In the 90s, iconic artist Chin Injeti fronted the R&B group Bass is Base which had fans all over the world and garnered him a deal with Canada’s Universal Music and Island Records in the United States. During that time, Bass is Base won a JUNO (Canadian Grammy) for Best R&B record and a MuchMusic Video award for their song “Funkmobile.” Additionally, Chin was dubbed SOCAN’s Songwriter of the Year… but this was just the beginning of his success.His latest EP, VESSELS: Volume Two, includes the melancholic yet humorous single “For Better or For Worse” (feat. YBTB). Life doesn’t always work out the way you planned. Evidently, you are not the same person you were when you were in your 20s or 30s. Chin and YBTB have crafted the perfect message that represents who they are and who they’ll be moving forward.
For 15 years, David Vertesi has appeared as an integral part of some of Canada’s most exciting indie-rock projects. Whether he’s playing in Hey Ocean!, Shad, Dear Rouge, Hannah Georgas, or Said the Whale, producing Haley Blais, Noble Son, Ashleigh Ball, or Riun Garner, Vertesi brings a uniquely sensuous and brooding sensibility, an intricate sonic depth that multiplies the layers of a song.
In his solo work, these dramatic flairs ignite on full display. Vertesi has an equal command over choreographing lush technologic atmospheres of instrumentation as he does squeezing the naked emotional core from a piano, steady bass drum, and the soft plucking rhythm of a guitar. But it’s his own voice that distinguishes these spectrums of rough-and-tumble and tightly polished stories of confusion, loneliness, death, and ennui. Vertesi’s growling inimitable baritone deepens the tender poetry and sense of humour as he emerges centre-stage as a fully formed front-man of his own musical expression.
“This song was born out of the individual and collective renegotiation of self that I have witnessed since 2020 and the beginning of the pandemic,” Vertesi explains. “With my band of 15+ years [Hey Ocean!] on indefinite hiatus, I was attempting to do this for myself, however, I couldn’t help but notice pretty much everyone around me was doing the same: leaving jobs, moving cities, ending relationships. But whether mourning or celebrating the loss of our old lives it seemed like we were all asking ourselves the same question.”
If the pop-punk onslaught of the ‘90s and early 2000s left you with the impression that punk music loses its edge with the introduction of melodies and hooks, New York City quartet The Underbites are here to remind us all that accessibility and grit don’t have to be mutually exclusive. Founded by veteran guitarists and veteran listenersJon Fox and Kurt Feldhun, The Underbites may have formed in 2020, but their origins date back to when Fox and Feldhun witnessed the halcyon days of punk first-hand.
Their new EP, Four Songs About Girls, makes its debut today.
Listen here:
When Fox and Feldhun actually met at NYU at the dawn of the ‘80s, punk was branching out into thrilling permutations like post-punk and hardcore. “Kurt and I,” Fox explains, “really bonded over Bad Brains and GBH, but we didn’t actually play in that style when we started playing together.” The Underbites sound so energized in part because Fox and Feldhun spent their entire careers up to this point—in groups like Baby Tapeworm, The Cogs, The Behoovers, and Upchuck—playing other styles.
For Fox and Feldhun, The Underbites is a return to some of their earliest musical loves. But you’re just as likely to hear a passing flash of, say, Attractions-era Elvis Costello in Feldhun’s playing as you are a chugga-chugga riff. In fact, for a band that describe themselves as “unrepentant traditionalists,” The Underbites give themselves lots of headroom to draw from whatever they feel like dialing-up.
Listening to the band’s full-length debut Sort It Out alongside the new EP Four Songs About Girls, one is reminded that the music from the classic CBGB, SoCal, NYHC and Warped Tour scenes were all highly distinct from one another. But The Underbites possess such fluency with the punk canon that all the music flows as if from the same source. The Four Girls track “Sincerely Jemma Jane,” for example, started out as a Rancid-influenced anthem, but it ended up landing closer to Social Distortion.
Further afield, Michael Hoffman‘s snare figure at the start of the Sort It Out cut “Che Guevarra,” nods to John Bonham’s iconic “Rock and Roll” intro, but he executes it with sufficient finesse to recall Los Lobos’ Louie Perez channeling lendgary Meters drummer Zigaboo Modeliste.
Lyrically, Fox draws as much from The Beach Boys, Squeeze and Robyn Hitchcock as he does from the Sex Pistols. With Sort It Out, The Underbites proved that provocative music can provoke thought in the best sense of the word. Whether tackling activist posturing, consumer culture, economic decline, racial division, the sleazy machinations of politics, or polarizing figures like Donald Trump and Michael Moore, Fox is masterful at jolting listeners with an initial shock that, on closer inspection, reveals layers of thought.
The music scene is often fraught with barriers, but artists like Animals in Denial break through these constraints with sheer determination and unwavering passion. In his latest release, “Because Reasons Revisited,” this industrial rock maestro doesn’t just drop a track; he unleashes a torrent of raw energy and rebellion that transcends boundaries and conventions.
First and foremost, it’s crucial to understand the genesis of “Because Reasons Revisited.” This track serves as the harbinger of a revisited series, a collection of songs that were initially birthed as rough demos. Yet, what truly sets these revisited versions apart is the meticulous craftsmanship that has gone into remixing and remastering, coupled with the utilization of state-of-the-art studio upgrades and AI tools. Animals in Denial, reflecting on the early days of his music-making journey, notes the humble beginnings of his studio setup, where post-production was often relegated to the sidelines due to limited resources. However, “Because Reasons Revisited” emerges as a testament to his evolution as an artist and his unyielding commitment to honing his craft.
