#Review: Yonaka – Don’t Wait ‘Til Tomorrow

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Yonaka are one of the hottest bands to come out of Brighton in recent years. The rock quartet, comprised of Theresa Jarvis (vocals), George Edwards (guitar), Alex Crosby (bass guitar) and Robert Mason (drums) formed in our home town, some four years ago. The band have been busy touring and recording, making big waves in the industry, even signing to Asylum Records (part of Warner Music Group). Now, 2019 sees the release of their debut album, Don’t Wait ‘Til Tomorrow. Here’s what we have to say about it…

Yonaka - Don't Wait 'Til Tomorrow.jpg

Having already received a lot of favourable press and released the successful EP, Creature, in 2018, the pressure was on for Yonaka to produce a hard-hitting debut album. Luckily though, the band have delivered a piece of work that really packs a punch, demonstrating just how much potential they have and what a great career they have ahead of them.

From opening track, ‘Bad Company’, with Theresa’s wonderful falsetto vocals and the captivating, accompanying instrumental, the album never fails to impress!

For a fledgling band, it’s so easy for their songwriting to be immature and instrumentation to be lacking in diversity, but that’s where Don’t Wait ‘Til Tomorrow truly stands out. ‘Awake’ is a truly grungy, lyrically cutting track, whilst ‘Guilty (For Your Love)’ displays anthemic rock song qualities, sure to have crowds singing it back to them.

Some other songs to really take note of: ‘Lose Our Heads’ is a rather commercial offering and could easily find its way to mainstream radio, ‘Creature’ has a rock-out feeling that is sure to get audiences moving and ‘Punch Bag’ is a high-energy, no holds barred, knockout track that shows Theresa is just not someone you mess with!

Don’t Wait ‘Til Tomorrow is ambitious and undoubtedly a strong debut, delivered with conviction and tenacity…

Title track, ‘Don’t Wait ‘Til Tomorrow’, very much feels like a modern-day incarnation of Blondie and ‘Fired Up’ could easily be a new direction taken by No Doubt; all of which just goes to show how this could easily be the album a band with a lengthy career already behind them…not their debut!

‘Wake Up’ is a surprising track with its dreamy, almost ethereal feel and is a song to get completely lost in – it could happily sit on repeat and never get boring.

However, probably the best track on the record has to be ‘Rockstar’; the song wonderfully encapsulates Yonaka right now and manages to be chaotic and exhilarating, whilst also be cool and composed. It’s a song that could suit so many moods and sees Theresa forcefully singing, “I just wanna be a rock star, baby,” something the band can rest assured that this debut is sure to help them achieve.

The album draws to a synth-driven close with ‘The Cure’ – a track which leaves the listening hanging and certain to come back for another listen.

Don’t Wait ‘Til Tomorrow is ambitious and undoubtedly a strong debut, delivered with conviction and tenacity and certain to pave the way for one of Britain’s newest and most exciting rock bands! Bring on the tours and roll on album number 2!

Rating
4-5


‘Don’t Wait ‘Til Tomorrow’ is out now and can be downloaded from iTunes – https://music.apple.com/gb/album/dont-wait-til-tomorrow/1451808477


Don’t Wait ‘Til Tomorrow on Spotify

Lose Our Heads (Official Live Video)

Don’t Wait ‘Til Tomorrow (Official Live Video)


We hope you’ve enjoyed our review! What do you think of this band’s debut album, Don’t Wait ‘Til Tomorrow? Are you as much of a fan as us? What would you rate it out of 5? Please leave your thoughts in a comment or via our social media.


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#WildCardWednesday: Jasmine Thompson – ‘Loyal’

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Jasmine Thompson is a London-based singer-songwriter, born to an English father and Chinese mother and says that, “Having one immigrant parent always provides a unique perspective growing up, a sense of one foot in two different worlds.” Maybe that is part of what makes her sound and voice so utterly captivating…or maybe it’s just her undeniable, raw talent.

At just 18 years old, it’s remarkable just how talented she really is, with a voice that sounds soulful beyond her years. And, whilst she might be a new artist to many, she already has a massive following, which was kicked off by her acoustic cover of Chaka Khan‘s ‘Ain’t Nobody’, that was then remixed and re-released by Felix Jaehn in 2015. From there, she has posted and released countless covers and a string of original songs too.

