Album Review | Muncie Girls – ‘Fixed Ideals’

Muncie Girls Fixed Ideals

Muncie Girls Trump Debut Album with Sophomore Record ‘Fixed Ideals’

Fixed Ideals is the second album from Exeter rockers Muncie Girls, following their debut LP, From Caplan to Belsize (2016). This band is a cross between The Primatives and Transvision Vamp, alongside an air of The Suncharms; basically encapsulating all things indie pop and indie rock, but with a quirky edge thanks to their often politically-fuelled and angry lyrics that cover a range of issues. The trio consist of Lande Hekt on bass, rhythm guitar, and vocals; Dean McMullen on lead guitar; and Luke Ellis on drums.

The album starts with the impending bass riff of opening track ‘Jeremy’, immediately evoking a 90s vibe which promises either a Green Day style bubble-gum punk anthem, or an indie pop track reminiscent of The Killers (more specifically the breakdown of ‘All These Things That I’ve Done’).

Once the drums kick in, lead singer Hekt’s sweet and distinct vocals quickly come into play, with her South Western twang creeping through to bring a refreshing sense of deadpan to lyrics such as “Im so angry/ I’m gonna get a tattoo, that says ‘Fuck Jeremy Clarkson, and fuck you too!’” The chorus of this track really grows on you; becoming surprisingly catchy; paired with some great guitar work which gradually gets heavier just as the vocals become more passionate, successfully emitting the band’s more punky vibes.

The second track ‘Picture of Health’ conveys a sort of rocky sound that I think can be best described as ‘shoegaze on steroids’. The lyrics refer to, in my eyes, the importance of looking after yourself and others. These heartfelt and important themes of friendship are also apparent in the later, punchy song ‘Laugh Again’ with “You’ve been so sad for so long/ I wanna see you laughing again my friend”.

Picture of Health’ effortlessly glides into ‘High’ which is a continuation of the shoegaze vibes but with a much lighter feel, reflecting the track’s title, with airy lyrics such as “I just want to feel real”, contrasted with the harsher, more political side “we’re playing a game, we know who to blame, they tell us again and again and again ‘it’s those pesky refugees and lazy claiming families’”.

‘Clinic’ again conveys these indie vibes, achieved via a deep bass and some nice punchy applications of guitar. This is contrasted alongside Hekt’s raw and real lyrics of frustration and helplessness, regarding her battle with mental health and the importance of the NHS. Some of the most emotional tones can be heard in the melancholic ‘Falling Down’ where stripped back vocals, bursting with emotion complement lazy rolling drums, and blunt, honest lyrics “I’m gonna stop smiling, when it doesn’t feel like the right thing”.  

‘Bubble Bath’ begins with plucky guitars, almost convincing you into thinking you’re listening to a U2 track, until of course Hekt’s vocals sweetly deliver “I feel like a child with shampoo in my eyes”. As the bubbles sound effect will make you check your surroundings for a rogue fish tank, the graceful yet personal and reflective lyrics such as “I remember saying that I’m gonna give up eating animals”, contrast nicely with the lighthearted, and child-like nostalgia of this track.  

The guitars of ‘Locked Up’ and ‘Fig Tree’ are reminiscent of Teenage Fanclub, while the killer riff of ‘In Between Bands’ make this stand out as a dramatic track on the album; with all tracks conveying a sense of angst throughout Hekt’s passionate yet syrupy vocals, which definitely allude to Sinead O’Connor in places.

Another stand out track is ‘Hangovers’ where Muncie Girls’ heavy style is swapped for soft guitars, and deeper vocals to create a folky little number. It’s a nice break from the full-on intensity of the album. It’s refreshing and different; and reflects the title as it tries to be softer, through airy pianos and soft melodies.

The album’s finale ‘Family of Four’ conveys the band’s political honesty, with lyrics concerning Hekt’s upbringing and being raised by a single mother “it’s all we can afford” and “thinking that the welfare state would support someone like me”. This track gradually fades out nicely, which is a nice, calm end to a smashing album.