But what truly ignites this track is its lyrical inspiration, a testament to the artist’s personal journey within the Industrial goth scene. Animals in Denial’s firsthand experience in this subculture was far from idyllic. Instead, he found himself bombarded by negative energy, pessimistic voices, and unsolicited advice from veteran artists who seemed disillusioned with the very essence of creation. The discouraging refrain that “nobody cares, so why bother” threatened to stifle his creative spirit.
However, “Because Reasons Revisited” boldly defies this sentiment. It encapsulates the essence of an artist who refuses to be silenced, a musical maverick who acknowledges that his path might not lead to the Rock and Roll Hall of Fame or a Grammy, but that’s inconsequential. What truly matters is that he created something that is honest, unapologetic, and deeply personal.
With influences that harken back to the glory days of rock, Animals in Denial stands as a torchbearer for the old-school Rock N Roll spirit. Nods to legendary acts like the Red Hot Chili Peppers, Smashing Pumpkins, Nine Inch Nails, Depeche Mode, Nirvana, and Cheap Trick are evident in his music. Still, Animals in Denial masterfully blends these inspirations, creating a sound that is distinctly his own while remaining true to the roots of rock.
Yet, beyond the sonic prowess, Animals in Denial’s music embodies a universal language that defies cultural, linguistic, and societal barriers. “Because Reasons Revisited” stands as a clarion call for unity, understanding, and empathy. In a world often marred by division, his art becomes a bridge that connects diverse individuals, fostering a profound sense of shared humanity. He implores his audience not to fear judgment and to embrace their individuality.
Contemporary rock band Gary Dranow and the Manic Emotions latest offering, “I’m a Man,” serves as a testament to the spirit of authenticity shining through tales of personal transformation. With lyrics that delve deep into themes of forgiveness, self-actualization, and growth, this song weaves a compelling narrative that resonates with listeners on a profound level.
“I’m a Man” paints a vivid picture of a young individual who navigated the turbulent waters of life without the guidance of a father figure. It’s a narrative that echoes with the struggles some face in their formative years, where a lack of positive role models can lead them down treacherous paths, often falling in with the wrong crowd.
However, the heart of the story takes a surprising turn as the protagonist encounters a wiser, older mentor figure who serves as a catalyst for change. As the song unfolds, we witness the protagonist’s journey through the trials and tribulations of youth, including potentially dangerous affiliations with gangs. But what sets “I’m a Man” apart is its unwavering commitment to portraying the transformative power of human connection. Despite past transgressions, the central character marries, and while he may still grapple with the demons of dishonesty and infidelity, there’s an unexpected twist. Instead of condemnation, he’s met with a profound declaration of love and forgiveness from his spouse. This act of understanding and compassion becomes the catalyst for his redemption, setting him on a path toward a brighter future where happiness and reconciliation prevail.
Gary Dranow, hailing from the scenic locale of Park City, Utah, stands as both a guitar virtuoso and a seasoned athlete. His music bears the indelible mark of his life experiences and unwavering dedication to his craft, offering inspiration to fans and aspiring artists alike. Dranow’s musical influences, including the legendary Jimi Hendrix and Stevie Ray Vaughan, infuse his work with a timeless bluesy charm that resonates deeply with audiences.
Connect with Gary Dranow and the Manic Emotions via:
“How To Move Forward” is the new single by British keyboard player and producer Sebastian Reynolds, it features a guest appearance from ex-Navy Seal and motivational public speaker Jocko Willink. How To Move Forward will be released via the PinDrop label on 1st September and follows the Fetus single on 11th August and the Cascade single on 21st July with all tracks taken from Reynolds’ debut album, Canary, due on 29th September 2023. How To Move Forward comes with a video cut from footage taken during a night raid in Afghanistan captured by ex-army operative and YouTuber Funker530.
Watch and listen here:
How To Move Forward follows on from the recent Cascade single, encapsulating the feeling of dread in the face of encroaching catastrophe. “Keep calm and figure out how to move forward” is an injunction from decorated Navy Seal Jocko Willink and in this context the army maxim of “keep your world small” is held up as a self-help doctrine of the simplest and highest order. Even through the hardest times self-betterment is always possible, and there is a quasi-religious overtone to it when rendered as a mantra. Musically How To Move Forward was inspired by the claustrophobic dystopia of The Eraser by Thom Yorke, and has a nod to cult stars such as Akira The Don, famed for his innovative use of sampling from stars of podcast culture.
Sebastian Reynolds has released a string of EPs and singles over the last decade including the pair of EPs Nihilism is Pointless / The Universe Remembers, Athletics EP, the Thai EPs Mahajanaka / Maṇīmekhalā and the trio collaboration records Solo Collective Pt 1+2 with Anne Müller and Alex Stolze. Alongside his own releases, Sebastian continues to work on commissions for Neon Dance, whose work that he scored, Puzzle Creature, has completed two tours to Japan and across the UK. He co-produced and scored the Thai dance and music collaboration piece Mahajanaka Dance Drama and is currently working on a film commission for Oxford University.
Fetus was composed and produced by Sebastian Reynolds in collaboration with Mike Bannard at Safehouse Studios, Oxford. Mastered by Andreas [LUPO] Lubich at Loop-O, Berlin.
Modern Mystery 
You must be logged in to post a comment.