Fear of Water's latest offering, 'Codependent Parasites Ft. Elias Soriano of Nonpoint' released on August 31, 2023, is a sonic explosion of melodic hard rock and active metal that demands your attention from the very first note. In this review, we'll delve into the musical aspects of this high-energy track and explore what makes it stand out in the crowded rock scene. 'Codependent Parasites' immediately grabs your attention with its intense and powerful sound. Fear of Water, the brainchild of Dave Perry, who is known for his work with NuMetal pioneers RA and Grammy-nominated Nothing More, showcases his incredible talent in songwriting and instrumental prowess. Perry, who was born clinically deaf, defies expectations by exclusively handling all aspects of his solo project, and this track is no exception. The mood of of the release is set from the start with a major key melodic and hooky chorus that's bound to get stuck in your head. The song's structure is well-crafted, balancing aggressive verses with moody, dynamic electronic breakdowns. This juxtaposition creates a captivating musical journey, offering listeners a chance to experience a wide range of emotions within a single track. Elias Soriano of Nonpoint joins Fear of Water on vocals, adding a unique and powerful dimension to the song. Soriano's performance is nothing short of spectacular, with his distinctive and emotive voice perfectly complementing the song's high-octane energy. His contribution elevates 'Codependent Parasites' to another level, making it a standout track in the melodic hard rock genre. Instrumentally, Fear of Water brings in a rich mix of sounds to create a full-bodied sonic experience. The use of Chapman Guitars, Ibanez Bass, DW Drums, Zildjian Cymbals, and ProMark Sticks ensures that every instrument shines through with precision and intensity. The incorporation of Neural DSP guitar plugins adds a modern touch, enhancing the overall sonic palette. Cover art photo credit: Ryan Berrier Photo & Design The track's production, overseen by the talented Kile Odell (known for his work with Motionless in White and Nita Strauss), is top-notch. The collaboration between Perry and Odell has resulted in a track that is polished and powerful, showcasing their collective expertise in crafting hard-hitting rock music. In terms of similar artists, Fear of Water shares a kinship with bands like Sevendust, Breaking Benjamin, Nonpoint, Shinedown, and Falling in Reverse. Fans of these bands will undoubtedly find 'Codependent Parasites' to be a refreshing addition to their playlists. Overall, 'Codependent Parasites' Ft. Elias Soriano of Nonpoint is a must-listen for anyone who craves high-energy, melodic hard rock with a powerful vocal performance and a well-crafted musical journey. Fear of Water's ability to fuse aggressive verses with infectious choruses, combined with Soriano's emotive delivery, makes this track a standout release in 2023. With Dave Perry's unique vision and the promise of exciting collaborations on the horizon, Fear of Water is a force to be reckoned with in the rock music scene. Be sure to check out the music video and follow Fear of Water's journey as they continue to make waves in the industry.

Becca James' 'Trust the Season' EP is a captivating musical exploration that transcends time and invites listeners to embark on a transformative journey of self-discovery and spiritual awakening. This collection of tracks represents a pivotal moment in Becca James' artistic evolution and is a testament to her mastery of crafting captivating soundscapes. Facebook • Instagram • Twitter • Spotify • YouTube 'Trust the Season' is more than just a collection of songs; it's a narrative of growth and self-discovery. Each track tells a unique story within the overarching theme of spiritual exploration and trust in life's unfolding seasons. Becca's storytelling through her music is profoundly felt, drawing listeners into her personal journey. The EP exhibits a rich tapestry of sonic diversity. From the meditative 'One,' which explores non-duality consciousness, to the sensuous dance track 'Beauty,' and finally, the soulful and organic 'Hold You Close,' Becca James demonstrates her ability to traverse various musical genres seamlessly, creating a dynamic and engaging listening experience. 'Trust the Season' is a testament to Becca James' meticulous attention to production. The ethereal quality of the music envelops the listener, immersing them in a world of sonic wonder. Each track is a sonic journey in itself, boasting intricate arrangements that captivate the senses. Becca's vocals are a source of emotional resonance throughout the EP. Her soulful and evocative delivery adds a layer of depth to each track, allowing the listener to connect with the raw emotions and spirituality embedded in the lyrics. Her voice serves as a guiding light, leading the way through the ethereal experience. 'Trust the Season' delves into profound spiritual themes, inviting listeners to reflect on their own journeys of self-discovery. The EP encourages trust in the natural flow of life's seasons, a theme that resonates universally and is brought to life through Becca's compelling sonic storytelling; it represents a pivotal moment in Becca James' artistic evolution. It serves as a prelude to her ambitious trauma healing project, 'God in Chains,' set for release in 2024. 'Trust the Season' showcases Becca's growth as an artist, hinting at the depths of creativity and emotional exploration yet to come. The message of 'Trust the Season' transcends time and circumstance. Whether listeners are embarking on their own spiritual journeys or simply seeking solace in captivating music, Becca James' EP offers a timeless and relatable soundtrack.

