This is my first foray into the Demented works. (Well, the band anyway) And I must say it's pretty good. I always have a fair amount of apprehension when taking blind reviews. We at Ech(((o)))es and Dust do get a chance to somewhat pick and choose from a wide list of submission. But I sometimes just go for a blind pick. Click, claim and wait for an email from the mighty EATH (Editor of All Things Heavy) Sander van der Boom. Well, I’m happy to report that I got lucky with this one. Whewh!

Intro 'The Ritual’ provides a short and haunting piece of music before ‘Shaman’ come flying in pounding every instrument to bits. Vocals are tight, and still have a foreign tinge to them. All the band members are excellent at their instruments, and play rock solid. The drumming on the album is what I would say is the usual for death metal: blast and grind. But that isn’t to say there aren’t good fills and off beat moments at times.

The guitars are very winding and while technical at points, they flow great throughout. ‘Spirits’ shows some nice dual lead work in a few spots, creating a very manic feeling. ‘Psycho Pomp’ feels like a song that is building through its entirety, and then a bit before the end a nice solo rips the song open. ‘Sign of Creation’ also features some very good guitar work and vocals. It should be said that the vocals are good throughout the entire album, really. The band keeps a good flow of mid-pace and full blast within songs. ‘The Ceremony’ starts out as chugging flow, then shifting into high gear, and then dipping a few times during. ‘Listen to the Silence’ does as well, from ripper then a build to a solo before getting all evil and destructive on us.

I had not heard of Demented before, like I said, but I am glad to have found them as they will end up in my death metal catalogue. There may be times where you can here bits of Decapitated or Meshuggah, but they are minor moments. Demented have made a great album of full on death metal that any fan of the genre should enjoy. You can pick this album up now through Klonosphere Records. Support music and bands you enjoy.

HAIL!!!!!!

Meet  Falling Stacks,  a 3 piece Dogcore/Noise-rock group from Bristol. But wait, what in the name of all that is music is dogcore anyway? Apparently, it’s a fusion of hardcore punk, screamo and eurodance which also goes by the self-deprecating, name of “shitcore”. Sounds promising right?  In the case of Falling Stacks, judging by the 3-tracks from their second EP, EP2, “shitcore” might actually translate as “prettygoodcore”.

Opening track ‘White Wild Hare’ begins with a demented scream which is always a bonus in my books. Followed by aimless drum beats, a slightly freaky, creeping, off key guitar ,the lead singer spends a fair amount of time shouting through the  overwhelming cacophony about “a beautiful… building.” Perhaps one of which if  this track was ever to be played inside, would actually turn to rubble!

‘View Of A  Lake’ follows, with weird and whacky senseless lyrics but  “we eat biscuits for tea”… I would guess at ones including some form of nut,… because, quite frankly, these guys are nuts.

Sonically the themes of distortion and syncopation prevail throughout the EP but the closing track ‘Hospital’ is a monster of a song , highlighting these techniques to the point that at parts the lack of direction sounds a bit like these guys have thrown a million amped up instruments down the stairs at the same time to see which reaches the bottom first! Overall though, the EP is deliciously boisterous, disorderly, filthy, experimental avant-garde at its best. 

I usually listen to music at work and when I was playing Diana Yukawa a colleague of mine entered into my office saying: Hey, what is this? This music is wonderful! And of course I cannot disagree! 

Diana Yukawa is a Japanese solo violinist and songwriter. This is the common definition under her name but she is a lot more indeed. Her music is revolutionary taking the best from the classical sound of the violin and making a marriage with the most advanced electronic. The outcome is something that Diana Yukawa herself defines “Electronic-Classical-Triphop”. Finding The Parallel was released March 18^th and is her first EP after three solo albums.

She inspires with her music and this is also the case of her last EP Finding The Parallel composed of three great tracks with an extraordinarily long lasting emotion despite the fact the sound journey totals only 13 minutes. 

The opening track ‘My Way Home’ introduces the first element of innovation: it starts slowly and after a few seconds an awesome violin dominates the scene with a piano beat. After a while this duo is accompanied with an electronic arrangement and the rhythm gradually rises achieving a peak and then falls down again leaving the listener in the grip of an emotion whirlwind. 

