Emnibis – Home

Emnibis are a pop-punk/rock quartet from Surrey with influences drawn from the likes of Blink-182, All Time Low and Lower Than Atlantis. Guitarist/vocalist Casey Newman and bassist/vocalist Sam Cowlam have been playing together for eight years, and four years ago were joined by drummer Elliot Davis and guitarist/vocalist Matt Clark to form Emnibis for four years now. The band always write and produce their own tracks, but their latest single Home was produced with help from Lower Than Atlantis’ lead guitarist Ben Sansom.

Home is a fantastic single – it’s catchy from the absolute beginning and has been left in my head all day. Their influences are very prominent in the single, and has the perfect mix of both British and American pop-punk tones and is really well-written and produced, especially for a smaller band on the scene. The vocals could have more clarity, but even this criticism is not anything essential. Home is just generally a great, well-rounded song that makes a perfect, fun-loving pop-punk single. Emnibis are definitely a band to look out for, they have a massive deal of potential to do really well in the very near future and I’m really looking forward to what they will come out with next.

Emnibis are playing at The Hope and Ruin on the 27th August.

 

Slaves Pier Party

This is different to a post I would normally write, but I wanted to express my disappointment and share my experience with the lack of organisation and appalling behaviour I witnessed at the Slaves Pier Party last night.

Disclaimer: I do not in any way believe this is of any fault of the band, this is purely an open letter of complaint to the organisers and security of the event. Slaves made a statement on social media, which I have linked at the bottom of the page.

To organise an event like this, it needs to have a lot of care and consideration taken into it. Brighton Palace Pier is the biggest landmark in the city, and it’s without saying, a much less stable environment to hold a gig than a pub or an O2 Academy.

My first impression of the pier party was a mixture of impressed and confused, however I do believe if the weather wasn’t so utterly miserable, it would have been a different experience. That being said, that impression was on a constant decline. 5 minutes before Slaves were due on stage, I was greeted with barriers and a huge crowd to get into the area in which they were playing, which was an instant red flag. I poked my head through the plethora of people and noticed the biggest space was still available in the area for the gig, and nobody was allowed in. A sizeable surge of people broke through the barriers as Slaves came on, but I, unfortunately due to my ‘late’ arrival and being towards the back of this crowd, got stuck directly behind the barrier, directly in front of security so I witnessed their rude, abusive behaviour first hand. My friend asked one simple question, “why aren’t we getting let in?” and he was extremely nasty back to his innocent question. People started pushing and my foot got caught underneath the barrier, I asked a security guard to help me get my foot unstuck, no response. They were in general, very angry and abusive, and completely unnecessary.

Another surge of angry fans started pushing and managed to get past the barriers and wall of security guards that had been built in front of us, so luckily some more of us managed to get in, which I feel absolutely no guilt for with the way the security acted and the ridiculous amount of space there was still left in the area. I ran for my life with utter joy that I was actually able to see the gig at a normal distance. However, still at least a quarter of ticket holders did not get in whatsoever and had to watch the band they spent £25 on a ticket for, from a long distance which I cannot put in any other words than it being, quite simply, absolutely appalling.

I don’t think the organisers of the event had ever listened to Slaves, because they clearly didn’t realise they were a punk band and people are clearly not going to just stand around and watch them in a civilised manner. They also clearly didn’t think through the ticket sales, as the structural integrity of the pier was in question with the number of people jumping around in the same place. Slaves’ set was cut short. Very short. They started at 9:30pm sharp, and finished abruptly at 10:15. There was one pathetic set of barriers to split one half and the other half of the crowd up, but if they wanted people to be more split up, it would have been painfully simple to avoid this issue. It was so obviously not thought through whatsoever.

Overall, I am just absolutely beyond disappointed with the way this whole event was handled and I hope every single ticket holder receives some kind of redemption as it was the poorest organisation of an event I have ever seen in my gig-saturated life. I have never seen such ugly behaviour from members of security, and such awful organisation for an event that has been planned for months. So, a bit of advice to anyone deciding to run an event on a load of giant planks of wood over the sea:

A: Think about the amount of people attending, and maybe consider putting up frequent barriers to split up the crowd.

B: SELL LESS TICKETS. If you can’t accommodate all people by the main area where the HEADLINE BAND are playing, do not sell that many tickets. It’s really quite simple.

C: Have some respect for people who paid to go to this event. No attendees or even the BAND were aware of any of the issues at hand, and everybody was very disappointed. Some people left ten minutes into the show, because they quite simply could not enjoy it and security were rude, verbally and even physically abusive to the band’s manager (statement made by Slaves below).

That being said, this was absolutely no fault of the band themselves and they handled it in what was the only way possible at the time.

Slaves themselves put on a fantastic show on the Horror Hotel, and it was without a doubt one of the coolest gigs I had ever been to, albeit being cut short. The atmosphere of the event was emphasised with the pouring rain, and I was completely impressed with the quality of the sound system for a stage that’s usually a haunted house attraction. The band played a variety of new and old classics, such as Take Control, The Hunter, Hey, Suicide and Beauty Quest from their very first album, and a special performance of Shutdown, as a consolation for the set being cut short. They are and will always be to me one of my favourite bands to see live, having followed them for 4-5 years I have yet to be disappointed with a performance. All issues of the event aside, it was still completely worth coming out in the rain for, and I’d do it again tomorrow.

