our review! What do you think of the band’s latest album, Sister Cities? Are you a fan? What would you rate it? Please leave your thoughts in a comment or talk to us about it via our socials.


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

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Matt – Muzik Speaks
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#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.

Rating
4.5


‘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.


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

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Matt – Muzik Speaks
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#Review: The Dangerous Summer – The Dangerous Summer (Self-Titled)


   

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Muzik Speaks Loves Hopeless Records - SmallerThe Dangerous Summer are a rock band from Maryland, USA who formed back in 2006. Since then, they have had 3 main studio albums (if you exclude the acoustic version of their debut), making this, self-titled album (The Dangerous Summer), their fourth.

The Dangerous Summer Cover.jpg

After frontman AJ Perdomo took some time away to concentrate on fatherhood, and having cut down to a trio, the band are back with their fourth full-length album, to much excitement from fans.

Whilst I wouldn’t say this is an emo band per se, they are a far cry from their slightly more light-hearted debut, Reach For The Sun, with vocals that sound more beaten and weathered and lyrics that feel as though AJ Perdomo is carrying the weight of the world on his shoulders.

There is something very nostalgic and reminiscent about this album (both sonically and lyrically) and it appears that a lot of self-reflection has gone into the writing of it. Some of the intricate work and echoing effects on the guitars of ‘This Is Life’ and ‘Fire’ leave audible space for the listener to be taken in and reflect too – something I believe was done deliberately, in order to allow the lyrics to reach out, for maximum effect.

It is an album of poetic melancholy, even in some of its lighter moments – a solid, interesting and well-rounded collection of songs that work brilliantly together and will be appreciated by fans new and old.

Some of the stand-out tracks for me, include: ‘Color’ for the sheer force with which it launches the album, starting off as a mellow but tortured cry before descending into a more chaotic scream of atmospheric noise with the lyrics “I’m not quite myself” ringing aptly; as mentioned before, ‘This Is Life’ and ‘Fire’ for their beautiful sound and wonderful lyricism, ‘Luna’, which is a touching dedication to his daughter – I particularly love the lyric, “You are the architect to all your dreams,” and lastly, ‘When I Get Home’ which is a welcome break in the record, for its slightly more up-beat yet still edgy pop punk feel (and appreciation for their friends and the place they call home) and whilst it’s quite different to the other tracks on the album, somehow it manages not to feel out of place.

This album is definitely not one which is pushing the boundaries of the genre by any means, but that’s not necessarily a bad thing – sticking to what they know and doing it well, shows that they are a band who know themselves. It is an album of poetic melancholy, even in some of its lighter moments, so if you’re feeling like indulging in a little self-loathing or reflecting on darker times and trying to find solace in them, then this is an album for you. It is a solid, interesting and well-rounded collection of songs that work brilliantly together and will be appreciated by fans new and old. Whether you’re into edgy, alternative rock with a large portion of emo lyricism and a gravelly vocalist or you simply enjoy the sonic beauty of a band like this, then you’re bound to love it. I honestly do think it’s a fantastic album; a triumphant returning record for the band and I thoroughly enjoy listening to it – the only reason I’ve rated it 3.5/5 is purely because I’m not sure how well it’ll stand out, over time.

Rating
3.5


‘The Dangerous Summer’ is out now and can be downloaded from iTunes – https://itunes.apple.com/gb/album/the-dangerous-summer/1297025337


The Dangerous Summer on Spotify

Fire (Official Music Video)

Ghosts (Official Music Video)


We hope you’ve enjoyed our latest album review! What do you think of The Dangerous Summer’s latest album? What would you rate it? Please leave your thoughts in a comment or join the conversation via our social media.


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

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Matt – Muzik Speaks
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#Review: The Darkness – ‘Pinewood Smile’


   

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The Darkness are an English rock band from Lowestoft, Suffolk who first came to the public’s attention in 2003, with their debut album, Permission to Land. In particular, their debut single, ‘I Believe in a Thing Called Love’, was a monster hit, reaching Number 2 in the UK Charts. Now, 14 years on, and with a string of other successful singles and albums, the band have just released their fifth studio album, Pinewood Smile.

Pinewood Smile Cover.jpg

Right from the offset of the opening track, ‘All The Pretty Girls’, you get the feeling that this album is somewhat similar in style to their debut (Permission To Land); the guitars are layered and punchy and they’ve managed to re-create the magic of what made them so popular back in 2003, but this time with the incredible drumming talents of Rufus Tiger Taylor (son of Queen‘s Roger Taylor).

Pinewood Smile is without a doubt a more grown-up and darker record from the band. It definitely still has a lot of the charm that The Darkness have become so loved for (in terms of their mash up of classic rock with obvious pop qualities) but they’re taking on more political views (‘Southern Trains’) and cynical stances and clear frustrations of the modern music industry (‘Solid Gold’). Having said that, while it may be a brand new album, it’s packed with tracks which are sure to become classics. There’s still a lot of that tongue-in-cheek lyricism but they’re weaving it in with variations to their style of rock by experimenting with subtle style differences.

It may be a brand new album but it’s packed with tracks which are sure to become classics.

There are some lovely (and at times comedic) gems throughout the album, such as Justin’s Southern American accent on ‘All The Pretty Girls’, while the verses of ‘Lay Down With Me, Barbara’ are reminiscent of smooth jazz – something you might find in some sort of chill-out lounge. Then you’ve got ‘Buccaneers Of Hispaniola’ which contains some insanely great vocal harmonies; ‘Happiness’ which is quite the stadium-filling, chant-along anthem and it all comes to a close with the beautiful and intricate, ‘Stampede Of Love’, which descends into chaos by the end, making for a fitting end to the album.

The entire record was recorded in Cornwall, with award-winning producer and engineer Adrian Bushby (who’s worked with the likes of Foo FightersMuse and My Bloody Valentine) at the helm. He’s done an excellent job of managing to capture the band’s well-known sound but still put his mark on it too – the drums are a lot more prominent than on some of their previous albums and there are lovely elaborate parts to some of the tracks which he really brings out well in the production.

I would recommend this album to anyone who’s about to embark on a long journey and needs something heavy to spice up their travels. Once you know the words, it’s definitely a record you will want to sing along to, especially in a car packed with mates. It’s a witty, punchy and an interesting direction for the band – well worth getting/listening to.

Rating
4


‘Pinewood Smile’ is out now and can be downloaded from iTunes – https://itunes.apple.com/gb/album/pinewood-smile-deluxe/id1259927517


‘Pinewood Smile’ on Spotify

Solid Gold (Official Video)

Southern Trains (Official Video)


We hope you’ve enjoyed our review of the band’s latest album! What are your thoughts on it? What would you rate it? Please leave your thoughts in a comment or let us know via our social media.


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

Muzik Speaks Album Reviews


Matt – Muzik Speaks
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