In 2017, the bodies of 796 infants, aged between 35 weeks and three years, were formally unearthed in a septic tank in a former Mother and Baby home in Tuam, County Galway. The home was run by the Bon Secours Sisters, a Catholic order of nuns, who received unmarried pregnant women. These women were separated from their children at birth, and the children taken to be raised for adoption elsewhere in the building, while the mothers worked to earn the keep. The home closed in 1961, while many similar homes, including children’s industrial schools across Ireland, remained active until the 1990s. There had always been suspicions locally about the goings-on inside the home, which were confirmed in the 1970s, as young boys playing football in the surrounding field stumbled across piles of human bones. Locals began to erect small shrines. The Catholic Church and local government blocked enquiries, until local woman Catherine Corless made it her mission to hold both the government and the Pope of the Catholic Church to account. “It was the romance of it that she couldn’t get over. It would burn to an eventual ash with the incessant drip of time. And the iridescent glow that he left after him, it followed him all the way down the lane.” On “She from up the Dromban Hill”, the opening track on Dystopian Future Movies’ forthcoming release, War of the Ether, Caroline Cawley’s spoken word delivery is clear and drips with danger. She channels the ghost of a woman in the clutches of the Bon Secours Sisters, expressing the shame and humiliation with painful restraint in her own native Sligo cadence, her voice evolving and becoming the pain of all women, the silent simmering rage at the injustice. It is a short lived relief of tension, therefore, to hear the raw heat explode into a guttural fall as Rafe Dunn’s deadly guitar, until now quietly and melodically droning in the background, joins Bill Fisher’s drums, entering and spewing tension a third of the way through. The slow march is building, the bass intoning only a single note at a time… The controlled restraint, the space created by these usually dominating instruments, taking a back seat to Cawley’s barely veiled anger, as her own biting guitar joins the wall of sound, attacking, drawing back, attacking again, dragging the listener with it. Cawley’s voice is unaffected, still coldly clipped as she returns to the story – we find her setting up the stall in the market, whispers surrounding her movements. We are with her as the shame burns. As our own anger simmers beneath the surface, we wish to drown in the rain with her as the wall of sound thunders in, out, in, out. We wonder if we can last the distance of this story, but we must. Dead air, a black hole. We crave the wall of sound in its relief, a release, to take us away from the claustrophobia of the inevitable outcome. We know where this woman is to be sent. We can feel the loss of control. We crave the fury of the wall of sound, but it comes simmeringly only, torturing us, creeping in – “It wasn’t long before the priest was called”. We want the fury to break. We feel helpless. “There was nothing left now”. The wall of sound envelops, its melody orchestrated by Cawley; it swirls and gives and lets us break, if only for a short time. The next track, “Critical Mass”, allows us to exhale; gone is the cold, restrained tension and in comes a beautiful, soft voice weaving its feeling of loss and confusion as Cawley gently joins her voice and guitar in stairs of melody. Voice and sound combine into a frantic, dreamy existential whirl as we swirl upwards into a beating frenzy of angst, the crescendo building to break. “Where is love and I could go” echoes over a satisfying cacophony of beats, as Fisher’s drums march into explosion and Cawley’s ethereal high notes are hit and matched with the banshee wail of Cawley and Dunn’s guitar and pedal musicianship/magicianship. My second favourite song of this album. DFM are experts at building tension. Within music, it’s often the spaces that lie between the notes that hold the power, the emotion, and this is something that DFM have mastered. Without knowing it, you’re holding your breath listening to it, waiting to be pulled