Their upcoming album features a Pharrell-penned track and we’re told that Grohl lends his hand to the drumming on the majority of its tracks. With such rich endorsement, it’s no wonder that music world in the States is starting to sit up and take note of this band’s output.

With so much to seemingly be excited about, it is something of a surprise that RDGLDGRN find themselves greeted by a crowd of no more than fifty upon their visit to Manchester’s Night & Day Café. Following an impressively energetic last-minute set from Bad Grammar, RDGLDGRN announce their entrance as Green (the band members identify themselves by their colour) invites the crowd to get to their feet: “Get up and show me some energy because I’m going to give you all the energy that I’ve got.”

The band’s sound is so wonderfully eclectic that it actually becomes difficult to put into words. With elements of rock, hip-hop and what Green describes as a “pop sensibility”, they really are like nothing else out there right now. One thing that is easy to pick up on, however, is the ever-present booming of the band’s unmistakable DC-influenced Go Go drum beats. The drumming is what drives this band and its attitude; whilst Grohl’s duties are, of course, covered by his very capable deputy for the live shows, it will be interesting to see how his influence manifests itself on their record release.

Playing a short forty-minute set, the band cover all four tracks on their self-titled EP. ‘I Love Lamp’ is perhaps the best example of their absurdly captivating innovation, whilst ‘Doing the Most’ contains a chorus hook which – once heard – is just impossible to shake. On the other hand, ‘Million Fans’ is pure hip-hop and oozing with attitude and ‘Hey O’ is a bouncy indie pop number.

RDGLDGRN play a host of other tracks, some of which may or may not be on the album, they admit. ‘Girls’, amongst others, displays great promise and with lyrics as bold and creative as “This is what The Beatles would sound like if they could rap,”  the experience leaves the majority of the audience in great anticipation of a full-length release.

The band show great humility and Gold actually takes the time to question us over how we possibly came to hear their music, but we can be sure that before long, that won’t be such a problem for this thoroughly exciting new outfit.

The post Live: RDGLDGRN @ Night & Day appeared first on Sound Revolution.

Opening shall be MC Amalgam, bringing his unique blend of hip-hop with intense electro backing and French language rapping. No stranger to the venue having performed there plenty of times MC Amalgam will bring once again a brilliant eccentric set to captivate the audience. Watch his latest video for track ‘Droit Dans Le Mur’:

Also gracing the line up is Will Tun and the Wasters, set for an awesome summer including playing the mighty Boomtown Fair. Definitely one of the most fun live acts about today the band bring a mixture of folk, punk, ska and hip-hop, certainly a great band to get a crowd dancing. Watch their latest video for ‘Cracks In The Wall’ below:

From Brighton we have melodic punk band River Jumpers, a band well worth keeping your eye on. Definitely our favourite band of this style of music right now, with stellar song writing they will be bringing some great sing-alongs to the night, River Jumpers are full of passion and energy, really putting their heart and souls into their live show, do your self a favour and get listening to them ready for June 8 head to their bandcamp page for free downloads of their album ‘Chapters’ and EP ‘Words, Chords and Irony’.

Headlining the night will be the most incredible Tyrannosaurus Alan, having previously devastated fans late last year by announcing they were splitting up, even the band couldn’t cope with it so have now announced they are back together, to the joy everyone. Tyrannosaurus Alan play a brutal mix of ska, punk and grime with an incredible live show, expect things to start getting a bit mental once they are on. Watch their latest video for ‘STB’ below:

Once again the show will be taking place at Global Cafe on London Street in Reading on June 8^th from 9pm. Entry will be £3 on the door. Plan to go? Join our Facebook event for any updates/more info.

The post Sound-Revolution presents… Tyrannosaurus Alan and more live in Reading, June 8th appeared first on Sound Revolution.

Released through London based label, Smoky Carrot Records, the four track EP is a teaser for what will hopefully be a full release later in 2013. If this is anything to go by, it’ll be one to look out for. Remarkably in just under ten minutes, The Love Dimension leaves an impressive musical imprint with effortlessly lazy vocals, intertwining melodies, and lots of straight up rock n roll.