‘Juno’ is the second track of the EP and it starts leading me to think of a scene of a horror movie. You don’t know what is going to happen until a sophisticated violin underpinned by a leaden bass appears and the scene changes completely. The listener is put into an energetic and stylish environment. The end is absolutely electronic. 

‘City of Shadows’ is the last song of the EP and is also my favorite one from this album. It is simply beautiful. The combination of strings and piano is triumphant, it’s a work of significant depth, fresh and absolutely lush. With Finding The Parallel Diana Yukawa proves to be really talented and an innovator.  

The performance is exciting, the music essential. The best 13 minutes you can enjoy!

This three track belter from Iron Witch definitely wasn't quite what I was expecting to hear. I'd had it set in my head that I was up for some crusty hardcore, but it turns out rather different and probably much more at home in the stoner/doom circles than hardcore/crust.

Hangover Suicide is a solid handful of apocalyptic, chugging riffs raring to dig into your skull like a rusty old chainsaw. 'Death Was The Colour' starts things off at a relatively lively pace and inducing a level of subconscious, slow-motion head banging. There's a real thickness here, forceful rhythms and nowhere near as fast paced as I was expecting.Racking up 4-5 1/2 minutes per song, there's plenty of room for progression and development within the tracks, heaving and churning several times before merging into the next song. Also makes for a sturdy bit of listening, just over 15 minutes across three songs is pretty good, giving you plenty of time to absorb what they've got to offer.

As opposed to 'short, sharp & sweet' this is a good lengthy, filthy, blow-to-the-head-with-a-blunt-object kind of EP, well worth a listen!

FFO: Eyehategod, Church Of Misery, Weedeater

You’ve heard Lothorian’s new EP Welldweller before. If you’ve ever listened to Eyehategod, Crowbar, Iron Monkey, or pretty much any sludge band that doesn’t come from the Neurosis/ISIS school, then everything on Welldweller will sound very familiar to you. The massive stoner riffs, the monstrous guitar tone, the Sleep/Electric Wizard-inspired singing juxtaposed with hardcore howling – all are hallmarks of the genre.

And really, why would you ask for anything else?

Welldweller sticks to a formula that works. The world could always use more gigantic, crushing hardcore punk-tinged doom guitars, and Lothorian’s contributions are certainly worthy. The opening notes of the instrumental ‘Witchunt’ tell you pretty much all you need to know about this EP: it’s heavy as hell and if you have a problem with it, you’re wrong.

Imagine what it would be like to Dwell in a Well – dark, dirty, dank, disgusting, other words that begin with the letter D, etc. – and then imagine what kind of person it would take to actually want to Dwell in that dark, dirty, dank, disgusting, described-by-D-words Well. And then imagine that person plugging in a guitar (we’ll ignore the risk of electrocution caused by using a guitar amp in a water-filled well) and making music.

I’d imagine that Mr. Welldweller would make music that, well, sounds like Welldweller. Dirty, crushing sludge riffs that tower over you and punch you in the chest as they reach their sludgy little tendrils into your brain and force you to headbang, not against your will, but rather in hypnotic acceptance. You do not question the Riff, you only submit to its iron fist and do its bidding with zealous devotion. And Welldweller is full of riffs, from the first seconds of ‘Witchunt’ to the close of ‘Shallow Ground.’

With their long-awaited second album Manchester’s Cyril Snear have finally arrived. By this I don’t mean that they are now on the cusp of mega-stardom, nor do I wish to slight their fine debut full-length, but ‘Riot of Colour’ really is a major step up for the band. Fully formed and consistently interesting over its hour plus running time, this is an album that really seems to cement everything that Cyril Snear have promised to become during their career to date.

The immediate reference point for those who are unfamiliar is clear. Oceansize are a clear influence on this lot, as can be gleaned from the intricate interplay between all instruments and the equal focus on texture as on tunes. Opener ‘Annex 1’ is a thundering opener. A hard-hitting sample starts things off before thunderous riffs crash in on proceedings in a similar way to Maybeshewill at their heaviest. It is with ‘How Presidential of You’, however, that it becomes clear just how much this album is rocketing into existence. What is most impressive about is its sheer immediacy. It sounds like a born single, ridiculous as that may sound coming from a band that openly identify themselves as being “progressive” in nature.