to the smash; what’s interesting in this album, is that even with the smash, the drop, it is so tight and focused that it seethes with resentment – an anger that mirrors the suppressed rage of the story that it is telling. It is more than an album, it is a piece of art, a demand to be held to account and a thinly veiled disgust directed toward religious control over women, and in turn toward the men and women who pledge to uphold it. “The Veneer” continues the all-encompassing ethereal vocal style contrasting and weaving as the bassier tones of sound rise, a meeting of fallen angels and rising hells. And raising hell is exactly what this is. There’s a lovely act of song writing in these last two songs that showcase the unusual and untraditional multi layer and multi direction of melody; it is impressive and enjoyable, and reminds me of Kate Bush and her absolute refusal to play by the expectations of song progression. “The Walls of Filth and Toil” brought shivers to my arms. Cawley calls out “You’re on your own” as the orchestration perfectly captures the horrors that descend as a young Catholic woman processes the reality of being with child and watching her love walk away. She is completely alone, discarded by her family and destined for hell, not only in the next life but in this one too. “You’ll go along and never speak about it” Cawley sings. It is the Catholic cure: to brush all under the carpet, pretend everything is fine… Cawley harnesses every ghost, angel and devil together in this song and screams them out to the light with pain and fury as Fisher and Dunn storm the bastion and tear the gold from the pious walls, smashing them to the ground. Cawley channels the pain of millenia of crushed women and finally unleashes into banshee fury with the RAGE. This is my hands down favourite track of the album, just for the unreigning release of emotion that screams out, and I am excited to imagine how this song transcends and finishes on a live stage. Every listen I’ve had to this album, I’ve had to end here for a time to recover from the emotions it provokes. If you’re into the band Swans or Chelsea Wolfe, then you may understand what I mean when I say this is more than an album; this is an immersive experience in and of itself. This is a story, an intensely emotional and relatable journey, a concept, a huge and all-encompassing undertaking that is a breakthrough from darkness into light. It is a brave and deserved denunciation of the cruelty of a woman’s situation, in light of Roe vs Wade in particular; the Catholic punishment and control of woman’s body, sexual wants and reproductive rights; pro-forced birthers who then have no care for the born children and in this case were fine to see them piled without funerals into a septic tank; and the fuckers that get us pregnant and leave us to deal with this shit alone. There’s a beauty in this next track, “War of the Ether”, that tiptoes and holds us, gently pulls us back up on our feet from the devastation of “The Walls of Filth and Toil”. It has a delicate beauty and sensibility in arrangement that soothes and reaches soulfully into the spiritual veil, pulling out healing and tenderness. It is by no means simple in its construct, and I was not expecting the heavy drop. A wonderful weave of expression – I am being pulled up to Heaven by a wall of kindness and doom in an angelic wilderness, and I am here for it. “Licence of Their Lies” drives straight in with ferocious anger. When it pulls back into its staccato spits, it feels somehow more deadly and unnerving. It plays disgust. Warped almost computerised sounds reminiscent of M.Gira’s Swans “No words No thoughts” dance devil toe light in the background, metal clashes, rust burns. There’s an eeriness and sense of torture creeping, the hostility before the fight, something is looming; Cawley’s vocals warn the listener of the concealment in the shadows, the evil being swept under the carpet. It is deadly. “No Matter” sings a darkness and is the pure heaviness of this album that we’ve been waiting for and will satisfy the need for crunch, speed and descent into devilment. “A Decent Class of Girl” is Cawleys final musical “fuck you”. On unholy ground lies