Emergency Protocol from Staten Island in the USA is the emo-rock trio of Roemello Agjmurati (Guitar / Vocals), Chris Guzman (Drums) and Domenick Buono (Bass / Backing Vocals).
More perspicacious readers will understand precisely why I rarely feature emo-rock, with the preponderance of high-notes, however it is always a pleasure to find a band in the genre to suggest you spend time with and Emergency Protocol is a case in point.
Blazoning guitar spirals around the room in munificent valediction as it marches triumphantly to the next idea, whilst percussion scrubs up the remaining eddies of sound as the bass petulantly stomps in fury decelerating the fulminations, giving Emergency Protocol both impatient urgency and lingering moments. Vocal bridges the contexts and the audience is left with a sense of having taken a welcome cold spritz as the trio pass through the ears.
A couple of years into their existence Emergency Protocol bring the emotional back into emo, yet the audience doesn’t feel as though they have been put through the wringer as the players are able to put to forefront the well constructed soundscape that hails of influences of maths-core which will bring audiences not normally connected by the genre into the fold.
I look forward to hearing more of Emergency Protocol as they have much to add to the world of music.
AJ Babcock (Bass / Vocals), Angela Plake (Guitar / Backing Vocals) and Nate Moran (Drums) from Nashville in the USA form the garage rock outfit Secret Club.
Grumbling fuzz devours the ears as Secret Club unleash their unfettered commentary of the world around in a freneticism of activity. The angular chords and beats sit at juxtaposition to the veiled fused soundscape, which gives the out-put an immediate attention grabbing feature as sharpness is diffused through a filter of mesh.
Combining good humour with dour commentary Secret Club offers the audience a dégustation menu from which to enjoy and it works particularly well. Relatively newly out of the blocks, their début eleven track LP Apocalypse Meow, set for release in June finds a decent slice of material in which the audience can find satiation.
Secret Club is well worth getting to know now before gig ticket prices become stratospheric.
The One2s, from Philadelphia in the USA is the alt-rock quartet of Leiana (Bass / Vocals), Sean Bombz (Guitar / Vocal), Jay Dyer (Drums) and Tom Nuzzie (Guitar / Vocals).
The One2s – alt-rock from The USA
Formed as a side -recording and local performance outfit for members of two other bands, The One2s have a sound that is far more than a whimsical diversion. The players switch roles and instruments in the delivery of their material, giving them wide-scope to travel, yet there is a cohesive style to the compositions as the quartet deliver fuzzy shoegaze which has the texture of melting centre chocolates to it that can’t help but captivate the listener.
The experience of the players in The One2s shines through the carefully delivered compositions, which they imbue with warming tones as the combinations of garage rock, rock ‘n’ roll and dream-wave float around the room. A solid spine of percussion allows the instrumentation a process of metamorphosis in shifting layers of waves, whilst a subtle vocal gives the resulting out-put a sense of an aural metaphysical soliloquy.
With a couple of EPs behind them – EP One, released in January 2014 and EP 2 in January 2015 and a single in late 2014, The One2s is a project I would like to see become a mainstay and with fortune not have to wait until January 2016 to hear the next EP.
From New York in the USA emerge brothers John Vallarelli (percussion) and Michael Vallarelli (electronics and keys) with their blend of instrumental electro-maths in the shape of Phone Home.
Phone Home – electro-maths from the USA
Tunes appear irregularly by Phone Home, but when they do are worth taking time to spend time to enjoy. Synthetics and keyboards are flitted with pads and drums as they deliver a fleeting temper of sound that flight their way into the ears akin to a dart hitting target guided by feathers.
The weightless synths and traditional keys float around the room in abandon, to be tethered by a looming percussion weighing down the arrows giving the material a depressed tonality to which the mind finds cohesion and the longer played the more the measured constructs resonate.
After a two year break of blankness, it transpires that Phone Home are calling up the audience again and plans lay afoot for an EP later this year. There is a commonality of theme in the latest material which will strike established audiences of their sound, yet the duo have been able to transform into something which has evolved with a more angular posture.
If you are a regular reader, you will have come across numerous bands who only release material every few years, which is caught as it appears and if this is the route for Phone Home, I wish them all the best as it is worth bridging the gaps.
Perhaps appropriately I have selected a track from November 2013, but don’t be frightened to catch their more recent single which surfaced in February or the forthcoming EP.
Centred around Allie Thompson and Greg Doscher, the indie-synth out-fit, Mexico City Blondes adds Jesse Aumiller, Jordan Chetakian and Scott Pritchett in live performance, is based in Santa Barbara, California in the USA.
Mexico City Blondes
Mexico City Blondes pour out lugubrious slowly paced notes and individual elements that seem to pulsate idiosyncratically around the room, prior to coalescing on hitting the ear to form a luxuriant nap, which wraps the listener in melting fibres.
Combining influences of funk with new-romanticism and dream-wave Mexico City Blondes is able to unify solidly resonating instrumentation with subtle electronics, which merge with a mystical vocal, giving the resulting out-put only a fleeting touch of the timpani before exploding into tiny fractal fragments which rebound around the brain. The effect being that the mind sparkles with champagne bubbles of sound.
Building on the back of strong recordings, which capture the attention of global audiences, Mexico City Blondes is developing a live audience base, as intrigued by the out-put as the wider listeners.
Expect to hear more of Mexico City Blondes over the coming year, it will be interesting to find out if they fully fledge as a quartet or remain distinct units.