Andy Little
Started out musically educated by the following: John Peel, Tommy Vance Friday Night Rock Show, Alice’s Restaurant, Pirate Rock Radio, friends and older brothers record collections, and the music papers/mags of the time, Sounds, NME, Melody Maker, Kerrang, Metal Forces. Going out into the wider world and spending too much time in numerous record shops including, Shades, Downtown (especially the second hand section upstairs), and what seemed like the endless amount of stores in Camden and Central London. Then there are the countless gigs, and festivals. Even excursions into own musical attempts as a guitarist with The Kirsty Injection, Way Hey Hey, and laughably as a drummer in Trad Arr, albeit very briefly. Favourite genres and sub-genres: Rock, Metal, Doom, Stoner, Thrash, Psychedelic, Americana, Blues, Indie, Punk, Soul, Singer-songwriter, and a whole lot more besides, in-between, and further afield. And, after scribbling duties for the now defunct This is not a Scene, I have the privilege and pleasure to continue this musical adventure writing for Echoes and Dust.
Articles by Andy Little
Witch Fever’s mesh of heavy Grunge, Sabbathian Doom, and Punk’s rebellious spirit lives up to its exciting mix of influences.
Enter and surrender into Blackwater Holylight’s musical landscape as ‘Silence/Motion’ successfully achieves a magnificent furthering expansion of their sound. A career best.
With it’s slowly seductive sound and intelligent, thoughtful, identity forming emotions, Crocus an album to mull over with a cup of tea on a Sunday morning for full immersion.
Green Lung have done it again. Black Harvest is full of great smouldering infectious songs, metal anthems built for stadiums.
An essential purchase for fans of A Common Turn album and for those who believe Anna B Savage is an artist of considerable talent.
A compilation of deeper non-album cuts with two simmering new tracks which heightens the essential need for Goat to continue to keep the groove (and us) going.
Mountain Caller exercise numerous twist and turns, catchy slow gathering builds, towering crescendos, and of course massive riffs.
King Buffalo have demonstrated how to put restlessness into great effect with seven masterly constructed songs, superb precision, and one hell of a top production. The bar is very high indeed.
Alastor’s most accessible album yet, revelling in heaviness and commendable fuzzy outpourings which never loses sight of big riffs and melodic hooks.
Lights Behind the Eyes perfectly hits that spot for wide awake relaxation, which encourages escapism, reflection, and achieves a heightened sonic aural tickling of the senses.
Greta Van Fleet’s second album is bigger and bolder as they spread their wings.
Glume’s debut forms a sugar laden dayglo synthy dream pop record, but underneath the bright fluorescent lights there is a melancholic undertow which reveals depth.
For those seeking high octane speed thrills of grunge punk metal fury then look no further than Warish and ‘Next To Pay’. Play loud!
New Heavy Sounds honchos Paul and Ged reveal the ‘unbelievable merit of the Sabbath Beast’, epiphany moments, achievements, the future hopes for the underground heavy scene, plus an insightful and thoughtful truckload more.
Frank Black’s The Cult of Ray, Oddballs, Christmass albums get the vinyl reissue treatment by Demon Records.
With the release of her wonderful debut album, A Common Turn, Anna B Savage kindly tells Echoes about its making, her musical influences, and what the future may hold in a post Brexit, pandemic world.
Open Door Policy has the spirit of The Hold Steady’s noughties glory days while there is a renewed freshness in the song-writing, and a newfound creativity by widening their sound with a horn section.
A Common Turn showcases a very intriguing and talented artist who has made an incredibly bold, honest, beautiful, absorbing, and powerful debut.
Seattle’s rockers shift the sands for a deeper, moodier, artful, matured in an oak barrel kind of bluesy rock on third album The Light Below.
The heady mix of grooves and fuzzy riffs continue on Here Lies Man’s heavily packed relentless fourth album.