The San Francisco Six Piece are Making Waves

The Lighthouse in Your Mind kicks off the extended play with its jangly guitars, reminiscent of all those eighties NME C86 bands that crafted the indie pop scene, but with edge. You can tell it’s the single with its pop sensibilities, and it feels like the band is holding back. Over the next 3 tracks, you realise they were. The riffs of Down the 101 are drenched in summer time blues, harking back to the simple roots of rock and roll, guitars and drums chugging furiously along like a train thundering down the tracks, or a pickup truck speeding down the highway in the scorching heat. The blending of male and female vocals is effectively put on display throughout, none more so than on Heart Full of Soul and Can You Feel Me. It’s not an easy task to juggle the sounds of Johnny Cash and The Zombies, but with its psychedelic guitars and call and response verses, The Love Dimension effortlessly bridge the gap. The best was left for last.

Whether they can capitalise on this moment with their first long play studio effort is in their own hands. It is another example of the tides of music slowly changing. With The Black Keys holding the torch that leads the way, rock and roll music, with all its sticky sweat and dirty six strings are on the comeback trail. The Love Dimension could be ones who are here to stay.

The post The Love Dimension – Not Until All Beings Are One E.P. appeared first on Sound Revolution.

Manchester genre-fusing mentalists Sonic Boom Six have barely stopped to breathe since the release of their self-titled album on Xtra Mile last year, to the point they have already fitted in two tours, Hit The Deck festival and a bunch more, with this ethic the band’s only London show so far this year, a big one headlining The Underworld in Camden is rushed straight into after flying back to England on the day from a one off show in Czech Republic the night before.

Sonic Boom Six are no strangers to the stage at the Underworld with their roots firmly rooted into the UK ska and punk scene, they have graced many popular shows at The Underworld and of course in more recent years headlining, so it should have been no surprise that this show was Sonic Boom Six bringing their newer live set to their older crowd. Although supported by a line up who fit more with the bands newer style and a few younger faces about (no doubt more recent addtions to the band’s legion of devotees), the show was dominated by the older fans, but still in true Sonic Boom Six fashion everyone danced, jumped, moshed and sang along in harmony. Singer Laila even commented how the show reminded her of an “old school boom show” and they even brought out a sax player for a large portion of the set which I’m sure pleased many of the ska fans in the crowd.

Despite some of the bands older fans being jaded by their latest output the reactions to the newer material was still great but when the older songs were brought out during the night, such as Piggy In The Middle is when the crowd really went berserk. Like any good Underworld show, shortly into the set bodies were flying through the air and circles were formed around the central pillar. Towards the end of the set the band kept to a drunken twitter promise and busted out a cover of ‘Equality Street’ by David Brent, which unsurprisingly fit into the set as if it was just another Sonic Boom Six track, easily a set highlight and the exclusivity of it helps makes this show that little bit more special.

After exiting the stage the band were brought back on by a much demanded encore, spontaneously throwing out an unrehearsed version of Sonic Boom Six classic ‘All In’, with Barney doing well to include the guest parts of Coolie Ranx and the parts once performed by ex-member Ben Childs, a perfect track to treat the crowd with. The band then closed the set with a rendition of ‘Sunny Side of the Street’, bringing a more chilled out vibe to the chaos of the last hour, a beautiful end to a mental evening proving that Sonic Boom Six are forever an unstoppable force when playing live, and even far away from their true hometown of Manchester, London is a place the band can always be sure to have a dedicated crowd waiting to welcome them and go crazy.

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So, how’s the tour going?

Really, really well. I’m happy with everything. The shows have been fantastic. The UK has been really good to me. It’s nice too because there’s a few festivals here and there so I get to see a bunch of friends from home at the beginning of the tour and at the end of the tour when we go over to Europe to play Groezrock and Monster Bash. So all around, happy days.

Do you think the crowds have been receptive to your new solo stuff?

They have, I hear them singing along really loudly so that’s all I need to hear!

When did you decide you wanted to put out the solo EP?

I just knew I had a little bit of time in between the Avalanche albums and this and that. I just knew I had a bit of time to write and record and tour for it so I kinda seized that opportunity when I could.

I know you’ve been playing “To Be Dead and In Love” for quite a while. Did you have the other songs already written?

The “If I’m a Battleship, Then You’re the Northern Lights” song had been written for quite a while. It was kicking around as an Avalanche song and I kinda held onto it. Everything else is pretty new.

Are there any plans for releasing any more solo stuff or is it a bit too early at the moment?

Yeah I mean not any time soon, but the next thing I do will be a full-length. I’ll probably do an Avalanche record and some Peace’d Out material before we see another solo release.

