Essex band Found Missing? released their debut EP in the summer of 2019. While the band were a relatively new arrival on the UK rock scene at that point, their members had been working the live circuit for some time as members of Cosmic Joker, Twelvepointhead and La Muerte.
La Muerte were fantastic. They left the world too prematurely with one EP that fused elements of punk, hardcore and a debt to early Killing Joke. If you’re approaching this band expecting more of the same you’re surely going to be disappointed, but what Found Missing? do, they often do very well. Opting for something very retro, the band takes a huge hard rock swagger, injects it with a love of funk and then dirties it up a little, ending up sounding like an early 90s funk metal band covering tracks from Bush’s US million seller ‘Sixteen Stone’. Obviously, at the time of release, it sounds rather…out of time, but for fans of that sort of thing, it very much fills a musical hole.
During their forty three year career, Rush released nineteen studio albums, a covers EP and eleven official live albums. In addition, a couple of extra archive live shows have been released as part of super-deluxe reissues of a couple of their 70s albums. Whichever way you look at it, they had a truly impressive career – one that would put many other prog bands to shame.
What’s more, Rush made relatively few bad records. With such longevity, of course, some are better than others; some are heavier than others; some seem more complex than others. Almost miraculously, only one or two missed the mark across a five decade stretch.
If you like Rush, though, more often than not, you love the band and don’t need steering through their extensive catalogue. However, for those yet to take the plunge properly (and for those who love a good debate), we present our “Super Seven” – a look at the seven discs we consider to give the Rush novice the very best overview.
If you’ve followed the US power pop and pop-punk scenes over the past five years, you’ll know that Justine and The Unclean have released two incredibly catchy albums.
In June 2020, Justine Covault and her band of Boston musicians will release their third long player ‘Every Bone That Breaks’. Almost six months in advance, the band have just issued a two track digital single. Not only will this keep fans entertained until the album appears, but it also teases with a much tougher musical direction.
With press materials that advertise the band members as fans lots of post-punk artists and whom make music that has “the soaring arpeggios of U2 to 90s distortion”, Young Harbor aren’t hedging their bets. That could cover quite a wide spectrum of rock-oriented music. They go on to claim their sound applies a “unique” approach to vocals (predictably, it doesn’t). On paper, they are a band that seems too keen to impress. [They also claim to be big fans of The Smiths, so perhaps not … At the time of this EP’s release, it might’ve been better to keep such things quiet.]
Moving on from their own hype, thankfully, the actual music on their 2019 EP is very strong all round. Right from the off, their love of angular post-punk is in place. During the lead track ‘The City Has A Charm’, the band channel little bits of Wire and Gang of Four into a more melodic structure, weaving a punchy bassline in and out of a chopping rhythm guitar, while a heavily treated vocal adds extra retro cool. Of course, by making such things more commercial, the core sound often sounds so much more like Franz Ferdinand than anything truly post-punk, but with a massive hook at play, this isn’t necessarily a bad thing. A brief guitar solo adds a high pitched soaring sound, almost as if inspired by U2’s The Edge circa 1983 but instead of using this as a huge feature, it’s more of an interlude; the band clearly understands the main melody and chorus hook are more important than any over-indulgence.
Somewhere between the works of Martin Rossiter, Old House Playground, The Bad Seeds and…The Connells lies the music Morning Bells. Purveyors of the finest thoughtful indie pop/rock, this Raleigh based collective is perhaps a little restless on their ‘Fall From The Velvet Sky’ EP. The five featured tracks wander a fine line between the gothic and soulful, between the honest and mournful, before ending up somewhere unexpected. The band’s way of working on the hoof and creating music borne within a moment means that sometimes, stylistically speaking, there’s a huge variation in sound. However, whether tapping into sad sounds or something a little more lively, they often create interest from the beauty of their unease.