Now, following the ending of a recent relationship, comes her latest single, ‘Loyal’, on which she reunited with songwriter and producer, Eg White. The song actually began life a year prior to the relationship ending, but was written about the trust issues from within it, so this song is bound to resonate with many people. Especially, as despite the way it ended, she still sings, “I will always be loyal babe,” about the person she met at the beginning.

Throughout the track, her voice is ageless, wise and achingly lonely in tone, conveying the emotion to perfection. It’s a progressive track with some crackling, slow jazz-tinted brass from the beginning, sitting on top of a modern beat, before breaking down to a piano-led interlude in the middle, and then breaking out with some epic string sections, to bring the song to a dramatic close. This is an epic tale, told in just under 4 minutes – a true musical masterpiece!

The music video is great too – there’s a very rustic feel to it with it’s interpretive dance elements inside a quirky, captivating timber-frame location, all shot with a home-video style, giving it a very organic feel.

She is definitely going to be one to watch in 2019!

Jasmine’s EP, Colour, will be out 29th March, on Atlantic Records.

Photo Credit 📸 – Kate Bellm

What are your thoughts of this stunning track from the unique singer-songwriter? Got a #WildCardWednesday track to recommend us? Please leave your thoughts or song suggestions in a comment or via social media.

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‘Loyal’ can be downloaded on iTunes now – https://itunes.apple.com/gb/album/loyal-single/1451236610


#Review: ONE OK ROCK – Eye Of The Storm 🌪

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ONE OK ROCK are a Japanese rock band who formed in Tokyo, in 2005. The band currently consists of Takahiro Moriuchi (vocals), Toru Yamashita (guitar), Ryota Kohama (bass), and Tomoya Kanki (drums). Since forming, the band have played many different styles of music, from alternative rock to emo and even post-hardcore to their most recent, pop rock style. In 2016, the band signed to Fueled By Ramen, releasing their eighth studio album, Ambitions, featuring collaborations with Avril Lavigne5 Seconds Of Summer and Alex Gaskarth (All Time Low). This year, (2019) sees the release of their ninth studio album (although only their third US release), Eye Of The Storm. Here’s what we have to say about it…

one ok rock - eye of the storm

From the very start of Eye Of The Storm, it’s clear that ONE OK ROCK have made a conscious departure from the previous, emo, alternative rock and post-hardcore incarnations, favouring a much more pop-led sound. That’s not a bad thing though, as this is a brilliantly-crafted pop powerhouse of a record, that is sure to further cement their position as one of big players in the pop rock genre (alongside label mates like Panic! At The Disco and Against The Current. In fact ‘Eye Of The Storm’ and ‘Worst In Me’ are almost an obvious transitioning from their old sound to their new, blending their alternative rock roots with their new, more synth-driven pop elements.

There’s a real passion and raw talent to singer Takahiro “Taka” Moriuchi‘s vocals throughout the record too, as he explores the full extent of his vocal range, pulling off some stunning falsetto notes, intertwined with soaring choruses and exquisitely long-held notes.

‘Stand Out Fit In’ is testament to this – it’s very much an anthem about embracing people’s differences, with the goosebump-inducing, falsetto lines, “They yell, they preach, I’ve heard it all before. Be this, be that, I’ve heard it before.” It’s definitely a track that’s going to capture the hearts of many!

It’s actually very hard to pin-point just a few favourite tracks but ‘Push Back’ is wonderful for its gang vocal harmonies, like a modern-day Queen track. The descending melody echoing throughout the song is truly captivating too. ‘Wasted Nights’ is all about making the most of your life and enjoying each other’s company and the line, “Let’s live like we’re immortal, Maybe just for tonight, We’ll think about tomorrow (yeah), When the sun comes up,” is poetic, conjuring up nostalgic imagery and the underlying gospel vocals are stunning. The video only makes the track even more epic too (see below)! Even ‘Change’ – there’s definitely something a little boyband about the song (like 5 Seconds Of Summer meets One Direction), with the synth-sounding guitar lines, but the melodies are passionate and the message is poignant, positive and uplifting, “Hey, You know it’s not too late for us to make a change, You gotta listen to your heart what does it say? No matter how much we might bend, we will not break.”