Overall, this album is absolutely worth a listen (or several!). It’s one that positively grows on you, and will almost definitely become one of your favourites, as the infectious sugar-coated grunge tracks get stuck in your head and allow you to appreciate the wonder that is Muchie Girls.

P.S If you’re inspired enough, you may want to try and catch them on their upcoming world tour – kicking off in Manchester on the 26th!!!


By Megan Wood


Album Review | IDLES – ‘Joy as an Act of Resistance’

Idles -Joy As An act of Resistance

IDLES prove they’re One of UK’s Finest with Second Album ‘Joy as an Act of Resistance

Punk is well and truly kicking in Idles’ new release – Joy as an Act of Resistance. It is the second album by the Bristol band consisting of Joe Talbot, Adam Devonshire, Mark Bowen, Lee Kieran and Jon Beavis. For those of you unfamiliar with the band, I would compare them mostly to Slaves. Their half sung, half shouted style is most definitely infectious and really grabs you through their music.

Idles released their first album Brutalism in 2017 (FULL REVIEW HERE). The band did reportedly struggle to find their sound initially, Talbot claiming “It took us a long time to get productive because we didn’t know what the fuck we were doing at all, we were fucking terrible for a long time.” However, this time was obviously well spent, with Brutalism being very well received, and the sophomore album is in no way secondary to this.

The witty lyrics of sarcastic frontman, Joe, reference heavily, with some more obscure and unexpected than others. Rock is an obvious reference point in ‘Cry to me’. The track seems almost synonymous with the Rolling Stone’s track of the same name, but Idles successfully stamp their post-punk sound all over it.

Perhaps highlighting Idles laid back approach to music and care free attitude, the 80’s classic Dirty dancing appears on the album “I carried a watermelon/ I wanna be vulnerable in the shape of Love song”. It seems Idles have a particular penchant for the past, quoting 1960s Nancy Sinatra ‘These boots were made for walking’ In ‘Never fight a man with a perm’, almost with the delivery of One of these days- Operation Ivy, post punking a classic once again. Revival seems the name of the game here.

We can really see that, Idles have not lost their sense of humour in anyway in their second album. While delivered in true Idles fashion, some may call loud and angry, light-heartedness doesn’t go a miss with obvious reality TV references “You look like you’re from Love Island in Love song” and self-degradation in ‘I’m scum’.

But, Idles cannot be discredited for tackling a variety of subjects throughout the album. There’s so much truth in the album, the frontman in particular really sharing his reality through the music. ‘Colossus’, the album opener, bursts through the speakers with great fury and anger. Addressing Talbot’s alcohol addiction, the frontman almost spits the line “I waste away for fun” repeatedly .This track isn’t the first time he has spoken so candidly about his problem with drink, “I’m just a prick. I get paranoid, jealous, angry, violent”. This reality and truth is achieved by both the tempo and the intensity of the drums changing continually creating a certain chaos and anxiety.

Loud and angry aren’t the only characteristics to achieve truth in this album. ‘June’, the most poignant track on the album by far, is notably the slowest song on the album. This is really quite a difficult song to listen to, being Talbot’s platform for the grief surrounding the death of his daughter, Agatha, in June of 2017. Much like ‘Colossus’, the song really feels like a relief for Talbot, personalising the album incredibly although the frontman claimed he was unsure if this song would be released. The most haunting lines in the song are “Dreams can be so cruel sometimes/ I swear I kissed your crying eyes and A stillborn was born/ I am a father”. The tone of Talbot’s voice is extremely harrowing while the production is extremely simple, almost sitting on the lines of Nana- The 1975.

The album is also highly uplifting, achieving many a mode in a series of twelve tracks. ‘Television’ tackles self-love and reflection in the age of such ridiculous beauty standards and media pressure. This track encapsulates Joy as an act of resistance, calling for acceptance of uniqueness against continual calls for obedience, most notably in ‘Love yourself’, “The bastards make you not want to look like you and I smash mirrors and fuck TV”.