their secrets. This song is a hammerblow to the heart, and is the culmination of the pain and unholiness that has dragged itself through the toil of this album. It bursts out here, clawing its way through the soil, unleashed – “I won’t let you starve for nothing”. For all that the intro track is restrained, this outro track gives Hell to the beast, and it is worth it. Devour it or be devoured. This album has lit a flame inside my soul. It is a masterpiece, a feminist trailblaze, a stake to the vampiric sucking heart of both the Church and Catholic oppression. A fuck you to all who align themselves with evil in the name of the patriarchy, a call to the Church to take accountability for the dead babies and cursed mothers of Galway and for every human to join the fight against injustice. “It will only be a short time he said. Earnestly, hopefully, but with warning” “Only a short time she repeated, distracted” Review by Anna Robinson Connell

DENSE is a Leeds-based band comprised of Charlie Fossick (vocals and guitar), Dylan Metcalf (bass) and Sam Heffer (drums). Inspired by garage rock and post-punk, DENSE’s heavy latest single ‘Erased’ explores the anguish of losing who you are. Ahead of their upcoming headline show at The Old Bus Depot as part of the ‘50 gigs around the sun’ project, I interviewed DENSE about their singles ‘Erased’ and ‘Reckoning,’ and their local music scene. You’ve been a staple of the Leeds music scene over the past few years. What do you love about the music community in Leeds? And which upcoming Leeds-based acts have you got your eye on at the moment? The effort to be inclusive and diverse as a community is something we really like about Leeds. You have labels like Come Play With Me and Clue who have a real focus on being progressive platforms that set a good example for other industry outfits. You worked with Mixer Ross Orton (Arctic Monkeys, Drenge, Pulled Apart by Horses) on ‘Erased’ and ‘Reckoning.’ What was it like working with him? We love Ross. Working with him has been really great, it’s no-nonsense and he knows exactly the kind of sound you’re after when you go in there. Brilliant working with Ciaran too who engineers in the studio, a thoroughly lovely and knowledgeable guy. Ross also has impeccable taste in curry houses. Which local acts or producers would you like to work with in the future? For now, we’re happy with working with Ross until he’s sick of us. As far as acts go, we’d love to get on another show with our friends in Dim Imagery and Pop Vulture. Charlie lives with the guys in Brooders and they’re also cooking up something good with new material that’ll sound great live. ‘Reckoning’ is the first track that you recorded post-lockdown. It’s a song that’s filled with anger, dealing with the frustrations of modern-day life and pent-up energy post-lockdown. What was it like returning to the studio together after all that time away? And how had your musical influences changed over that time? It was weird getting back into the studio because we recorded our EP ‘Abjection’ in January 2020 in the house Charlie now lives in and then Reckoning in the same place once we were able to get together and write when lockdown restrictions were in a relaxed period. The change in musical influences was the most notable thing in relation to that as we all had changed in what we’re into, for example, pre-Covid Charlie was really into neo-psych stuff and his taste involved into more experimental and noise-based music by the time we could get in together. I think it was a positive thing in that approaching a song felt really fresh when we got back to it. I love the single artwork for ‘Reckoning’ and ‘Erased,’ and I feel the flame-like reds and oranges fit the anger and heavy energy of the tracks. How do you feel the artist, Liam Warr, captured your vision for the songs? Liam Warr understands an assignment when you give him one! He did a really good job of using the colour palette and song themes we gave him and turning it into something that we feel represents the track quite aptly. Since you’re known for giving electrifying live performances, we’re really excited to see you at The Old Bus Depot later this month. Which song of yours are you most excited to perform live in Nottingham? And why? We have an unreleased song that’s going to be coming out at some point which we really enjoy playing. Probably one of our heaviest and most abrasive songs yet. Written by Anna Sykes Photo sourced from https://www.facebook.com/photo/?fbid=3069616006634254&set=ecnf.100063508003469