It’s great to see that after nine albums in thirteen years, a band can still find ways to push themselves to adapt and grow, and be completely unafraid to try new directions.

That’s not to say there aren’t other special moments throughout the album; ‘Head High’ is definitely a pop track and whilst there isn’t much depth behind the lyrics or songwriting on it, it’s certainly catchy! ‘Letting Go’ really stands out for being so unique to the rest of the record – a calm little, acoustic-led track that is so beautifully understated, dealing with getting over a relationship and coming to terms with it. ‘Unforgettable’ has some definite dance music vibes to it, with the intense drum beats and whistling in the chorus, but with guitars thrown in. It’s quite a unique blend of genres.

‘Giants’ leads from delicate verses into a big chorus and has a strong Take That vibe to it, whilst ‘In The Stars’ adds a little vocal diversity with Kiiara featuring on the track, accompanied by a military-style beat.

‘Grow Old Die Young’ is a perplexing track though; it has a strong melody in the chorus but certain elements of it are very mediocre – a synth sound which doesn’t really fit the song and then there’s the lyrics, “I want the cause of my death, to be amazing sex,” which is honestly pretty cringe!

The album actually draws to a powerful close with ‘The Last Time’, led by a really strong chorus melody, topped off with a raspy, scream-like vocal that just knocks the record out of the park, right at the last second.

Eye Of The Storm is an interesting release for the band, as it’s their most commercial-sounding release to date, meaning it’s very palatable, for a broad range of listeners and is certainly bound to pick up a lot of new fans along the way. However, it could be argued that elements of depth and sincerity about their songwriting have been somewhat lost, rendering some of the tracks a little forgettable.

The drastic change in sound is definitely going to be felt by fans of their previous release, Ambitions, as some of the more emotive lyricism and raw instrumentation, has been exchanged for top-rate production values but at its heart, it is clearly still a ONE OK ROCK album.

That said, it’s equally great to see that after nine albums in thirteen years, a band can still find ways to push themselves to adapt and grow, and be completely unafraid to try new directions, and for that, this album should be admired. It’s a great record, with some banging tunes on and I can’t wait to hear what the band do next!

Rating
4


‘Eye Of The Storm’ is out now and can be downloaded from iTunes – https://itunes.apple.com/gb/album/eye-of-the-storm/1441817576


Eye Of The Storm on Spotify

Stand Out Fit In (Official Video)

Wasted Nights (Official Video)

Change (Official Video)


We hope you’ve enjoyed our review! What do you think of the band’s ninth studio album, Eye Of The Storm? Are you as much of a fan as us? What would you rate it out of 5? Please leave your thoughts in a comment or join the conversation via our social media.


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#Review: Panic! At The Disco – Pray For The Wicked 🙏


   

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Panic! At The Disco is an American band notable for its combination of alternative rock, synth-pop and emo lyrics, creating a very unique sound. After the huge success of the band’s debut album, A Fever You Can’t Sweat Out, back in 2005, they have had a string of albums, continuously kept their sound fresh and built up a very loyal following. Now, in 2018, and with only Brendon Urie in the official line-up, the now-solo project is releasing a sixth studio album, Pray For The Wicked. Here’s what we have to say about it…

Panic At The Disco - Pray For The Wicked

Let’s just start by saying that this album couldn’t be further from their 2005 debut but somehow still manages to have a distinctive Panic! At The Disco sound… mostly due to Brendon‘s instantly recognisable vocals!

Throughout the band’s life, they have had many incarnations, from the cabaret-infused emo-pop of their debut, A Fever You Can’t Sweat Out (2005), to their Beatles-inspired, Pretty. Odd (2008) and even their remarkably elaborate 2016 offering, Death Of A Bachelor. Well, Pray For The Wicked is no different…it’s another eccentric overhaul of the act and with that, brings a new and exciting sound.

It all opens with the show-stopper, ‘(Fuck A) Silver Lining’; an all-out, overly-extravagant anthem that oozes an air of success about the guy. The production is top-notch and unapologetic about its use of heavy drum fills and lavish symphony instrumentation. I particularly love the use of the one-off beep where a “fuck” should be – a great little production addition.