There are more strings to the band’s bow than just the power and poise of the opening two tracks however. They bring much-needed variation into the album at almost every corner. ‘Multiple Mono’ features some delightful acoustic guitar work in its introduction and it segues perfectly into the brooding ‘Butterflies’. ‘Focus’ features some wonderfully understated distant piano at the back of the mix. Rather than paint themselves into a corner, Cyril Snear ensure that they continue the development of their sound across the whole album rather than just presenting, and then following, a template. This means that the subtle intricacies of later tracks like ‘Professor Metcalfe in the Living Room with the Truth’ and closer ‘The Weight’ are allowed to breathe and make a real impact.

All this means that, although it isn’t a hugely original record, ‘Riot of Colour’ feels fresh and vibrant throughout. This is a band that wear their influences on their sleeve (not that there is anything wrong with that) but still manage to separate themselves from the crowd by virtue of the sheer confidence and strength of their execution. In a year in which the UK “prog” scene has already treated us to a spectacular release in the shape of Humanfly’s ‘Awesome Science’ you could be forgiven for thinking that luck was up for 2013, but Cyril Snear have provided a sure-fire contender for album of the year with this effort. Top class stuff.

Echopark (aka Antonio Ella Forte) may have got himself into a pickle with his debut full-length, ‘Trees’. See, whilst the majority of this record is pleasant and, dare one say it, intriguing, it also happens to be one of those records that it’s easy to listen to but seemingly difficult to listen to avidly.

On first spin ‘Trees’ is a breezy listen, as ambient as it is poppy, and as lo-fi as it is widescreen in its ambition. A bedroom project, in the very literal sense of the term, Echopark sees Ella Forte exploring the same dreamy territory as acts like Beach House and Midas Fall but with a more detached outlook, not desperately unlike Four Tet at points. The problem with this is twofold. Firstly, ‘Trees’, whilst being a decent listen, instantly reminds you of lots of other artists. The second, and perhaps more thorny, issue is that you end up with an album that fails to push itself in any new real new directions across its running time.

From opener ‘Cranes’ forward, ‘Trees’ is very straightforward. One song after another descends into appreciable, but ultimately slightly banal, territory. Considering the lack of genuine hooks present there are too few attempts to push the boat out and move in different directions. You can see why ‘Teleportation’ was chosen as single, certainly, it is more immediately engaging than anything else on the record, but most of the album blurs into a slightly hazy whole and, occasionally, it just ends up sounding painfully derivative. For example, the intro to ‘No Time to Riot’ apes the aforementioned Beach House far too directly and the same section of ‘Brothers’ is basically just an electronic lift of the opening drum beat from Radiohead’s ‘There There’.

Despite these difficulties, however, ‘Trees’ can still be appreciated for what it is. Ella Forte is a decent enough songwriter who has the wiles to at least try and present his ideas in a more interesting format than that which would be most obvious (stripped down to the bare bones of voice and acoustic guitar). The likes of ‘Raindrops’ and ‘Waves’ join ‘Teleportation’ in standing out slightly from the rest of what is on offer here, but overall there just isn’t enough about ‘Trees’ to make it a frequent participator in your playlist.

If you’re not yet familiar with Light Bearer, here’s the deal: they play very heavy, epic music with shades of doom, post-metal and a prog ear for time signatures, extended movements and an overarching concept. Songs average over ten minutes in duration and feature an ideology that seeks to overturn the bad press garnered by Lucifer, the Light Bearer. See?

This is no hackneyed LaVeyan Satanism though, engendered in too many horror movies and Venom albums. The band’s mythology is inspired by John Milton and Philip Pullman, using tropes from the Abrahamic religions (God, Lucifer, etc.) to posit their left-wing sociopolitical message.

2011’s Lapsus (the first in a four-album cycle) takes Lucifer’s banishment (the ‘fall’ of the title) as its theme. Silver Tongue introduces the figure of Eve to the story, a metaphorical forerunner of the biblical first lady. Themes of misogyny and the subjugation of women by organised religion are set to suitably grand, byzantine music.

Silver Tongue, like Lapsus, is symphonic in scope but to an even greater degree than its predecessor. Over its eighty-two minutes each of its six tracks is a movement within a whole work. The opening five minutes grow gradually from near-silence. Wind effects, a string section, horns and a funereal drum set the scene in operatic fashion, bringing to mind the opening of Wagner’s Rheingold. Comparisons with Wagnerian opera may sound like a step too far for what is essentially a heavy metal record but they are the best shorthand I can find for its drama and breadth. A lyric sheet is essential. Words and narrative form a libretto with characters’ utterances being delineated for clarity.