Pop singer-songwriter from Nottingham, Jake Buckley, is set to release his new single Sleeping With The Lights On on 2nd September. Having spent his career performing with bands and writing for other artists, Buckley is now exploring his musicality as a solo artist. Buckley, a talented songwriter and producer, describes his lyrics as rich “with wry observations, bittersweet epiphanies and sincere declarations.” Sleeping With The Lights On blends his heartfelt lyrics with poppy synths akin to artists like The 1975 and Maroon 5. Drawing on his personal experiences recovering from drug and alcohol addiction, Buckley crafts an upbeat, positive track about the importance of changing and facing up to your demons. The song’s positivity is infectious – the lyrics centre on moving forward, while Buckley’s ambitious synth-pop arrangement physically moves you forward. The track’s upbeat synths and high-energy guitar solo encourage you to dance, let loose and find freedom. Sleeping With The Lights On acts like a New Years’ resolution as Buckley asserts that he will “draw a new line,” “begin changing” and “stop the white line [he’s] been chasing.” Buckley reminds the listener that “one day all we have will be gone” but refuses to dwell on this. Instead, he puts his energy into moving on and growing, the chorus telling the listener that there’s “no use hiding in the dark now, we gotta face it” and “no use stepping around, you gotta stand up against it.” Buckley’s use of the personal pronouns “we” and “you” spread his positive message, encouraging his listeners to adopt his philosophy of self-improvement and growth. Written by Anna Sykes Photo sourced from www.jakebuckleymusic.co.uk.

ARROWS OF LOVE… …the 5-piece led by co-writers Nima and Nuha, resemble more of a collective than a band, having collaborated onstage with musicians from Flamingods to Bo Ningen, Ulrika Spacek to Wolf Alice, and even a performance from newly-acclaimed LA director Eva Doloveska. Living a lifestyle of artistic warehouse communities, Arrows Of Love are a constantly evolving force, led by fiercely energetic live shows and wildly inventive yet diverse songwriting. Embarking upon their second album, ‘PRODUCT’, the band found themselves backed by the UK’s highly competitive PRS Foundation “Momentum Music Fund” and after accepting an invite from CMJ Music Marathon the band confirmed a string of DIT-funded US showcases, followed by a support slot with British post- punk legends The Fall, and The Stooges’ Mike Watt (US). Arrows Of Love – Photograph by Stewart Bywater Arrows Of Love are, above all, a live phenomenon. Originally aligned with the early East London wave of bohemian rock bands, it was their fiercely independent and creative drive that took them across the globe, from Texas to Poland, SXSW to End of the Road Festival, and sharing stages with the likes of British Sea Power, 80’s Matchbox B-Line Disaster, and next The Wytches. Working to cut this live intensity to record is Godrich- mentored UK producer Mikko Gordon (Thom Yorke, Gaz Combes), and USA’s Bob Weston of Shellac, who pledged to work with the band for life after receiving singer Teranchi in his Chicago hub. This is a band made for the transatlantic, drawing comparisons to US bands with the discordant, emotive musicianship of Sonic Youth and the raw power of McClusky, delivered in their own, inimitable, distinct British style. New single “Signal (Redux)” was premiered by Noisey and is out on I’m Not From London Records on 23rd June 2017. With ‘PRODUCT’ the band are set to prove themselves the real deal. This second LP sees a band fully diversified, ready to release something truly unique. Artist: Arrows Of Love Release Date: 23/06/2017 Label: I'm Not From London Records Catalog Number: INFL028