This is a theatrical record that doesn’t hold back in any way, shape or form!

As with any Panic! album, there is a great deal of sass behind the lyrics but this record also serves as an honest reflection on certain aspects of his life; his religious upbringing coupled with his rise to fame but rather than focusing on him living the high-life (as was the case on 2016’s Death Of A Bachelor), delves further into the journey to get there. This is a theatrical record that doesn’t hold back in any way, shape or form! It could easily be the soundtrack to a film like The Greatest Showman or feature on Broadway.

Some of key tracks to listen to on this record include, the quietly catchy, ‘Hey Look Ma, I Made It’; the pop-infused ‘High Hopes’ which you can’t help but sing at full pelt; the aptly-named ‘Dancing’s Not A Crime’ – which is a bloody good thing, as you’re unable to hear this without busting out some moves; and the beautifully heartfelt ‘Dying In LA’.

There is a real amalgamation of sounds on this album, from the superbly-integrated brass sections throughout (which add a certain class and almost seem to flaunt the budget that must have been spent making it), to the urban flourishes, such as gritty vinyl sounds, ballsy trap beats and even hip hop-tinted, high-pitched vocal samples. There’s no escaping the fact that Brendon sounds like he had a friggin’ great time making this record and at the same time, was not afraid to push some boundaries.

One thing’s for sure; fans of label-mates, Fall Out Boy‘s, newer sound, as well as die-hard Panic! fans, will undoubtedly love this record…but I have a feeling that with this new direction, he might well be picking up a whole new army of fans too! There are moments here and there that I could give or take, but on the whole, this is an outstanding, current and contemporary album that I would just LOVE to see performed live!

Rating


‘Pray For The Wicked’ is out now and can be downloaded from iTunes – https://itunes.apple.com/gb/album/pray-for-the-wicked/1361152002


Pray For The Wicked on Spotify

Hey Look Ma, I Made It (Official Video)

Say Amen (Saturday Night) (Official Video)


We hope you’ve enjoyed our review! What do you think of this band’s sixth album? Are you a fan? What would you rate it? Please leave your thoughts in a comment below or via our social media.


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#Review: Chromeo – Head Over Heels 👠


   

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Muzik Speaks Loves Atlantic Records - SmallerChromeo are an electro-funk duo from Canada, consisting of David “Dave 1” Macklovitch and Patrick “P-Thugg” Gemayel. To date, the pair have released four studio albums, but Head Over Heels marks their fifth album and debut release with our pals over at Atlantic Records.

Chromeo - Head Over Heels.jpg

The first I knew of Chromeo, was their remix of Maroon 5‘s ‘Wait’ (as featured on our re:MIXTAPE playlist), so I must be forgiven for not having heard much of their back catalogue. However, taking this album at face value, it is a strong release with a stunningly contemporary take on disco and funk music.

Having worked together for the past 15 years, it’s clear to see that these guys have perfected their sound, which is a perfect amalgamation of modern, electro-pop music with synth-driven disco and bass-slapping funk.

This is certainly an album that doesn’t take itself too seriously – it’s intentionally fun and funky, with its saucy innuendos and genre-perfect production qualities, the likes of Giorgio Moroder and Nile Rogers would be proud of.

The album kick-starts with the tantalising ‘Must’ve Been’ (featuring DRAM) – a slap bass, groovy-guitar, vocoder-infused anthem, that excellently demonstrates what’s in store throughout the rest of the record.

With the music up and a house to yourself (…or packed with friends), there really will be no holding you back!

Other memorable moments include the wonderfully repetitive ‘Don’t Sleep’ (featuring French Montana and Stefflon Don) with its laid-back 80s vibes and sensational vocal harmonies, whilst ‘One Track Mind’ is an understated yet seriously catchy track consisting of beautiful talk box, vocal melodies towards the end – it’s very similar to something you might hear by Charlie Puth.

Meanwhile, ‘Bad Decision’ is all about splashing the cash on a girl and has a definite Prince-esque vibe to it; high-pitched vocals on top of some superb little guitar riffs and ‘Right Back Home To You (Interlude)’ is a track you can get surprisingly hooked on – think funky soul meets jazz lounge, topped with sweeping high-pitched vocals; there’s a real 70s quality to it.