What’s happening with I Am the Avalanche at the moment?

We’ve demoed a bunch of songs which is good. We’re pretty much ready to head into the studio so we’re just trying to figure out the specifics of that, but relatively soon we’re gonna start recording the Avalanche full length.

So you play these shows and you play a lot of I Am the Avalanche and The Movielife songs. Would you ever want to play shows filled with just your solo material?

I might do that here and there but I really do enjoy playing a bit of everything, and I know the fans do too so I wanna give them what they want while I also get what I want. I like doing a bit of everything, it adds some variety to it, but there will be certain shows that I feel like doing that then I will. For the most part I like to play a mix of everything because I know people enjoy that.

What’s your favourite I Am the Avalanche or The Movielife song to play acoustically?

It seems like “Hey” works out best for The Movielife. It sounds nice on an acoustic guitar. For the Avalanche, I really enjoy playing “Symphony”, “Green Eyes” and “Clean Up” and “Brooklyn Dodgers”. Songs that kinda make perfect sense playing in an acoustic setting and seem to work out pretty well.

Is there anything interesting to say about The Movielife at this point?

People ask me if we’ll ever play in England again and the answer is always maybe. It’s just always the thing where you never know what’s gonna change in your life and the way you’re gonna feel about things. So it’s always a maybe because I never wanna close the door on anything anymore. I just really think leaving the door cracked a little bit for possibilities of things in the future is a good way to be.

And just to round off, what are you listening to at the moment?

A lot of Morrissey A lot of Pedro the Lion. A lot of Fugazi. A lot of Tom Petty and The Band.

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Keeping in mind that Eager Teeth consists of a lineup, very much comprised of members of a diverse range of Brighton based music projects, such as Hot Damn, This City, Chaos Days and Telegraphs, the ingeniousness of finding the band’s own approach to songwriting and a unique sound to match it is the first think to strike one, when listening “Eager Teeth”. Of course the different musical backgrounds of each band member contribute into a very much homogenous sound, with particles of pop punk, hardcore, and alt-rock, which complement each other in order to create the corky, yet affable listen, which one finds in the band’s eponymous release.

The very upbeat rhythm, combined with pop punk guitar themes throughout “Baby I Don’t Want To Know”, the classic harcore punk anthology, which is “I Decided Long Ago”, the melodic hardcore reminiscent breaks in “Somehow”, all garnished with a semi-gentle alt-rock vocal display, courtesy of vocalist Will Blood, best exemplified in the final “I Don’t Wanna Know Reprise” all contribute to a uniquely ample sound, which is bound to cater even to the most demanding alternative diet.

What is even more amiable about “Eager Teeth” is the diversity of vocal displays of frontman Will Blood, or better yet, the process of adapting those vocal displays within the ever altering musical mise en scene, which Eager Teeth exhibit from offset to curtain call. In fact one can only admire the prevalence of personal identity Eager Teeth establish, whilst exhibiting a different attribute of their skill set with almost every track. “Eager Teeth” can by all means be considered consistent in the process of being diverse and cementing the notion that one is listening to an entirely new band, rather than an anthology, crafted by a supergroup.

One of the crowning pieces of the album, the penultimate “La Fin Absolute”, perfectly assembles most, if not all, of the major subgenre traits, focused on throughout the album, but still maintaining a firm sound of its own. And that is exactly what Eager Teeth are to be considered as. The band is comprised by all means of a number of great musicians, but by lending their musical voice to Eager Teeth, they have created a brand new sound for fans to enjoy and that is exactly, where this album’s charm lies.

7/10

The post Eager Teeth – Eager Teeth appeared first on Sound Revolution.

In the 3 years since ‘Fight The People’s release, RIOT:NOISE have gigged tirelessly, treating life on tour as an opportunity to hone their craft and find fresh inspiration for the record.  By the time they headed for the studio they had – literally and figuratively - traveled a very long way. Sound Revolution’s John Howell caught up with lead singer Martin Hughes to chat all things Riot Noise.

SR: Formation. How did the band come together?

