Prophets of Rage, the critically acclaimed union between members of Rage Against The Machine and Public Enemy legend Chuck D will release their eagerly awaited full length debut next month.
For those who can’t wait that long for new material, there’s some good news. A new video for ‘Radical Eyes’ has been posted online and can be seen in full below.
In June 2017, The Orwells played at the British Summer Time event at London’s Hyde Park, alongside Green Day, Rancid, Bash & Pop and more besides. This coming weekend they’ll be appearing at the Reading and Leeds Festivals (August 25-27, 2017).
Later in the year, they’ve secured support slots with both Weezer and the legendary Pixies. It’s certainly a busy time for the Chicago based band.
When Firewalker plug their debut release as “hardcore”, the four piece band from Boston means it in every sense. With numbers ranging from metallic crossover arrangements to an extreme crust-punk assault, the fierce sounds they make aren’t always about hooks; the band’s sound should be viewed as a blistering attack, driven by buzzsaw guitar lines and husky vocal growls. Looking at the bigger picture though, there’s enough variety within their material to suggest they’re about more than hashing out old grindcore and crust influences and considering that a job well done.
Up Down Go Machine are a hard working Americana themed band from the UK. In 2015, the supported the legendary Shawn Smith (Brad/Pigeonhed) on a handful of intimate dates. It resulted in a rare sighting of a “must-see” support act. [A few more thoughts about the London gig can be found here.]
In an age where there are a billion singer songwriters out there and a little of Nashville rubs off onto so many of them infusing the rock and the pop with country (seemingly the only way some feel they can make the big time), it’s surprising to discover a performer from Nashville who isn’t quite so beholden to America’s core musical style. Step forward Hannah Fairlight, a woman who not only mixes 80s rock and 90s singer-songwriter styles on her 2015 release, but also revels in unfashionable 80s AOR moods that are quite unexpected. Wrapped up in a knowing title, ‘Bright Future’ cares not for fashion and in some ways should be all the better for that. However, it doesn’t care for consistency or honesty either.