The song stands as a message of positivity and confidence while the media perpetuates nonsense for conformity and insecurity. Similar to this is the most poppy song on the album, ‘Danny Nedelko’, names after the Hungarian frontman of Heavy Lungs, perpetuating hope and positivity. The song circles around the issue of immigration expressed in “He’s made of bones/ He’s made of blood/ He’s made of flesh/ He’s made of love/ He’s made of you/ He’s made of me/ Unity!” This track is actually quite refreshing, although still delivered in Idles’ fashion, a social message is put forward rather eloquently. Although Talbot describes the song as ‘more of a humane portrait than a political song’, he also wanted the ‘two notions to be inseparable’. The song achieves such that, the song captures immigration as a human issue rather than a black and white issue as often shown in the media.

All in all, I would describe this new release as eclectic and truthful. Taking influences from a variety of sources, while addressing multiple facets, the album is an obvious journey through a life lived.

I already can’t wait for the next one!


Words by Robyn Hartley

Album Review | Bad Sounds – ‘Get Better’

Bad Sounds - Get Better Album Cover

Do Bad Sounds deliver on their Debut Album?

For some us the day we’ve been waiting for for almost two years has arrived, as indie fun-lovers Bad Sounds release their highly anticipated debut album and oh boy has it been worth waiting for.

If you’re unfamiliar with Bad Sounds then here’s a brief introduction: Get Better is part of the zany world of brothers Ewan and Callum Merrett, who along with Sam, Charlie, and Olivia make funky indie hip-hop inspired tunes with lyrics occasionally so strange you wonder if they’ve just played a game of Scrabble and read the board out. After the success of previous E.P releases PHRESSSH (which is currently tragically digital only) and Mixtape One, Get Better features some of the cream of the Bad Sounds crop, as well as some equally pleasing new tracks.

Album opener ‘Wages’ is a welcome into the tongue-in-cheek world of the Merrett brothers as lyricists. usually the hyper chant of “When you gonna pay my wages, my patience is paper thin?” can be heard at the end of one of Bad Sounds’ excellent gigs but here it provides a triumphant fanfare ready to drop you into what else the band have to offer. It flows straight into the familiar “Bang! Hit it Joe” catchphrase at the beginning of their breakout single ‘Avalanch” which has a fresh mix to it, sounding just as fantastic and singalong today as it did 2 years ago.

Breezy new track ‘How You Gonna Lose’ is the perfect summery indie-track that you absolutely must play in the sunshine, while previously released single Couldn’t Give It Away gifts us more of the real-life phrase inspired lyrics that the brothers are known for, but with an out-there and almost space-like theme. Previously unreleased (except on a difficult to get hold of Flying Vinyl exclusive) track ‘Banger ‘ is exactly as the title describes; a tune that it would be criminal not to play on repeat and that makes you want to dance and feel better. The latter part of the album sees more of the laid-back tones seen on their previous EPs, particularly via tracks ‘Another Man’ and ‘No Luck’, while the previously released singles ‘Evil Powers’ and ‘Honestly’ stand-out as excellent poppy tracks that make you want to move.

As with any great indie band, Bad Sounds stand above the crowd by experimenting with multiple different sound-styles and for an album whose title and theme is Get Better”you certainly feel better after playing this through.


Words by Oscar Rees

Album Review | Father John Misty – ‘God’s Favourite Customer’

FMJ - Gods Favourite Customer

FJM follows up on Pure Comedy with one of his best albums yet

After Father John Misty’s wondrous release of Pure Comedy last year I became a devoted fan of the solo act. His cynical twist on the World being backed by some glamorous instrumentals the album had everything, since then he has fast become one of the most talked about people in music.

Just a little over a year later and Josh Tillman has already released a follow up album to that masterpiece, and with the critical acclaim he got for Pure Comedy the expectations were pretty high for this one. On the road to releasing the album he dropped 3 very different track, the slow and calculated ‘Just Dumb Enough to Try’, the anecdotal, hook gifted ‘Mr.Tillman’ and the piano driven ‘Disappointed Diamonds are the Rarest of Them All’. One thing was for certain after these releases – it was going to be different.

God’s Favourite Customer is exactly that, with it clocking in under 40 minutes, it’s a lot less of a task to get through as each tack just breezes by giving the album a great flow.