When 'Beautiful Is This Burden' comes barging into the orchestral intro with the full band attack it’s a flooring force of nuanced power. The nuance comes from the yearning tone in the guitar harmonies tying in with the passionate delivery of vocalist Alex CF. Vocals vary from growls to melodic clean tones as the story and the arrangement permits. Use of acoustic instruments (cello, trumpet) and ethereal soundscapes add a further dimension to each track. The closest comparison to the overall sound would be to Neurosis, Isis, Cult of Luna - emotional content matched to a brutal-as-fuck band.

Nowhere is this brutality more evident than in 'Aggressor and Usurper', the last section of which is a swirling maelstrom of hate depicting God’s infliction of an eternal curse on all women. The very serious, self-admittedly radical ideology behind this band is integral to their music but that is reciprocated too - these songs are every bit the match for such weighty concepts.

Incredibly, Silver Tongue improves on the phenomenal Lapsus. The prospect of two more albums of this quality is a mouth-watering one. Buy this album, buy Lapsus, study the artwork, the narrative, the lyrics and scratch your head at the vast span and the cohesion of Light Bearer’s dark materials.

Hornets hail from Belfast and are one of the latest highly impressive groups to emerge from the City, and Ireland in general.

Truth is a rip roaring blast of sludge riffs and hardcore attitude. Hornets have been whipping up a frenzy on the live stage and Truth captures that explosive energy.  Recorded at Start Together studios by Rocky O'Reilly (ASIWYFA, Axis Of), Hornets unleash an EP of infectious riotous fury.

Things kick off with the title track with what can only be described as a filthy guitar tone grabbing you from the start.  There's an element of un-hinged violence in the vocal delivery but the track is packed full of infectious riffs and has an almost QOTSA sounding section.  A highly impressive opening statement from Hornets, it doesn't really let up. 'No Control' is reminiscent of Gallows when they were still fresh and dangerous sounding. 'Step Down' features more pile driving rhythms and incendiary guitar and vocals. The fact Hornets are a three piece is highly impressive given the fury and heaviness on this EP. 'F Strings' slows the pace slightly but still with the menacing delivery and will have the crowds moving when played live with its pit enticing ending.  I'm exhausted just listening at home on the sofa.

Hornets will appeal to different types of heavy music fans.  From the type of stuff Southern Lord released recently to straight up hardcore fans and people who generally like to rock the fuck out. Don't miss out, Truth is released on April 20th and will be available through  their bandcamp and Quarintine Collective.

If you're in Belfast on April 20th you can pick up the Ep at the release show. Details here.

The first thing I noticed in the Press Release was “Stoner Thrash” and immediately I was intrigued by this oxymoron.  One style is a slow groove and the other extreme speeds and manic riffing.  So I was more than a little curious to see how Face Down who hail from Paris (well 4 of them do, with an Englishman from Spain on vocals) would pull this off on their debut album The Long Lost Future.

So headphones on, Play button pressed and the volume cranked up and into the first track ‘Lone Ranger’.  This is a great opening track with plenty of power and energy and some quality riffs; and he band don’t ease up any for track 2 ‘My Last Tequila’, again heavy fast riffage and high energy guitar solo’s. These guys can shred, no doubt about it. 

Just a note on the vocals, as the tracks on the album for the most part are of the heavy/fast variety and the vocals just sit on the right side of the fence of gruffness without straying into incoherent growling, so I could actually hear the lyrics. 

'Horse Power' is comes next, with a Southern style intro that builds up into a mid tempo heavy groove. ' Smoke Coat' again more of the same solid riffage.  Tracks 5 - 9 'Under The Sun' (a really nice little acoustic blues track), 'Kiss Of Death', 'Only Human', 'No1 Must Die' and 'Blow Away The Dust'  for me is were the band really start to show how good they are and these are my favourite tracks on the album.  The album closes out with 'Poker Time' and 'Evil Blues' with the latter being 1:31 long and then a 7 minute wait for a really pointless hidden track.

