Deep Cuts #17
The sun is shining and May’s new music selection is plentiful, luckily the Getintothis team have picked the best of the lot for you to enjoy with their top new tracks.
The nostalgic excitement of an old song never fails.
It’s guaranteed to always be able to bring you back to a specific moment, place or memory and with it comes a flood of emotions.
In contrast, brand spanking new music offers an excitement on first listen that can’t be matched by a song that you’ve listened to over and over.
As soon as it’s shared with your nearest and dearest it’s on to the next new find that can offer the same thrill of a first great listen.
The competition between old and new music is unrelenting, with some claiming that the magic of years gone by will never be topped while others claim that new music offers something fresh – a perspective we should give just as much of a chance to.
All music is inevitably linked to a specific moment and a specific political climate, whether it’s old, new or yet to be written.
Music might be explicitly political, such as Bob Dylan, while others might use their entire image to take a stand against issues, similar to Bowie.
And this is the link that makes new music and old equally as important – the social commentary we sometimes unknowingly absorb from it.
While the old might allow us to remember specific events and consider them retrospectively, the new allows us to understand opinions on current matters.
With this comes the awareness of important issues potential for social change, something we can’t learn about from enjoying the nostalgia of a classic 70s track.
All you need to do is take a listen to one of the many young artists to see how switched on to current events they are, and how they’re using their music to help stand against it.
For instance, Doncaster-based three piece The Blinders are ones that spring to mind with an overtly political message in each of their songs, centring on the big brother effect of
Even in the realm of the seemingly untouchable art does art as a criticism on society exist, with the most recent to engage the masses being Childish Gambino.
His video for This Is America has [on date of publication]reached 203 million views, and on its release sent Twitter into a whirlwind of political debate on race, gun violence and social media crazes.
Even Beyonce got political on her Lemonade album with Formation, the video of which touches on black culture, police brutality and the aftermath of hurricane Katrina. Elsewhere First Aid Kit’s release, You Are The Problem Here, was an explicit appeal on International Women’s Day last year, serving as an anthem for victims of sexual assault.
While all of these tracks might have been released by well-known artists, it proves exactly just how vital new music is in the reflection of society as a whole, and how effected it can be
The messages and methods of communicating all vary, with some drawing attention to a specific issue and others offering social commentary, but the effect is the same – art with a purpose.
This in part is what makes new music so much more thrilling to listen to. You’re able to not only view it as a citizen of the moment but to listen to the writer’s perspective and views – which can force you into action and to be more politically aware.
New music pushing for change and reflecting, while technically old music has already served its purpose. Not that it’s less worthy of a listen for it, it’s simply not quite as effective at bringing you to the present and having the shock effect that a brand new track can. – Lauren Wise
SPILT (photo: Amy Thomas)
SPILT – LALKA
Three piece SPILT have been making a buzz around the North West since 2017, having gathered a firm following on the base of their grunge/rock with a dash of psychedelia sprinkled in; creating a repertoire of catchy, raw and gritty tracks.
Their latest single is a Getintothis exclusive, not released until the 1st of June. Lucky for us, we’ve grabbed the chance to have an exclusive listen, and it’s just as exciting as their previous releases.
LALKA is a lovelorn song which haunts and lingers on nostalgia, while simultaneously telling a story. It soon delves into a much heavier place than expected, but that’s works perfectly for the melancholic theme. We can easily see the festival moshers rocking out to this one when summer rolls around.
- Lauren Wise
Eyesore and the Jinx
Eyesore and the Jinx – Gated Community
A band currently causing tongues to wag and heads to nod in Liverpool is Eyesore and the Jinx.
And with good reason, as their live performances have been electrifying bursts of intelligent, observational lyrics (that incorporate humorous wordplay), served up via the unhinged vocal delivery of Josh Miller and an ultra-tight, fast and furious triumvirate of guitar, bass and drums.
Eyesore and the Jinx is clearly not your average band, playing run-of-the-mill standard tunes. They are an angry force of political comment that draws on a range of contemporary influences such as Parquet Courts and The Fall, right back to the likes of Eddie Cochran and Bob Dylan.