MH: We’d all played in bands before RIOT:NOISE and for whatever reasons those bands came to a natural end.  Myself, Ashley and Dan placed an advert for a guitarist and Scott came and slotted straight in, followed by Fred joining the band on bass and RIOT:NOISE was formed.  I’d always wanted to be in a band – originally as a guitarist (until I realised I was shit) so when the opportunity arose to start my first band back in 2000, I jumped at the chance and never looked back.  I grew up with my dad blasting Led Zep and Black Sabbath and I just knew I wanted to make music from an early age.

SR: As the lead singer, is there an onus or pressure on you to write or lead the band in its musical in its direction?

MH: No! Not in the slightest.  I personally don’t write any of the music, but the music does always come first before I begin to tackle any melodies or lyrics.  The approach to this album was much more collaborative than anything that we have done before.  Everyone worked on song ideas and brought them to the table for the band to build on, whereas before it was much more of an organic process where songs came out of a riff being jammed out in the rehearsal room.

There were a couple of songs on the album that were brought in 90% finished musically and just needed refining.  I do of course have some input and if I don’t like how a song is taking shape musically I have a good enough understanding of guitar to articulate my ideas verbally to the other guys.  In terms of our musical direction that is one thing that we really don’t put much though into.  Rather than pigeon hole ourselves, we have always just thought of ourselves as a ‘rock’ band. We are not a band set into a sub-genre.  That means that we don’t feel the constraints that other bands might feel when writing – we are happy to explore every idea that is brought into the rehearsal room.

SR: How does your writing take shape? Is it a case of sitting down with a pen and paper or do you find it coming to you in different ways?

MH: Most of the lyrics on the album are written by me.  I prefer to sing my own lyrics so that when I perform them live I can tap into whatever emotion I was feeling at the time of writing, or present the song in a way that fits the vibe of the words in my vision.  The actual inspiration for my lyrics comes from so many places.  The album naturally contains lots of autobiographical stuff, although I will usually tweak them just enough that they wouldn’t instantly be seen as such.  Other times a line just comes into my head and I go back to my lyric book and see what other scribbles I have that can help build a story around that line.  The album opener ‘Who’s Your Jesus’ is an example of that scenario.  Sometimes I’ll look at the lyrics to a song and just think “what the fuck was I thinking about when I wrote that?”

SR:  How long has the band been together, and what important lessons have you learned along the way as a group?

MH: We formed in summer 2007 and given the shelf life of lots of bands, especially in our hometown of Bristol, I think it’s a miracle we have stayed together or at least had any line-up changes.  We probably argue more than any band I have met – I think we have spent more time arguing than being productive… but maybe it’s that volatile side that keeps the adrenaline pumping?  What we have gradually learned over time is that you absolutely have to talk about stuff when you are pissed off.  We are a band, and a band should be a family.  We’ve also learned to treat every other band we play with the utmost respect, and always appreciate every single person that comes to see a gig, or who buys our merchandise.  As the music industry continues to change it is so important to that people continue to support live music.  Whether there are 10 people or 500 at a show – we always appreciate the support.

SR: So it’s been six years since you formed. Why have you waited until now to release your debut album, Stand for Something?

MH: It was never really a conscious decision to wait so long.  Our last EP was released in Nov 2009 and received some great coverage in the music press.  We fully intended to record a full length album in 2010 to keep the ball rolling but things just ‘happen’.  Every time we talked about recording the album something else just came up…. a tour, a festival slot etc and we’d ended up rehearsing the set and not get around to writing.  It didn’t seem as long to us, but once people started asking about a release date we decided it was time to knuckle down and start writing.  We began that process in January 2012 and went into the studio in November.

SR: And how did the recording process go?

MH: It went really well and was relatively stress free.  We had demoed a track with Kev Peters in January, and he instantly understood the vibe we wanted to achieve, so it was an easy choice to go back in to Anemic Studios with Kev to do the full length.  There is a huge difference in hiring someone to record your band, and someone to produce your band.  Kev played a huge part in the overall sound of the album – he works with lots of metal and hardcore bands and he was able to bring out the harder edge we were looking for.  Kev was also instrumental in some of our experimentation – all of the strings and synths were suggested by him, and added a whole new dimension.  From a personal point of view it was hard because due to other commitments I was unable to attend the sessions while the music was being recorded.  As someone who has been in bands for 12 years and finally recording an album, it was really hard not to be there to enjoy the process.  Like most front men I guess I’m a bit of a control freak too…. and the band played on that by sending me 20 second clips of music – enough for me to hear synths and strings all over the music, but not enough for me to really hear how that was affecting the overall sound of the songs – highly frustrating to me and highly amusing for the other four members of the band!  I was going fucking insane!