Compared to Pure Comedy this album is more stripped down with the guitar and piano having a much bigger part to play throughout. This can be heard straight from the off with ‘Hangout at the Gallows’. With it’s Beatles-Vibe it starts the album off strong, and with a lyric like “I’m treading water as I’m bleeding to Death’ it’s a joy to sing along to.

The album plays through with ‘Mr.Tillman’ and  ‘Date Night’ which continues its overall consistent quality. ‘Please Don’t Die’ is a typical FJM track with it’s beautiful morbidity he preys for his love not to die as she is all he has, which is a unique way of looking at love.

Throughout it Tillman is draws on himself as inspiration for the songs, making it one of his most introspective album so far with tracks like ‘The Songwriter’ and ‘The Palace’ both providing a deeper look into what it’s like being Father John Misty.

‘Disappointed Diamonds are the Rarest of Them All’ is really a shining light on the album, it’s bright vocals in the chorus are pleasure to listen to, leaving you desiring more. The slow pondering in ‘God’s Favourite Customer’ is the longest track on the album and it feels it after breezing through the most part of it, however it sits well on the album regardless of it not being a highlight of the tracklist.  

The vocal performance on the album is probably one of the best he’s recorded, with him hitting some great notes taking the track to another level. Also the line “I’m In Over My Head’ that’s delivered on ‘The Palace’ is hauntingly alluring.

This is a step away from what Tillman has done so far with this being his darkest piece of work yet, however the quality of his material hasn’t suffered as his wit and way round a tune is still as sharp as ever. Personally I don’t see it as being as influential as Pure Comedy as that left a real mark, however it’s definitely a close second. With another great release this only strengthens FJM’s position as a songwriter in everyone’s mind, even though he can be dreary, he does it with a crooning swagger and this album is a perfect representation of this.


Words by Alex Wise @AJWise


Album Review | Colour Me Wednesday – ‘Counting Pennies In The Afterlife’

Colour Me Wednesday Counting Pennies in the Afterlife

Colour Me Wednesday Impress with their Third Album Release


After being a band for over ten years (Since 2007) the band have released their third album, and it’s safe to say the band are still sticking to their honest indie/Punk roots. Since releasing their debut album I Thought it Was Morning in 2013, the band have gained themselves a strong following, it’s easy to see why when you listen to this latest album.

From the opening track ‘Sunriser’ you enter into a Worlds full of upbeat guitars and lyrics that everyone can related to with lines like “I Don’t wanna tempt fate but I’m surviving”, The tight guitars and drum beats that occur in this track are a staple of the entire album as each song has this manner of precise execution.

The album sways from pace to pace, and it’s encouraging to hear the band slow down in ‘Exposure’ where the acoustic guitar comes to the forefront and tangos with the vocals so well. It’s innocent sound is great, and the twinkle at the end of the track is a sweet touch.

Upbeat punchy tracks stick out throughout the tracklisting with ‘Heathers Left for Dead’ and  ‘Tinfoil’ are perfect examples, and have the quintessential of great indie songs. Even in ‘Entrepreneur’ has these sugar coated qualities that serve well in the hot summer sun.

Another feature which really lies in the bands favour is the exquisite harmonies which they nail every single time, complementing one anothers voices perfectly while telling tell-tale stories. A perfect example of this is the track ‘Disown’, showcasing all of their talents off perfectly.

Not My Turf’ is worthy of closing the album out as it clocks in just under 6 minutes, as the band present to you the longest track on the album. The slow build gets it’s glorious pay off at the end with guitars playing us out into distortion. At the end of the track we’re treated to hearing a child sing a song without a care in the World, which is a perfect way to end the album.

A great release from the band which they can be happy with, a solid indie album with a lot of tracks that will be a cornerstone to peoples Summers. If you’re in the mood to listen to some guilt free indie pop that will cheer you up look no further than this album.

Words by Alex Wise @AJWise

Album Review: Superfood – ‘Bambino’

Superfood-Bambino Album Cover
Superfood-Bambino Album Cover

Superfood are a Birmingham based band that have been working hard for such a long time, playing numerous shows around the UK. Since releasing their debut EP back in 2013, it seems like the band haven’t really stopped.