Towards the end of the album, it all comes together on the two-part, ‘Bedroom Calling’. Part One is a truly anthemic mellow jam with atmospheric, reverb-driven bass notes and slow drum beats, whilst Part Two (featuring The-Dream) is a much more upbeat, pop tune that is oozing with shimmering synths.

To those who say quality disco music doesn’t get made any more, I would simply reply, “Chromeo”. This is definitely not an album you can listen to without, at the very least, bobbing your head and tapping you toe, but in reality, with the music up and a house to yourself (…or packed with friends), there really will be no holding you back!

Rating


‘Head Over Heels’ is out now and can be downloaded from iTunes – https://itunes.apple.com/gb/album/head-over-heels/1380944674


Head Over Heels on Spotify

Must’ve Been featuring DRAM (Official Video)

Juice (Official Video)


We hope you’ve enjoyed this review! What do you think of this duo’s latest record? Does it fulfil all your funk needs or leave you wanting more? What would you rate it? Please leave your thoughts in a comment or via our social media.


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#Review: Hayley Kiyoko – Expectations


   

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Muzik Speaks Loves Atlantic Records - SmallerHayley Kiyoko is best known for being an American singer-songwriter, actress and dancer. Since starting out as an actress, at a young age, Kiyoko has built up quite a name for herself, both as an all-round entertainer and as an LGBTQ+ activist. Now, with a string of successful EPs and singles under her belt, 2018 sees the release of her long-awaited debut album, Expectations. Here’s what we think…

Hayley Kiyoko - Expectations

This is an album that finds credible, deep songwriting merging with contemporary pop, addressing a range of mature issues, head on. It’s an album packed full of heavy bass lines, quirky synth sounds, upbeat dance rhythms and all-out catchy pop melodies.

The funky Charlie Puth-esque bass opening of first single, ‘Feelings’ sees Kiyoko give a vulnerable account about how intensely she falls for someone. It’s catchy but understated pop.

Then you’ve got ‘What I Need’ featuring Kehlani, which has R&B flavours mixed with current tropical house vibes and it’s all about being there for someone who’s uncertain about making a commitment.

Other great tracks include; the whispery and subtle ‘Sleepover’ which has a barely noticeable but very beautiful, underlying guitar melody; ‘Curious’ which is undoubtedly the most catchy and most pop track on the record (and my personal favourite) that is about questioning the seriousness of a girl’s relationship and ‘He’ll Never Love You (HNLY)’ with its great guitar lines and reggae feel.

This is a modern pop record that has been crafted well and sees Kiyoko shed her Disney days and address mature issues close to her heart.

There are also similarities with other artists; ‘Under The Blue/Take Me In’ is like a more mainstream pop version of a Lana Del Rey track but a more credible version of Taylor Swift, ‘Mercy/Gatekeeper’ starts out with echoing and rather trippy, distorted vocals but during the second half, becomes quite random and a little Beyoncé-esque and ‘Palm Dreams’ is very beachy pop, a bit like something by Geowulf.

There’s no doubt that there are strong themes throughout the album; relationships (particularly with girls questioning their sexuality) and inner conflicts Kiyoko herself has faced. The level of sass on the album demonstrates her self-confidence, though at times, the reoccurring topic of girls questioning their sexuality or lusting after other girls, without being able to commit, can become repetitive. However, that’s not to say she isn’t doing something great for the genre and her attempts to normalise lesbian relationships within pop music are fantastic; it just seems to be a very strong theme to the album.

The album starts off very strong and maintains its strength for the majority, but the last couple of tracks do feel a little flat. Overall though, this is a modern pop record that has been crafted well and sees Kiyoko shed her Disney days and address mature issues, close to her heart. It also has a certain excitement to it that could be the start of something big for her! I’m sure this will be a huge success and will take her career to new heights.

Rating


‘Expectations’ is out now and can be downloaded from iTunes – https://itunes.apple.com/gb/album/expectations/1332078481


Expectations on Spotify

Curious (Official Video)

Feelings (Official Video)

Sleepover (Official Video)


We hope you’ve enjoyed our review! What do you think of this band’s Fiction Act EP? Are you as much of a fan as us? What would you rate it? Please leave your thoughts in a comment below or via our social media.


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