Plastic Mermaids // Album Review // Suddenly Everyone Explodes

Single, EP and Album Reviews, Uncategorized

‘Suddenly Everyone Explodes’
Released 24th May 2019
Sunday Best Recordings

‘Suddenly Everyone Explodes’ completely caught me off guard – never, has the term genre-bending, been more aptly alined.

This debut album from the Isle of Wight based five-piece is sure to bring many a new ear to the party. To be frank, we are at odds as to how their (three) EPs missed our radar.

Unhinged and enamoured from start to journeys end, your thirst for outlandish, left field pop will be quenched.

Plastic Mermaids combine space-rock, orchestral-pop, psychedelia and spoken word with aplomb.

Framing the dichotomy between awe and fear of our modern/digital age through the euphony of spacey electronics, operatic strings, choir choruses and socially conscious lyrics.

Unquestionably ‘Yoyo’ is the highlight track because of it’s poetry; pensive lines and overlapping metaphors challenge perceptions of life and death. Perhaps the poignancy is enhanced by the fact it’s vocally very different from the rest of the album, and is mostly spoken word, accompanied by rising choir choruses.

But seriously, who would of considered drawing on the perspective of a personified yoyo, never mind one who challenges cosmic mysteries? Songwriting stardust right there.

The eponymous yoyo cannot not be ignored – we must “free ourselves and just let go of everything…(and live a little) let’s smash into the floor and explode like a Jackson Pollock…I wish we could do this everyday, but it seems, at least for now, that death is a one way journey.” And suddenly, everyone explodes!

Suddenly Everyone Explodes is out 24 May 2019 via Sunday Best Recordings

Follow Plastic Mermaids on: Facebook // Twitter // Instagram

Words: Rachael Crabtree (@eccentric_eejit)


Bazooka Zero Hits LP Review

Single, EP and Album Reviews, Uncategorized
Bazooka; Credit Sarah

Athens-based psychedelic punk outfit, Bazooka

Bazooka shook us up last year with their turbulent psychedelic EP: ‘Zougla’ (‘Jungle’ released Nov 2017) – in case you missed it, here’s our review. Their chaotic and acidic punk 4-track EP has now given birth to this completely face-melting full-length record, Zero Hits.

Returning this January with their 3rd LP – and for the month that’s in it, it’s been the most well timed irreverent psych-punk record to lift those ominous clouds.

Their lead single: ‘Fylaki’ (‘Prison’) in the bands words: “..was born from the thought that we are seemingly free, yet we are locked up in our own mental cell. You know, we create our personal hell and we don’t even know it. And some of us even believe that it’s a place of love and happiness.”

The Athens based four-piece have irrepressible passion, and you cannot help but feed off their contagious energy. Singing entirely in their Greek mother tongue is of no barrier, sonically, you will appreciate just how ambitious and different their sound is; driving surf-rock crossed with new wave and laced with fuzzy guitar riffs. It would certainly find a fitting home on BBC Radio 6 Music – a refreshing spin for Steve Lamacq’s Roundtable we reckon!

Bazooka LP Artwork; George Chandrinos.jpeg

Bazooka LP artwork credit; George Chandrinos

Zero Hits (released via Inner Ear Records) is out now: Inner Ear RecordsiTunesBandCamp

Follow Bazooka on: Facebook // Twitter // Instagram

Words: Rachael Crabtree (@eccentric_eejit)

Introducing // Flare Voyant

Flare Voyant Press Photo

Psychedelic revivalists, Flare Voyant

There is something so completely timeless about the sound (and aesthetic) of the late 60s, early 70s, that it’s no wonder it’s been the inspiration for so many contemporary musicians. A new band that we discovered just before Christmas is the London-based four-piece, Flare Voyant, who rekindle vibes akin to both The Rolling Stones and The Doors. Their early demos caught the ear of legendary producer, Chris Kemsey (who is recognised for his work with the Stones) who recently went on to produce Flare Voyant’s debut EP (released November 2017).