The Great Escape have sent out e-mails to all ticket holders and will be getting in touch with a full response at some point today. Slaves made a statement directly after the gig on Twitter and Instagram, below:

la lune – bathe

bathe

la lune is back with a brand new single ‘bathe’, released this Friday 12th accompanied with her first ever (home made!) music video.

bathe sees a more upbeat side to la lune that we haven’t seen before, and I absolutely love it. She still possesses the slow synths and echoed vocals, but her voice seems more confident and boasts her impressive vocal range even more than before in her previous songs. It’s a really great, uplifting song that’s filled with positivity and makes for a really great track for the spring and summer months – every aspect of the track combines wonderfully to create a really lovely and catchy single. la lune has shown nothing but amazing development as an artist, and I have no doubts she will continue on this upwards journey.

la lune is performing as part of The Alternative Escape this Saturday 20th May at Beyond Retro at 1:50pm.

Listen to ‘bathe’ and watch the music video here:

la lune – climatise

IMG_0185.JPGFor those who aren’t familiar with la lune, you should be; she’s an 18 year old Brighton singer-songwriter influenced by artists such as The Japanese House and Bon Iver, and her music is a wonderful combination of calming synthesisers paired with haunting vocals. la lune chooses to conceal her identity – she believes her music should be consumed at nothing but face value, and wants to avoid any prior judgement based on her name or her appearance which is admirable for a small artist trying to break through the bedlam of other Brighton artists on the scene.

Climatise starts out slowly and subtly builts up to a beautifully put-together song filled with emotion and hope. la lune definitely wouldn’t be la lune without her hypnotising vocals and slow, subtle backing beats and it’s always a fantastic combination for the ears. She has the perfect voice and vocal range for the music she writes; her voice brings a dark but calming atmosphere to her songs and this is no exception. Climatise has some beautifully haunting backing vocals that fade in and out throughout, and every aspect of the song has been so obviously thought out and is perfectly orchestrated from the slow build up, vocals and subtle synthesisers and beats in the background. The song fades in and out at the right times, and leaves you feeling the perfect mix of serene but uplifted. It is without a doubt that la lune is an artist you should be looking out for on the Brighton scene; she has a great deal to offer.

la lune’s music is available on Spotify, Soundcloud, iTunes and Apple Music

Mac DeMarco – ‘This Old Dog’ and ‘My Old Man’

Canadian-born singer songwriter Mac DeMarco has announced his new album ‘This Old Dog’ coming out on the 5th May, succeeding mini-LP ‘Another One’ in 2015.  And what better way to do so than releasing two new songs in a week?

DeMarco has gone in a significantly new direction with this album comparatively to all of his previous releases, however he still holds the same charming and subtly uplifting sound he’s always withheld. ‘My Old Man’ is the opening track to the new album; he reflects on maturity, getting older and what comes with it, noting the line ‘There’s a price tag hanging off of half of all that fun’. It begins with soft synthesiser beats that carry on throughout, paired with a cleaner acoustic resonance to his signature warped guitar riffs he’s known best for. The song, to me, does give the impression that it’s going to build up to something over the course of the song, but holds the same beat and riff throughout. But it’s still no disappointment, and I believe it’s a perfect opening track to a Mac DeMarco album. It gives off a very positive, hopeful feeling which is absolutely how I feel about what the rest of the album has to offer.

The title track holds the same clean acoustic sound with a soft touch of synthesiser cradling the chorus, so it’s safe to say the rest of the album will have a lot more of this from start to finish. The song follows on from ‘My Old Man’ on the track listing for the album, referring to himself as ‘This Old Dog’, reflecting on how he considers himself to have gained the status of a bit of a grandad over recent years – this song undeniably has more of a signature Mac DeMarco feel to it. The shift between his previous releases and the change that this album is inevitably going to possess is still going to be daunting for any big DeMarco fans, but I have high hopes for what’s to come on May 5th, and I believe the development will be a positive one.

JAWS – ‘Simplicity’ Album Review

Following its predecessor ‘Be Slowly’ released in 2014, Birmingham three-piece JAWS are back flaunting a stronger, more refined sound that fans have never seen before to such an extent. Since starting out as a group of 17/18 year old students, their music has matured with them significantly and this album is perfect evidence of that.

The album starts with the heartfelt guitar riff of Just A Boy, giving us the perfect introduction; sucking you in from the very beginning and a song that I would heavily consider to be one of the best opening tracks to an album I’ve heard in the past year. The next track proceeds with the first single released from the album back in 2015 ‘What We Haven’t Got Yet’ – an all-round punchy lo-fi pop track that sticks in your head for hours.

As a whole, ‘Simplicity’ possesses the perfect combination of slow, melodious ballads and stimulating numbers to make it JAWS’ strongest work to date. The album isn’t without a few filler tracks, but they still hold a significance – giving the release the signature dreamy feel that the trio have always held. Key tracks from the album for me are ‘Right In Front Of Me’, ’17’ and ‘On The Sunshine’.

The closing track is vocalist Connor’s favourite piece from the album and I wholeheartedly concur – ‘The Invisible Sleep’ is a zealous anthem that just keeps building up until the very end overflowing with emotion, making you want to listen to ‘Simplicity’ all over again.

Without a shadow of a doubt, JAWS are slowly becoming one of the hottest bands on their scene and they have profoundly matured, and their music is the perfect testament. However they’re still sticking to their roots retaining the youthful feel the band have always possessed.  They have surely showcased themselves as one of the hottest bands to look out for – especially on the Birmingham (or B-Town as it likes to be called) music scene.

Catch them at the following UK dates this year: 

April 25th – Club Academy, Manchester

April 26th – Scala, London

April 27th – The Bullingdon, Oxford

April 29th – O2 Academy, Leicester

April 29th – Live At Leeds Festival