So how did Face Down fare with the “Stoner Thrash” tagline?  Well for me there wasn’t enough of a blend of the two styles quoted, more an 80-20 split in favour of the thrash tag.  However, if you like good heavy powerful riff based music, well produced and played by accomplished musicians (which I do!!) then The Long Lost Future is one to check out.  For me it’s a keeper and a band I will definitely be keeping tabs on for future releases where they can maybe get the % of “stoner” to “thrash” more evenly balanced if that is a style they are after.  Overall an album that I really like.

Inferno (XII) are yet another great band to come out of Sweden, I'm seriously wondering if this country can do any wrong on the music front? But any way, that's another matter for another day. Call Of Kia is their second full length taking you on a journey across a doomy musical landscape and beyond into the unknown.

Song after song hit like stormy waves on a shore, slowly consuming you before gently receding back into the sea and leaving you with a slightly unnerving sense of calm. Starting out with the opening/title track 'Call Of Kia' rolling in at a melancholic but forceful pace. Rising up and down and fluctuating like a humming swarm of advancing locusts, just psyching themselves up to devour you whole. Y'know, if locusts took a taste for human flesh. The general pace of the record is consistent, whilst at the same time crashing in and out of focus and tempo. There are a lot of different levels here that all take their time at the forefront. It's a little all over the shop in the most rhythmic, galloping juggernaut of ways, but don't take that as a bad point by any means.

Melodic, soothing, ominous and powerful this record probably has everything you want from a stoner/doom album, particularly if you're after something less ballsy and in-your-face. All in all, it's a good record, but I think you'd have to be in a particular mood or frame of mind to fully absorb it- took me a few tries to get to this point. Definitely an atmospheric evening mood setter rather than a pumping-up driving soundtrack. Really worth checking out.

FFO: Ufomammut, Jesu, Sleep

Hot on the heels of the first great folk album of the year (Little Arrow) comes the first great Americana album of the year from Hiss Golden Messenger. Haw, their fourth album carries on the fantastic journey that the duo of MC Taylor and Scott Hirsch have been taking through the heartlands of American music. Yes, it’s sort of cool these days to be Americana, but when the music is done this good, it's hard to argue with the results.

Having explored blues, swamp rock and folk amongst other genres on previous albums, it is the shadow of Nashville that rises high over this album. It seems that the country music mecca misses out on a lot of Americana music but ask any self respecting fan or music and they will tell you that this is where it is grounded. It's not for nothing the Gram Parson revered the music.

‘Red Rose Natahala’ kicks off proceedings with its gentle swing and cry of “Oh Lord, won't you make me happy”. Like Nina Simone transplanted into a young white American, this has soul weeping out of it but in classic tradition keeps your toe tapping.

Bob Dylan rears his head on second track ‘Sufferer (Love My Conquerer)’ although only in spirit has  the vocals are accompanied by female backing giving it an ethereal edge. The steam of the swamp rises up although there is a contemporary edge to it as well.

‘I Got a Name For the Newborn Child’ brings us back to Nashville while the pleasant musical interlude of ‘Hat of Rain’ gives way to the dramatic ‘Devotion’, a song surely left off one of any of the last ten Bob Dylan albums. Mean, moody, with an almost blues feel to it, it sneaks up on you and insidiously curls itself around your mind.

The exact opposite of this is ‘Sweet As John Hurt’ which is a ray of sunshine and brings to mind Parsons at his happiest. If you fail to smile during this song then you have no soul. Some great steel guitar as well making it a contender for best song on the album. It is one of those songs which carries you along with its story and to say much more would give away too much.

The sound of birdsong carries you over into the nest song ‘Cheerwine Easter’ where things get a bit maudlin, This then takes a sharp left turn with the hoedown fiddle extranvaganza of ‘Hark Maker’ which sort of makes final song ‘Busted Note’ rather redundant. It's a good thing in the end though as we are introduced to female vocals taking over again with an almost West Coast feel to it. A great album which pervades your soul after a few listens and sticks around.

Denmark’s heaviest export The Psyke Project has been around for awhile now. Long enough for a few EPs, appearances on a comp. or two, and to release Guillotine, their 5th LP. Longevity is something that’s hard to find nowadays. A million new bands every day, and a million more hanging up the towel (not that half of them got it sweaty in the first place). So how and why have Psyke lasted to album number 5? Drum roll please!!!