Their debut record Don’t Say That (2014) was met with some encouraging reviews, especially from The Line of Best Fit, which must have been a confidence boost. However it was difficult to see what Superfood were going to do next, as it was interesting to see where they would take their sound.

Well three years on and the band have released their sophomore album Bambino which has got a lot of people interested, to see if they could top themselves.

The album kicks off with the vibrant ‘Where’s the Bass Amp?’ , which could only be named after a personal story, and it sets the tone perfectly. With the cool little samples of people talking and with it blending in well with the instrumentation, it has a fresh sound.

This quickly leads into ‘I Can’t See’ which is easily one of the best songs on the record, with the slick lyric hook of “I Don’t want to go it alone” as you can feel the desperation in the vocals.

The album has this tone running through it with a slightly laid back reggae style combining with a ska twist as it has a lot of upstrokes of the guitar.

The entire first half of the album is exquisite with a daydreamy songs  like ‘Natural Supersoul’ , ‘Need a Little Spider’ and ‘Raindance‘ all providing a great palette. These songs provide a great pocket in the album where it captures a mood, and influence it however they want to.

‘Double Dutch‘ was one of the songs the band released ahead of the album, and it really is a stand out song. The band have a clear understanding of how they want to utilize samples to make the song whole. It’s as if Superfood are creating a whole back story just off this one sample, and it’s done so well.

The album is full of these cool fillers that add to the entire album as an overall piece of work. ‘Lov’ is a great example of this as it’s a simplistic acoustic instrumental, but adds something to the record.

‘Clo Park’ wraps the album up which is a cool little song, unfortunately it’s not as strong as the ones that went before it. This was going to be a difficult task as the entire album is packed with big personality songs.

It’s clear the band have a firm grip on the music they want to make, and they know their sound increasingly well. The only thing to do now is to continue building on it.

As cliché as it sounds, this album serves as a matured version of their first album. The band have gone back and refined their sound, tightening up the screws and come back with something even better. The band should be ecstatic with what they’ve achieved here, cannot wait for their next project.


Words by Alex Wise @AJWise

Album Review: Happyness – ‘Write In’

Happyness have unleashed their third album Write In at the perfect time. The weather is on the turn for the better, festival season will be soon upon us and summer will begin. For those who don’t know, the south London trio play feel-good alt-rock that matches the season. Album opener ‘Falling Down’ is cool, calm and collected. It has The Verve written all over it, and the strings only add to that mid-nineties Britpop vibe. Don’t be fooled by the mournful vocals. This is a happy album from a band who love to be inventive with their songwriting.

The band’s earlier releases focus on their passion for American alt-rock, but on this occasion the band are pushing themselves to look beyond that scene. Second track ‘The Reel Starts Again’ carries on in the same vain, building intrigue. As third track ‘Anytime’ begins the pace increases and the album comes alive.

The band draws its influences from Roxy Music, The Beach Boys, Sonic Youth and Randy Newman. It’s a broad mix of styles and the band blend these influences superbly. ‘Through Windows’ is a song that showcases perfectly their love of Newman. The piano and deep vocals are almost an impersonation of the bespectacled songwriter.

The album cost £500 to make, with most of that going towards a multi-track recorder. It was recorded at the band’s Jelly Boy Studios and the results won’t disappoint. Jon EE Allan said: “The building’s being redeveloped at the end of the year, so this is the last record we’ll make there, which feels like the end of a chapter for us.”

This is a ground-breaking album for the band; it’s a new direction which fans of the band will be pleased with. They’ve managed to retain the cheeky pop characteristics that made debut album ‘Weird Little Birthday’ so good. The album has a west-coast charm that separates the songs from where they were recorded. Some people don’t like bands that look beyond their roots to write songs, but in this case it works very well.

The band are on tour now. See details here.

Words by David Chrzanowski @D_Chrzanowski


Favourite songs: ‘Falling Down’, ‘Anytime’ and ‘Victor Lazarro’s



Album Review: Richard Edwards – ‘Lemon Cotton Candy Sunset’

Three years after the last Margot & the Nuclear So & So’s record, lead singer, Richard Edwards releases his debut album. Titled Lemon Cotton Candy Sunset, this album is a sweet yet sorrowful treat of alternative (pop/folk) rock. Edwards had been out of commission for a year due to health issues and was also recently divorced. These events, specifically the divorce, seem to influence the majority of the record.