SR: Tell us about the new single, Guidance. How easy was it to pick a single from the album, and what made you pick this particular song?

MH: From the moment we heard the finished version it just screamed out ‘single’ to us.  As well as being right on the magic 3m 30s (purely a coincidence) it also felt like a song that really bridged the gap between our old material and the new stuff.  The second single will be a much harder choice…. it’s already causing some heated discussions.

SR: Your new album is a big step forward for the band. Is it make or break? And where do you see hope to see yourselves in 12 months time?

MH: I wouldn’t say it was make or break.  We are still just a small band in a sea of British bands trying to break thorough.  Even though we’ve been around a while and received some national coverage for our last EP, I think we all feel that this is like a brand new start for the band.  We are feeling extremely energised by the album and the journey we hope it can take us on over the next few months.  In 12 months time the goal is just simply for the album to have reached as many people as possible.  We’d love to be booked for some of the larger festivals next year and jump on more major support slots.

SR: Last question, give us your memorable gig or band related story?

MH: Most of the band cites Guns N Roses as one of our favourite artists, and a big factor in growing up wanting to be in a band.  So in 2011 when Duff McKagan (Former Roses bass player) personally requested us as support band for his UK tour it was a real honour.  The tour was a great success and watching one of your heroes from the side of stage every night was awesome.

For more information on the album and to follow the band, visit RIOT:NOISE at https://www.facebook.com/riotnoise

The post Introducing: Riot:Noise appeared first on Sound Revolution.

A hazy, almost mellow, blues reminiscent guitar wailing upon a psychedelic furnishing welcomes one onto the beginning of the album in “Blue Meanies”. For two and a half glorious minutes one is pleasantly reminded that despite having the knack of wielding some of the most thunderous sounds this side of the Baltic sea, The Beardy Durfs can also ease the listener into a carefully woven web of soothing sounds, only for them to give way to an invasive army of pounding riffs and intense drumwork, severely contrasting the formerly established soothing sound, but also completing it in a very precarious manner.

What could be considered most attractive about “A Ton of Bricks” is that despite the heavy duty lo-fi production and the head bulging sounds, the tendency towards catchy hooks and addictive riffs seems to be a prevailing one. Despite the trademark almost unrecognisable noise lyrics, veiled behind a mangled megaphone and the almost cacophonic interludes, which most tracks don, whose only literal explanation would be someone tripping over every single piece of equipment all at once, the prevalence of an upbeat rhythm and highly addictive guitar riffs in tracks like “Lunch Box”, “Harvey” and “Fare Dodger” are perhaps what could potentially propel this album’s reach beyond just the sphere of noise rock aficionados and into the general alternative rock fanbase. And rightfully so. From the indie-poppy synth intro in “Bitcoins”, past the very sing-along nature of the hooks in “Astral Vain”, to the sheer rock ‘n roll revivalism that echoes throughout the album, “A Ton of Bricks” is a piece so diversely influenced that despite its firm placement within the noise rock sphere there is a little something for everyone with a soft spot for the alternative sound.

Then again, one can truly see that the intent behind this album was not to reach out to the vast masses, rather than to provide a head-blasting gang of guitar amp sounds and drum beats, planted upon a palette of myriad influences just to keep the listener on their toes until the final note. “A Ton of Bricks” is to be considered one of the heaviest lo-fi albums to rely on such a diverse range of influences and still make it all sound so impeccably homogenous. And that in any case is a accomplishment to be noted.

8/10

The post The Beardy Durfs – A Ton of Bricks appeared first on Sound Revolution.

Sound-Revolution favourites Sonic Boom Six are set for a massive London headline show this Wednesday (May 1^st) at the infamous Underworld in Camden, always a venue to host the most mental of crowds. Having been touring during most of this year with their current banging live show which is always going down well, proved most recently by their sets at Hit The Deck Festival last weekend, this show is going to be something special as their first London show for a while (the last of which sold out!). Also playing the show will be rock n roll punks The Dead Formats, female fronted pop punkers The Hype Theory and punk influenced electronica from Alt Track.

Sonic Boom Six’s take over since the release of their powerful self-titled album on Xtra Mile last year is showing no signs of backing down. 

Watch their latest video for ‘Let’s Push Things Forward’ below:

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