Gated Community is the debut single from the young Liverpool trio and is a garage-punk, brash and ironic stab at how political elites unashamedly look out for their cronies; putting up barriers to marginalise and keep out undesirables.
As Millar mock-whinges, ‘all I want is too much to lose, all I’ve got is too much to lose’ and ‘there’s a world outside but it’s not for me, that’s why I live in a gated community’, the sentiment pokes criticism at those choosing to embrace homogeneity over difference, and xenophobia over tolerance and respect. Post-Brexit, the UK after all is in the throes of constructing its very own Gated Community and the song is the band’s very creditworthy stance against it.
Don’t be surprised to hear a whole lot more venomous polemic on varying forms of injustice from Eyesore and the Jinx in the not-too-distant future.
- Mark Rowley
Yank Scally
Yank Scally – WAX
There are no rules by which you should or shouldn’t release music. Some choose to hold everything back and then BLAM there’s a full album released from seemingly nowhere. Some choose to tease with introductory previews or the odd one off track building momentum slowly. Or as is the case with many contemporary producers, they scatter shot their beats and undulating rhythms like a machine gun peppering the senses with wave upon wave of new music.
Welcome then, Yank Scally, aka Dylan Costanzo, an enigmatic 24-year-old Scouser who has riddled SoundCloud with more than 50 cuts over the last 12 months from an ever-expanding arsenal of heavy grinders which are as insatiable as they are stylistically eclectic.
Earlier this month he dropped one of his best, WAX, a four minute suppressed siren of bruising robotic punches with a tasty pay-off. It’s the sign of restless, yet, fine artist that his previous track Soulbeam, also released in early May, was at the other end of the spectrum trading in soulful piano, staccato rhythms and playful clicks, not unlike J Dilla, packing so much in during its one minute running time.
Hermit, meanwhile, is a rapid-fire assault of bent out of shape glitches while Do You Want To Believe is all warped vistas of lolloping synths. Then there’s Down, a spaced-out lullaby lamenting one young man’s depression and disillusionment. We hear you.
But really, there’s a treasure trove to explore on Yank Scally’s SoundCloud page – and we’d implore you to dive right in. He’s not waiting on you.
- Peter Guy
Tyron A Freeman
Ty Freeman – Small Town Syndrome
Ty Freeman is a solo artist from Wirral who’s making a name for himself in and around Merseyside.
His five-track debut EP was released earlier this month, and gives a real flavour of his live performance, offering a taste of 90s rock n roll coupled with updated psychedelia.
Release Small Town Syndrome is an exciting listen, and one that will appeal to fans of both Ocean Colour Scene and Led Zeppelin, an uncanny pair but one that he oozes with each note.
Ty’s voice is a gravelly overtone that’s complimented with a winding guitar solo and a tumultuous underbelly – all ingredients for a brilliant track by any standard.
- Katie Smith
Rival Bones
Rival Bones – The Great Divide
Duo James Whitehouse and Chris Thomason are the power couple bringing hard rock to the North West, and leaving some stellar performances in their midst – one even taking place at Getintothis’ own Deep Cuts gig.
Their latest track The Great Divide is ever so slightly less heavy than their previous releases, but just as energetic. Renowned for their live performances it’s easy to see this track being just as thrilling to watch them perform.
There’s sounds of Foo Fighters and Queens of the Stone Age with the duo successfully creating a radio-worthy track that we can easily hear making an appearance at Download Festival.
If rock is your game, then Rival Bones are certainly ones to check out, especially their latest release, which offers four minutes of the American-style rock that the Foos have made so popular.
- Chloe Williams
Deh-Yey (Image credit: Artist’s Facebook Page)
Deh-Yey – Death and Politics
This two-piece Chester based dirty-rock outfit consisting of Cash Burns on guitar/vocals and Tom Maude on drums/vocals offer up new single Death and Politics and it’s a thunderous whirlwind.
Taking on the somewhat controversial topic of American gun culture- it’s prominence of which from across the pond breeds both idiocy and indifference. Nevertheless the seriousness is as strong as the raw-edged razor-like guitar and pounding drums that swap and change style throughout showing some clever sonic patchwork. This constant change serves to keep the listener on edge, the percussive qualities throughout flexing the wide influences. They don’t let up from track start to finish.