The album takes a melancholy approach right at the gates with the opening (after an intro) track, “Lil Dead Eye-d.” From the opening line of, “I got bored in California,” Edwards seems to be moving forward, sick of his current location and mindset. As he finishes the verse saying, “Bored with a sun that always shines, I got bored and I started dreaming again, Lil black eye-d you, Please let me go.” The chorus,I’ve been thinking bout you, Oh, I’ve been thinking bout you, Little dead eye-d, And Los Angeles,” seems to sum up the idea that after Edwards moved forward he soon began to miss his (now ex-)wife. Edwards is now lost without his significant other, while simultaneously believing she’s lost herself long before he left. It’s a song where if you closed your eyes you can see a lemon cotton candy sunset right in front of you, with a gracefully played acoustic guitar humming in your ear.

The track, “Fool,” seems to summarize Edward’s marriage quite concisely. Edwards claims he’s suffering from his current relationship, haunted by his lover, who is torturing his soul, “I’m on fire and you’ve been the ghost, I’ve been a most patient kind, Like a fool, I admired, Even loved, you.” This song seems to inhibit the focus of the album; Edwards is struggling with the loss of his relationship and doesn’t know how to cope, so he drowns in his own distress.

A constant theme throughout the record is the repeated use of the moon, lemons and lemonade. Edwards strategically places the imagery of the moon and scatters it throughout the album. He asks where the moon is, the source of light in the dark void that is now his life without the person he truly longs to be with. In “Postcard” Edwards tells his wife, “When the moon is out, I hardly ever think of you now,” then compares her to a postcard, a distant memory of somewhere he’s once been. Countering the moon metaphor, on the previous track, “Disappeared Planets,” Edwards asks where his moon is. He’s in despair, wandering aimlessly, while she’s disappeared without a trace.

The pairing of these two tracks is seamless. “Disappeared Planets” begs the question of what Edward’s purpose is without his significant other. While “Postcard” tells us he doesn’t need her. She’s but “a shadow that vanished in the fog.” When the chorus comes around, so does Edwards, he daydreams, singing that he no longer needs her, but what would she do if he came back? Both tracks prove that Edwards still hasn’t moved on. No matter how much he denies the facts, he’s still in love.

Lemon” tells the story of someone, whom he calls “honeysuckle,” (possibly his wife, whom he refers to as “honey” throughout the record) coming to see him in Chicago. There reunion is passionate, but he sees something deeper. He says he has given her all his love, but it never seems like it’s enough. “Honeysuckle” then calls out his flaws, maybe comparing him to another lover.  This lover seems to be portrayed as “lemon” in the bridge. The song ends with Edwards defeated, knowing he doesn’t measure up to his rival in honeysuckle’s eyes.

The closing track “Moonwrapped,” may be the most heartbreaking track of them all. “Seen the moon wrapped around you, I’m happy livin’ in a dream, We been stitched at the hip, Why you pickin’ at the seams?, With the moon wrapped around you…,” Edwards wistfully croons as he looks back at his marriage that is now in shambles. All can do is stand and watch as his world crumbles down around him, watching his moonlight fade away.

Hey, Jelly, Don’t cry, ’cause in the next life there ain’t no stomachs, And love don’t die, It moves through time (forever), Where it’s always true,” may be my favorite verse on the entire record. Edward’s love is dead, but he refuses to believe it’s gone forever. This could be perceived as a foolish way of thinking, but I believe it’s admirable. Edwards won’t give up, no matter how difficult it’s been for him, no matter the hell that he’s been put through he holds on to his love for his wife. The album ends with, “I love you, I always do.” The music dies down and we hear waves crashing on the shore, the same way the album opens, but this time a door closes, silence.

