Best engaged with your head between a couple of speakers playing at full tilt to fully experience the furious pace and volume of the quartet, who recently released their début EP Deflower (available on bandcamp) and an impressive first offering it is too.
Although on initial sight the songs are all about pace and volume, there is far more to Vias than just that as they deliver tracks that contain strong melodic interplay between the two guitars and they are equally able to suddenly change pace and direction mid-bar without any of them loosing step.
For aficionados of the genre Vias (formed out of the embers of I Am The End) is most certainly an outfit to keep an eye out for and for those who are less enamoured of metal, I do posit spending time in their company will not be a part of your life that you will regret investing.
From the five track EP – the second number – Call Of The Raven – which comes in at just over nine minutes of sublime composition and delivery.
The Canadian new-wave trio Bad Pop released their eponymous two track single on the 27th.
Blowing any lingering cobwebs and dust in to the corner of the room – the more than capably delivered two minutes and ten seconds of the title track Bad Pop hurtles around the room.
Tightly compressed waves of bass guitar cause the ears to twitch in anticipation prior to the sledge-hammered drum kit pulsing the cochlea and just when you thought there can’t be anything else that is going to improve this – the guitar and voice burst in to full flow and you realise you haven’t cleared enough space in the room as you collide with desks and chairs whilst enthusiastically pogoing alongside.
Bad Pop, who surfaced from Hot Panda, is a band who are not attempting to spark a revolution, rather, reminding the audience – no matter how bad things get – music can always make life feel better.
Steve Bick is a zoot-suit-folk creator from Canada.
Underpinning the feisty barbs of the pointed sticks of his latest track – Chains And Laurels – is an introspective underlay which nestles in Ischaemia inducing blockages of platelets which burst across the ears in pulsating moments of tautly held fret-board, prior to dissolving in to cascades of evocative bluesy chords to the accompaniment of a vocal that lilts of Norwegian Wood.
It is for the dichotomies of contrasting ideas that sit entangled within a song lasting only three and one sixth minutes that supplies the intrigue which holds the listener steadfast whilst looking forward to more to hear in due course.
My apologies to every one for the delay in getting to this. Back in September Ronny Bernard (Vocals / Guitar) and I first exchanged emails and at the tail end of November I was alerted to the release of their eponymous three track single on the 30th of that month (available on bandcamp), I have only now caught up with it and I am actually typing this on the 11th, though you won’t see it until the 15th. The messenger, on this occasion, deserves to be shot.
Combining dirty guitar with crowded echoing vocals Little Bird surface with music that creates its own timbre in the space in which it is played as the counterpointing bass trips to the percussion creating a distinctive sound in which the listener burrows their ears, like a mole digging tunnels in the dark, to expose a store of roots and warmth in which to rejoice.
I am aware that Little Bird have more songs in their pockets, which I look forward to being able to feature, hopefully in a more timely manner, but for now have revealed only three and my pick of the selection is the middle number – Bring It On Home.