Opening up with the title track, we get quick feet back and a 4 count, then the sludged out hardcore caves in on your skull. Down-tuned guitars laying it on thick, an audible bassist, and a drummer who beats the shit out of those damn drums. Then the screams of a man who’s seen plenty, and barely lived to tell about it. You want to hear pain, look no further. ‘Guillotine’ scratches you raw then gets in deep with the hooks. I don’t even like breakdowns, and I’m banging my head as I write this. ‘Death Sight’ blinds us from the beginning, a solid three minutes of what the previous track offered. This is violence in audio format. And they even slow it down for a tiny bit to chug the shit out of those guitars.

‘Partisan’ starts out as a nice sludge tune, this is hardcore mixed well with metal. (Scurry on, metalcore, you are not welcome here). They keep the pace throughout, a nice slower track that sacrifices nothing in terms of viciousness. If anything it shows a bit of versatility. Who need full speed when you can slow it down like that!?!  ‘The Mute’ is an eerie tune with a steady drumbeat and a guitar line repeated over through almost the whole song. All while the vocals “The mute speaks no evil, the sick wither away” are repeated over a few times to smear the despair all over until frantic guitars screech into the next song, ‘Empire’. This song being the centerpiece of this album, it really does a good job of keeping you into the album, and not switching to something else. The frantic urgency that Psyke bring to this song is phenomenal. At one point mid-song, there’s a calm followed by an all out beat-your-fucking-head-in surge of noise. You won't know up from down in the crowd when this song is played live, and you may want to secure your will before even going to the show.

Instrumental ‘When Man Became God’ is the calm before the storm and also a good example that the band isn’t just a one trick pony. The two minutes of this song are equally as moving as their heavier songs, building and building to a silent end. ‘Good For Nothing’ takes full advantage of that short breather and starts the metallic pounding right away. Lyrics of loneliness and despair are about, and aided in their impact with pure mania behind them. Closer ‘Menneske’ is a slow, sludgey tune. Psyke left the hardcore mostly outside the studio for this song. Powerful head-bang-inducing-chug and a lead guitar smothered on top sound so…doomed really. The bass and drums hold their own in keeping the rhythms and lows low as f-u-c-k. All with a nice painful bellow spewed on top of it all.

Recorded live in the studio in only 7 days (that’s a week for those of you who haven’t figured out a calendar) and it sounds perfect. One can only imagine how it would sound given more, or even less, time. I wouldn’t change a thing about this album though. I understand it’s only April as I write this, but this is going on my top albums of the year list, so far. (I’m keeping track as the year goes by, instead of thinking about it all inn one week in December). You can grab this album digitally on The Psyke Project’s Bandcamp, and you can pick up the limited edition 12” 180g LP on May 6, being release in conjunction through labels: Bloated Veins / Black Lake / Braincrushing / Swarm Of Nails / Molestin (Teamwork people. It works). Don’t forget to mark your calendars.

Support artists and musicians you know and love. Help keep independent music alive.

HAIL!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

There have been so many good music releases coming out of Northern Ireland over the last couple of years, that by saying so it almost sounds like a cliché. Something must be going on at the moment over there to create so many talented bands. Northern Ireland’s vast successful musical output includes genres such as post-rock, crazy instrumental, alternative rock, punk-rock, noise, heavy sludge, metal, and we can now add 90s grunge rock to this list too.

Vanilla gloom have managed to produce 3 brilliant grungy pop songs on their debut EP Vexed, sounding just like the kind of stuff I grew up with: 90s alternative grunge rock. There are plenty of comparisons to make here, such as The Breeders, Veruca Salt, and inevitably Nirvana, but this not a bad thing at all, no, take this as a big compliment instead.

Vanilla Gloom consists of Megan O’Kane on bass and vocals, Shannon Delores O’Neill on guitar and vocals, and Grace Leacock on drums. They have only been together for roughly 6 months, which makes this EP release an even bigger feat. Vexed has some great harmonies, nice grungy distorted guitar riffs, “Pixies-like” bass lines, steady drum rhythms and some addictively catchy choruses flowing through the 3 songs ‘Wolves’, ‘Vultures’ and current single ‘Lemons and Wine’.

In this current musical climate with charts dominated by untalented talent contest winners and over-the-top-produced pop tunes we can really do with bands like Vanilla Gloom who bring back the essence of a good and catchy rock tune. Buy the single ‘Lemons and Wine’ here and I recommend you to keep an eye on these 3 ladies. They will get far if they continue this line of creating refreshing catchy tunes like they did on Vexed.