Lemon Cotton Candy Sunset  is one of the most beautifully sounding and written albums I’ve heard this year. It will no doubt be, at least, in my top 10 favorites at the end of the year. It’s a concept album about a marriage that ceased to exist and a man left alone to deal with the aftermath. Unlike Ryan Adam’s “Prisoner,” this record leaves us empty and alone with Edwards on the beach watching the sunset fade away with no moon in sight.

 Words By Zach Shappley


Album Review: Bonny Doon – ‘Bonny Doon’

Bonny Doon are a four piece acoustic/lo-fi band from Detroit and all members have been involved in a number of projects in the run up to this album, which makes for quite the interesting listen. The band focus around an acoustic/folk style, however their stints in bands have clearly had an influence as the record delves into some lo-fi and grittier sounds.

The self-titled album kicks off with the slow and lackadaisical ‘Relieved’, and this song really sets up the tone and pace for the album as the band never really stray too far away from this pace. This also runs into the song ‘Summertime Friends’ which is a really catchy number, but the band seem to play it fairly safe.

The album really kicks into life with the track ‘Lost My Way’ which really does inject some life into the entire band. With the under produced sounding guitar along with the compatible vocals, it really does have some lo-fi qualities which the band pull off well. The main feature on this track is the lead singer shouting down the house along with a catchy hook, proving it to be a stand-out song. ‘I See You’ follows this lo-fi pattern while staying true to their acoustic and rustic style, like something you’d hear from Beat Happening.

The second part of the album has much more to offer regarding edginess and rough around the edges. ‘Maine Vision’ is a noteworthy song which harkens back to something The Strokes may have done in their early days. However ‘Evening All Day Long’ gives the album that bag of gold to hold onto. A classic tale of breaking up which is delivered passionately on the acoustic guitar, although it doesn’t have a blistering electric sound behind it, the lyrics and the tale make this song.

Bonny Doon clearly have a direction they want their music to go, unfortunately on the album there weren’t many tracks that left a lasting impression which is a common problem for most bands.  However it was refreshing to hear a band that delivered something different and didn’t recycle garbage which a lot of people are guilty of in this genre.


Favourite Tracks: ‘Maine Vision’, ‘Evening All Day Long’ and ‘Lost My Way’

Words by Alex Wise @AJWise

Album Review! Parlor Walls – ‘Opposites’


Parlor Walls are a three piece band from Brooklyn and have been around for a while developing their sound.  After a number of EP releases the band have finally conjured up their debut album Opposites, which has set itself up to be quite an intriguing listen.

The alum opens up with ‘Crime Engine Failure’, which has this sinister sound to it surrounded by smoke giving it that overall hazy sound. This turns out to be a recurring feature for the album as most of the songs obtain this haziness, which allows the album to lean into that noise rock genre.

Another track that sticks out here is ‘Hesitation’, which has a lot to do with the commanding vocals coming from the lead singer, as she pulls out these very aggressive tones as she shouts “Fall Away” making the song very memorable, and produces one of the best moments of the album.

Parlor Walls do a great job of merging the saxophone into their music, there’s never really a time where it sounds out of place or shoehorned into the songs. They never really use it at the forefront of the band, as they just let it linger on in the background and give each of the songs a bit more depth. However it would’ve been interesting to see what they could’ve done if the brass took more of an imposing role on one of the songs, just to see how far they could go with it.

Then the track “Me Me My” comes up and although it’s one of the better songs on the album, it unnecessarily goes on a tad bit too long which takes the wind out of sails slightly. The first half of the song has an eerie feeling around but the last two minutes seem to drag on and don’t add much to the song.

‘Birthday’ is the brightest spot of this album as the lyrics seem to tell the story of someone ruining your birthday. Which although is childish, it makes a great core for a song as they musically create the annoyance you have towards someone who’s ruined your special day.

The album is an ideal start for the band as they’ve clearly got the sound figured out, and know how to develop good songs. However the challenge on their next record must be to create songs that will last long in the brain, because coming away from the album none of the songs really stuck as they all seem to blend together. The awesome sounds they create though are something that can easily be developed and made into something even more powerful on the next record.

Words by Alex Wise @AJWise


Favourite Songs:  ‘Birthday’, ‘Hesitation’ and ‘Love Again’