There’s a troublesome murmur amongst the charismatic charm in the confident vocals. Distorted guitar enveloped in dusty and suspicious vocals. “Idealistic English Dream, they just want, they just want something from me.” The only thing not dubious on this track is the steady drumming driving the song into a tense, cynical state alongside the bassist’s spitting solo is reflective of entrapment. Lumer are amongst the bands striking up passion from mistrusting times, there’s a vibrating of instruments adding to the chary of lyrics.
Recorded at Nave Studios, the Hull foursome breed electronic scepticism in your eardrums. Adding emotion is the fine art print made by Sam Kennedy to accompany the track, made up of shades of green, black and yellow bruising like the music itself. There’s a looming figure in the doorway and someone on their knees surrounded by glaring black paint strokes. Annotating the passive meanings of the lyrics themselves. Mixed and mastered by Alex Evans and Tom at E1 Duplication, the team of elements to this song brings out the humming of distaste for the times.
‘Prisoner’ is bursting with Britpop grit, janky guitar tones and husky vocals. The promising Twickenham Rock n Roll star is set to release his debut LP in February early next year, ‘If You Can’t Find What You’re Looking For Please Ask’ comprised of 9 tracks there’s a definite essence of The Stone Roses’ upbeat and echoing tones.
What sets George Hennessey aside is his added grunge touch, a heavier display to the copying of 90’s influences. The accompanying music video by LAH Media adds to the nostalgia with blue lights and overlays in a fairly stripped-back venue. George has the drums rolling, managing to craft his own subgenre blending psychedelic with glimmering guitar twangs offering an escape from where you are now.
It’s been a quick climb for George and it’s not hard to see why 2022 has seen the release of four new singles earning him a spot on Apple music’s ‘New In Rock’ Playlist and shaking performances across a Miraj of festivals. Currently breaking London with his charming nuances, “Prisoner” is about when luck isn’t on your side, and you feel like you’re being held emotionally captive… your guitar and melody can be your only ways out.” Every step George Hennessey takes at the moment is another step up the industry ladder.
Travelling far and wide after taking on performing only 3 months ago, Sydney-based solo artist Emma Salisbury released her fourth single of the year. Her latest single ‘Pisces’ last month left us with a short but sweet insight into her spiritual rhymes about love and addiction. Exploring beats, Pisces is wrapped in a facade, performing as casual whilst acting personally.
Emma has an easy-listening tone to her voice, lyrically free-flowing whilst both musically and emotionally in tune. Salisbury’s vocal control is super clean with zen riffs bringing a new dynamic to the lyrical poems she brings to the scene. She’s RnB encased in bubble wrap, there is a safe feeling that comes with Emma’s work, whilst being electronically mesmerised, there’s something romantically tranquilising about how Salisbury song writes.
Recorded and Released back to back comes the Double A-side, Blackout / Sex To White Noise. There is a Ying and Yang notion with these songs, Blackout is about those in your life who are hard to get rid of, whilst Sex To White Noise is about finding a connection with someone whilst you feel numb – they sit perfectly alongside each other.
Sarah’s voice offers an effortless breathy toned insight into the deepest emotions, paired with the staccato of Mike’s drumming which is correlated with sensitivity. The guitar tone is there the whole time but feels incognito until near the end of Blackout as you become so engrossed in the lyrical delicacy. Both songs are narratively haunting and powerfully alt-rock. Meeting at a Jam Night back in 2019, they struck a certain bout of luck, there has to be a correct amount of chemistry to create such an ethereal experience.
Sex To White Noise feels more haunting, a forcing of feelings. Crashing drums illuminate a sense of paranoia whilst scratching guitar tones hone in on the overriding numbness. Although there is a cathartic notion to this track and urging all at once, “I’m turning like a hurricane, sleeping with you.” The double A-side is a dark and twisted tale of being drenched in love and invertedly scared of rejection. A bittersweet duo of generational art that leave 11 minutes of sour tastes in your mouth.
Gigging non-stop for three years, Callforth just landed us with their fuzzy debut single ‘Why’d You Stop Me?’.
Combining a mix of influences from Gibraltar to shaking up the Northern Quarter with their large Indie mayhem sound. Their debut single defines them as emotive, the deep-voiced lyrics twist ‘Why’d You Stop Me’ into something more affluent than your regular bands. Callforth like many have been on a journey of stability since the lockdown, carving their way through a cut-throat industry, as unsigned artists they now feel secure enough to release this single alongside their early 2023 first-ever Manchester Academy Headliner.
Opening with the rain of Britpop influences soon turns into something richer and more compact mangling a fresh guitar-playing style with funky rhythmic drumming. ‘Why’d You Stop Me’ is uplifting and bizarrely graceful. “I may be on a leash but I am not so lonely.”
It’s a song that doesn’t allow itself to be defeated, giving the psychedelic imitation of peaks and troughs I’d be excited for this to be played amongst a larger festival crowd, it hits you with a warm sunny feeling whilst holding a mischievous undertone. Callforth lands a big sound that deserves chanting too.