‘Desire‘ is the latest epic release by punk collective Arrows of Love from their second forthcoming album ‘PRODUCT‘, available from August 11th via I’m Not From London Records. The single balances ferocious guitar and noise, before peeling back to expose an atmospheric calm, a beautifully fierce tension that appears throughout the album. “Brilliant, ferocious” – The Independent The East London 5-piece are rapidly growing momentum, having gained backing from the PRS Foundation ‘Music Momentum Fund’, and with their single ‘Signal (Redux)’ having been premiered by Noisey. Keep your eyes open for the release of ‘PRODUCT‘. It’s going to be something special. BUY ON ITUNES | LISTEN ON SPOTIFY Artist: Arrows of Love Release Date: 28/07/2017 Label: I'm Not From London Records Catalog Number: INFL028

East London collective Arrows of Love‘s sophomore album ‘PRODUCT’ is out now through I’m Not From London Records. Following the recent releases of singles ‘Toad’, ‘Desire’, ‘Beast’ and ‘Signal (Redux)’, the album is receiving praise from the likes of The Independent, Noisey, The Quietus, DIY Magazine, Louder Than War and a tonne of international radio support. “One of the most extreme and extremely enjoyable albums of the year.” – Louder Than War Listen now on Spotify and look out for the limited edition 12″ vinyl release available on January 12th 2018 from select independent record stores. “Brilliant, ferocious” – The Independent BUY ON ITUNES Artist: Arrows of Love Release Date: 11/08/2017 Label: I'm Not From London Records Catalog Number: INFL025

It’s true the last eighteen months or so has seem like a lifetime to many of us and so for The Local Healers (Nay Loco & Ty Healy) and Louis Cypher to bring us The Long Year, kinda fits so well with the way things have been. These guys have worked together before on a few projects and to bring us this EP the Notts legends have teamed up with none other than that man from Exeter Pandamonium, who has obviously not been resting on his laurels recently… This seven track EP was written and recorded by Local Healers (Nay Loco & Ty Healy) & Louis Cypher. The music was produced, mixed and mastered by Pandamonium & released via I’m Not From Brooklyn and Kamikaze Airlines Records. BUY ON BANDCAMP Artist: Local Healers, Louis Cypher & Pandamonium Release Date: 25/03/2022 Label: I'm Not From Brooklyn Catalog Number: INFL051D

Porcelain’s track 'Hearsay', stands as a testament to the band’s evolving sound and their ability to craft deeply resonant music Originally titled 'Porcelain' before they adopted that name as their band moniker, this song holds a special place in their discography as a formative piece that shaped their direction. Recorded and produced at Blank Studios by Sam Grant of Pigs x7, 'Hearsay' is a dynamic track that melds alternative rock with a touch of grit and sophistication. The song opens with a compelling major-leaning riff that immediately grabs the listener’s attention. This riff, paired with engaging progressions, creates an upbeat yet reflective atmosphere that underpins the track’s thematic depth. INSTAGRAM  | FACEBOOK  | SPOTIFY   The artwork, created by the band’s frequent collaborator Kristian Szinnay, complements the music with its striking visuals, echoing the song’s blend of emotional intensity and artistic nuance. The cover art visually captures the essence of 'Hearsay,' aligning perfectly with the track’s introspective and somewhat defiant tone. 'Hearsay' delves into the experience of feeling misunderstood by someone who means a lot. Curtis explains, “Imagine there is someone who means an awful lot to you, and that someone just doesn’t fully ‘get’ you. That is basically what the song is about.” Despite the song’s exploration of being out of sync with others, there’s an underlying message of optimism and self-affirmation. Curtis adds, “Because of the major-leaning riff and progressions, I felt like there was an underlying optimistic message that needed to be conveyed too. It’s about both caring and not caring what people think.” 'Hearsay' is a powerful example of Porcelain’s ability to blend emotional depth with compelling rock elements, showcasing their growth as artists while staying true to their core identity.

© 2020 INFL Ltd - Local Healers & Louis Cypher - 7 SONGS • 25 MINUTES • JAN 29 2021