There’s a whole breadth of influences on show here: Nirvana, Queens Of The Stone Age and early Arctic Monkeys to boot. It makes for an interesting mix as this duo create a sound that’ll grab you by the throat and scream down your ear-lugs.
With tracks as strong as this all that’s left to say is that I reckon they’re one hell of a live unit.
- Howard Doupe
Girls In Synthesis (Credit: Artist’s Facebook Page)
Girls In Synthesis – We Might Not Make Tomorrow
London’s loudest noisemakers Girls in Synthesis have a new EP out entitled We Might Not Make Tomorrow.
The title track is a wonderfully satisfying blast of screeching feedback, thunderous bass and crashing drums with that all important fuzz punk vocals. It’s pure 70s punk mixed with a wall of overdriven guitars that sound like they should be straight from a SubPop band.
At just under three minutes long this song grabs you by the ears from the start and will have you suitably fired up by the end.
There seems to be so much buzz around this group that EPs sell out of pre-orders before they’re even released and their shows are wildly chaotic, definitely a new favourite band and one to keep an eye on.
If you’re back at work after a three day bank holiday weekend, We Might Not Make Tomorrow will pick you up and have you jumping round the living room in no time, let go!
- Lucy McLachlan
Corella
Corella – Wagwan
Cutting her teeth listening to drill, trap, afro beats, soul and bashment, Corella’s first single Trappin at the opening of the year introduced us to an rapper and singer with attitude all right, her rapping insistent and level.
Second single Tiyanah turned up the heat, kicking off with the South Londoner stating her moniker, with authority. No one messes with this woman, one more up front with each release.
She cites Nelly Furtado, Beastie Boys, Pink, Bjork as influences adding to the Corella flavour and, on new song Wagwan, we hear yet another shift forward.
Produced by Nastylgia (Not3s, Nadia Rose, DC), steel drums, gentle and bordering on pretty, lull us into a false sense of security. But, soon enough, Corella’s saying how it is with her unique delivery, words half-sung half rapped.
There’s a uncompromising confidence on Wagwan, showcased with more than a hint of menace. This, combined with highly infectious, melodic vocal lines makes for an unsettling but additive listen.
- Cath Bore
The Zangwills (Credit:Artist’s Facebook page)
The Zangwills – The Horrors of Sobriety
Four-piece The Zangwills fit smoothly into the era of early noughties indie-rock fronted by Arctic Monkeys, with other sounds coming through of The Courteeners.
However, their latest release, The Horrors of Sobriety, sways more to the side of rock than indie-pop. It’s relatively long, timed at just under four and a half minutes, but doesn’t suffer for it.
Jake Vickers’ vocals channel Liam Fray’s in the opening bars, but soon a heavier sound fills out the song, providing it with more seriousness and depth.
While they’re only in their youth, this Cheshire-based four piece offer promise and potential.
- Lauren Wise
White Fence in Manchester
White Fence – Good Boy
White Fence and Ty Segall join up for the seductively lethargic song: Good Boy. Lazily serenading us with sounds indicative of the swinging sixties, this track is perfect for gently propelling us into the summer months.
Psychedelic and dream-like, yet pleasingly modest, Good Boy combines nostalgic melodies from the past. Invoking images of Woodstock and the Summer of Love while, simultaneously, acknowledging more contemporary vibes in its merging of electric and acoustic, this eclectic blend is definitely one of May’s best releases.
While White Fence’s last album For the Recently Found Innocent emerged in 2014, in this new track we can only hope that it holds the promise of a more substantial upcoming release.
- Ellie Montgomery
Brothers of Mine (Credit: Artist’s Facebook Page)
Brothers Of Mine – Wasted
Five-piece Brothers of Mine are an undiscovered indie-pop gem that you’ll want to head to see live as soon as possible.
Beginning with an indie-pop riff, their latest release Wasted soon jumps into a style Kooks-style intro.
The track is in keeping with the sound of the moment as the poppy guitar is perfectly suited into today’s dream gaze style that many other indie bands intersect with. This is coupled with a full sound owed to a catchy bass line and an anticipated drumbeat.
- Beth Jones
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