They saw in the New Year by selling out Dalston’s Rocksteady (a gig we were sorry to miss out on) and are currently preparing videos for their EP tracks (due for release in the coming months). Here’s their most iconic single, Ephemeral Romance, lifted from their self titled EP:

Having realised their potential as a four-piece in early 2015, their effervescent blend of nationalities; Brazilian drummer Lucas Roxo, Greco-Italian-Brazilian guitarist Rod Bourganos, French singer Thomas Baignères and British bassist, George Hudson, have paved way for an iconic style, throwback yet distinctly their own. Their infectious EP effortlessly merges Psychedelia, Blues and Rock n’ Roll, with instrumental progressive jamming and the lead singer’s raspy bluesy overtones drawing them close in comparison at times, to not only The Doors, but to their contemporaries, White Denim – Flare Voyant have a strong alliance with 2018’s cosmos; we’re predicting big things from these!

Join us, by kicking back to their EP and by keeping your eyes peeled for 2018’s gig dates here!

Flare Voyant: Soundcloud // Instagram // Facebook



White Denim Live Review // Green Man Festival // 19/08/16

Live Reviews, Uncategorized

(Photographer: Will Steadman)

Expertly curated Green Man, which this year featured: James Blake, Wild Beasts, Belle and Sebastian, Battles, Warpaint and Laura Marling, along with an impressive number of new bands and artists on the special Green Man Rising stage, was a great platform for White Denim; introducing a decent helping of loud, up-tempo rock ’n roll into a festival usually dominated by folk, electronic, indie and world sounds.

Four-piece White Denim, who are no doubt used to somewhat warmer and drier surroundings in their hometown of Austin, Texas, today find themselves in a cold, damp but nonetheless beautifully located field in the Brecon Beacons for the 14th Green Man Festival. The band, led by (blue) denim-clad James Petralli, has been active for 10 years now and have just released their superb 6th album: ‘Stiff’, produced by Ethan Johns (Kings of Leon, The Vaccines, Ray LaMontagne).

Their one hour set on the Green Man main stage, complete with Wales’ black mountains as a stunning natural backdrop, demonstrates outstanding musicianship throughout, especially from the rhythm section which includes brand new drummer Jeff Olsen, who plays flawlessly and flamboyantly on his white and green-sparkle kit, despite it only being his 4th gig with the band. Their songs, which are bursting with energetic riffs, high-octane guitar solos, and interesting transitions manage to touch on every era and sub-genre of rock, with elements of 60s soul, 70s funk, jazz, blues and psychedelic folk thrown in too. The result is one of the most enjoyable and energy-filled festival sets I’ve seen.

They draw an impressively large and enthusiastic crowd, benefitting perhaps from preceding Friday’s headliner, James Blake. With 20,000 people in attendance at Green Man, Petralli and co appear genuinely humbled by the turnout and proclaim jubilantly that it’s their “biggest ever show”, which is surprising. White Denim are deserving festival headliners of the future and hopefully this appearance will help broaden their cult-appeal.

White Denim are touring the UK in October, including London’s Roundhouse on 11th Oct‘Stiff’ is out now on Downtown Records.

Writer: Will Steadman: @steadman_will



Record Of The Week // EP Review // Field Studies // Rainmaking

Single, EP and Album Reviews, Uncategorized


(Image; Field Studies; ‘Rainmaking’ EP Artwork)

Field Studies: ‘Rainmaking’ has this wonderful sense of calm, but not quite ease, instead your mind is racing, unnerved, but at once, in a place somewhere peaceful.

From the opening track: ‘Hushed Up’ the warm distorted introduction pairs with soft, near quivering vocals, developing to falsetto heights, alining with a fully developed garage-rock backdrop. Persisting in a lingering sense of foreboding throughout the record, the vocals are almost chained to a past, throughout longing, yearning, to return to a distant memory that haunts.

The second track: ‘Listener’ hones in on Field Studies quiet quality; distant, but suddenly heavy, atmospheric, then immediate, paving way for the EP’s highlight: ‘Crook’. Psychedelic raw textures of affected guitars and echoed vocals blend with the constantly alternating tempo; fluctuating chiaroscuro; constant light to darkness mirroring a mind tormented, goaded by the past, living in a tainted present, lingering to an uncertain future.

From opening to closure of this record there is a sense of completeness, each track one poetic lead. Drawing to the lyrical finale of the last track ‘Verbatim’: “When I grow old, you come and beckon me back…Author of my head, pull me back, both feet dragging the dirt…”. The minor piano melody twinned with the cries of distant voices, as though Sirens in the ocean, calling out, questioning the narrators next move…

Rainmaking’ is an ambitious atmospheric piece of art worth checking out, it was released on 27/05/16 via Denizen Recordings: