Category Archives: TVD UK

Walter Schreifels is a post-hardcore renaissance man whose talents I first encountered in 1993 while working at a record store. We received an advance copy of Slip by Quicksand, a band I’d never heard of before. But back then, we would give anything a spin. The lead single was “Fazer,” an intriguing track that stood out amidst a transformative period in music—sitting in the timeline between the debut albums from Rage Against the Machine and Korn.

Despite their sound often drawing comparisons to contemporaries like Helmet and Fugazi, Quicksand, in my view, surpassed these parallels through their exceptional songwriting. Their music was not just accessible; it was undeniably captivating. Every track on Slip was a post-hardcore gem, mirroring the consistency and depth found on Def Leppard’s Hysteria, but within a post-hardcore metal context.

Slip was, in many ways, the Hysteria of its genre—not in terms of mainstream hits, but as a near-perfect record for its time and niche. When Quicksand released their second album, it presented an elevated level of polish and production. However, despite its artistic merit, it didn’t garner the commercial success one might have hoped for. Quite frankly, I think they got fucked by a label that didn’t know what to do with them.

Leap forward to 2001, and Schreifels made a triumphant return with another project, Rival Schools. The band burst onto the scene with the instant classic “United by Fate.” Had Schreifels finally found his breakthrough? Could this fusion of his unmistakable voice with a fresh stylistic approach finally resonate with the masses? It appeared so.

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Alt-rock trio Enter Red are the new kids on the rock block and for good reason. Their new single “Low” is a formidably anthemic track that we hope to hear in a stadium some day.

Channelling the likes of Deftones and Phoxjaw, Enter Red’s new single is infectiously catchy from the offset. Talking about the single, Frontman Kyle Ashwood elaborates, “No matter how it looks from the outside, you never really know what’s going on until you’re in it. It’s like an expensive car might look great, but if you find out that it can’t move, you’re going to need a different one to get anywhere.”

Currently based in Bristol and having recently undergone a slight change in line up, the trio are ready to welcome the world to their snarling alt-rock sound.

“Low”is in stores now.

Alright folks, dust off your vinyl, reapply that face paint, and fasten your platform boots, because we’re about to dive into the star-spangled, adrenaline-pumping, rollercoaster of a farewell to the Gods of Thunder, the hottest band in the world, KISS! They closed the curtains (or should I say, detonated the pyrotechnics) on their bombastic career at the legendary O2 Arena in London, leaving fans both ecstatic and teary-eyed. Now, KISS has been known to cry wolf on these farewells, having more farewell tours than a magician has rabbits, but something in the air was telling us that this time, it felt like the real deal.

So, as the echoes of the final chords die down, let’s shatter the most overused word lurking in the shadows of KISS’s career: “gimmicky.” Time to toss that one out like an old guitar pick. Instead, let’s hail KISS as the “Czars of Theatrical Rock.” Since the ’70s, they haven’t just been playing songs, they’ve been conjuring tsunamis of sound and spectacle! These guys knew that a rock concert should leave you breathless and awestruck, not just tapping your foot politely. They aren’t merely musicians—they’re rock ‘n’ roll warriors, clad in armor and leather and face paint with guitars as their swords.

As for the critics, ah, the sophisticated eardrums that couldn’t quite appreciate the glorious cacophony of KISS. They’re probably still scratching their heads over how KISS, with their outrageous antics, sold over 100 million albums worldwide. Fun fact: KISS was so massive they even had their own comic book series published by Marvel! And here’s the icing: they mixed their own blood with the red ink for the first comic. Talk about leaving a piece of yourself in your work!

Let’s hit the gas and zoom straight to the O2. Stepping inside was like being hurled through a glittery wormhole back to the glory days of glam rock. And who’s there to greet us? Paul Stanley, the Starchild himself, blasting melodies as if his vocal cords were forged in the fires of rock ‘n’ roll Olympus. And get this—when not shredding stages, the guy moonlights as a seriously skilled painter. Can you fathom it? Starchild, on stage, brandishing a paintbrush in a blaze of color, while his voice sends shockwaves through the crowd with “Love Gun.” We’d all be there, jaws on the floor, and still think, “Yeah, that’s classic KISS.”

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Holy hell. I’ve seen some insane shows in my life, but this one shot straight to the top of the “I may be in danger” list.

Death Grips, a band notorious for its rapid rise to fame and its guerrilla tactics in music release and promotion, brought their cacophony of sound to London’s O2 Forum Kentish Town. The energy in the room was akin to Thor swinging Mjölnir at a drum set during an electrical storm. The fact that London is in a heatwave didn’t help matters as I literally got smacked in the face by a wall of heat and humidity that would make a Turkish bathhouse feel like the Arctic tundra in comparison. With an atmosphere that promised to be as subtle as a sledgehammer to a piñata, the crowd braced themselves for a night of sonic annihilation and unrestrained mayhem.

This Sacramento-based experimental hip-hop group has been a juggernaut in the underground music scene since the early 2010s. Their ascent was marked by a potent combination of an enigmatic online presence, surprise album releases, and the occasional flouting of industry norms, including a public feud with their former label, Epic Records. When the band released No Love Deep Web under Epic, they famously leaked the album online and used an explicit image as the cover, which led to a very public and messy parting with the label.

Their setlist was a testament to the raw energy that made them famous. The show started with an uncompromising fervor as the opening numbers “System Blower” and “I’ve Seen Footage” had the crowd in a frenzy from the get-go. MC Ride’s commanding presence was backed by Zach Hill’s feverish drumming and Andy Morin’s haunting synth sounds, making for an explosive opening.

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As the lights dimmed and the crowd’s chatter turned into an escalating roar, there was a sense that something epic was about to go down at London’s Eventim Apollo. Enter Incubus, the band that served as the soundtrack to countless teenage rebellions and road trips. Not quite the titans of rock, but definitely the charming rebels who know how to turn chords into catharsis.

Before diving into the concert itself, let’s rewind back to 2001 when I was working at Sony Music on the marketing team. During a meeting in New York City where the labels presented their Q4 releases, something peculiar happened. The label rep introduced Incubus’s new album Morning View as one that would define their career. “We have something very special from a very special band,” he declared.

And it wasn’t just the hype talking. Morning View was unique—it was a sonic departure from the angst-ridden nu-metal of the time. It was as if Incubus took a deep breath, looked at the ocean, and decided to make music that was introspective, melodic, and expansive. The meeting room back then was a pressure cooker of anticipation, and you could practically feel the future beckoning. Now, as I stood in the Apollo over two decades later, I couldn’t help but wonder if Morning View would still resonate with the same force?

Brandon Boyd, the age-defying frontman, took the stage clad in clothes that looked like they were stolen from a bohemian thrift shop. His voice still had that signature, “I just rolled out of bed and somehow sound amazing” quality. Mike Einziger on the guitar was vibing as though he was solving a complex mathematical equation through riffs. The drums, manned by José Pasillas, felt like the heartbeat of the crowd. Chris Kilmore on turntables looked like a mad scientist concocting a potion of effortless record scratches and keys. And then there’s Nicole Row, the new bassist, who played like she’s been in the band since the days when flared jeans were a thing even though she’s the newbie.

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This week we’re bringing unapologetically fun-filled, feminist punk to the forefront with I, Doris and their brilliant new single “HRT,” out now.

This London-based mummy core punksters celebrate a powerful message with humour, wit, and an absolute banger of a song. Channelling fellow feminist rockstars such as Bratmobile and Dream Nails, I, Doris create catchy post-punk for those who need to be heard. “HRT” marks the gold standard of I, Doris’ hallmark biting humour and feminist commentary. It comes accompanied with a super fun music video—during the filming of which, two Dorisses got themselves thrown out of Brixton’s TK Maxx store. They regret nothing.

Talking about the track, vocalist and bassist Cassie Fox says, “So many people with wombs face an uphill battle in obtaining the healthcare they need. “HRT” is about the struggle to be taken seriously and the fight to access the care we need to live our lives on our own terms. Also, it’s a disco banger. Now, what was I just saying?”

“HRT” is out now.

Alright, alright, alright folks, let’s dial back the grandeur and get down to the nitty-gritty of good ol’ rock ‘n’ roll. The Black Keys and Spoon turned up at London’s O2 Arena, and they brought the house down. I’m here to tell you it was a no-frills, straight-up, ear-blistering night of indie rock genius and bluesy grooves that lifted you higher than the contact buzz you got from being on the arena floor.

Let’s kick off with The Black Keys. Their gritty, blues-infused garage rock is like your favourite whiskey—rough and smooth in equal measures. Auerbach’s vocals, man—that guy’s got some soul, along with a bit of the ghost of Muddy Waters in him. And Carney? He lays down a fat groove with a little extra space in between the notes making it just loose enough while keeping the wheels from flying off the musical El Camino. Even though the Keys are at the height of their musical superpowers, let’s not kid ourselves; this is no overnight success story. It is, instead, one of the increasingly rare instances where a band goes from indie buzz band to bonafide shoo-in for the rock ‘n’ roll history books. 

In the steel-beating heart of Akron, Ohio, in 2001, a couple of kindred spirits named Dan Auerbach and Patrick Carney stumbled into musical alchemy. Picture it: a basement, the smell of old vinyl in the air, and the electrifying embrace of blues and rock. Carney’s got the recording gear, Auerbach’s got the licks and the pipes, and the gods of rock are smiling down on them. The chemistry is so thick you could cut it with a guitar string. Enter The Black Keys—baptized with a name inspired by a buddy’s lingo for the delightfully unhinged.

These guys start their saga with a roll-up-your-sleeves, grit-under-your-fingernails approach. They conjured The Big Come Up, their debut record, and when it hit the streets in 2002, it had critics and fans alike falling head over heels. From there, the duo began touring voraciously and went on to achieve remarkable success, including multiple Grammy awards, as they steadily evolved their sound while staying true to their blues roots.

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Brace yourselves for a seismic shift in the vibrant-pop soundscape as rising star FELIX emerges with a blazing new anthem.

With his highly anticipated second single “Hallelujah,” FELIX unveils a sonic explosion that is set to captivate hearts, minds, and dancefloors worldwide. At the crossroads of infectious melodies and an unwavering spirit, “Hallelujah” is a dynamic musical force with catchy hooks, punchy brass melodies, and irresistible beats creating a sound that lingers in the mind long after the final note.

Discussing the single, FELIX elaborates “’Hallelujah’ is an empowering anthem I wrote about breaking free and finally realising your worth. I wrote it during lockdown where isolation had given me the time to reflect, sit down with my feelings, and just let everything flood out.”

Receiving praise for his debut releases from the likes of BBC Bristol’s Adam Crowther and BBC Introducing’s James Threlfall, FELIX is an artist not to be missed with his debut EP set to be released in July 2023.

“Hallelujah” is in stores now.

Picture this: a high-octane garage band takes a wrong turn and ends up headlining a black-tie gala. That’s The Hives for you—strutting through the UK in their impeccable tuxedos, armed with the raw grit of garage rock that’s been polished till it shines. The Hives have been wrenching the bolts of garage rock for 20 solid years. But amid their UK stadium crusade alongside Arctic Monkeys, they did something special—an intimate, full-throttle gig celebrating the 30th anniversary of The Garage in north London. 

Imagine a turbocharged engine roaring in a cosy living room, with the audience so close they could touch the tuxedo threads and practically get baptized by the band’s sweat—that was Tuesday night. This was The Hives paying homage to their roots while playing with the big league. They are the garage rock wizards who never forget the spell that started it all.

Howlin’ Pelle Almqvist, The Hives’ magnetic frontman, storms the stage like a ’60s muscle car that just kicked in the nitrous amidst a fleet of elegant Euro classics. With Mick Jagger’s swagger loaded into a cannon and fired through blazing hoops, his theatrics are legendary. Commanding the band like a maestro gone rogue with a mic stand for a baton, it begs the question—is there a band that works harder than The Hives right now?

They stormed the stage, unloading an arsenal of hits right from the get-go. Opening with the sizzling “Bogus Operandi” from their forthcoming album, they wasted no time segueing into timeless favorites “Main Offender” and “Walk Idiot Walk.” The hits kept flying until, drenched in sweat, I wondered what knockout punches they had left. They answered with a thunderclap encore of “Tick Tick Boom” and “Come On.” How could I forget those juggernauts? Guess my sweat-soaked stupor cost me a memory stone.

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Indie-pop newcomer Joya shares her heart-achingly beautiful new single “If Ever She Goes,” out now.

Hong Kong-based singer-songwriter Joya—born Jodie Chan —pens melodic diary entries of real stories, from real people, with elements of herself braided in, and her latest release is no exception. Talking about the single, Joya says, “this is a love song, and as a love song I wanted it to highlight how we all know that love is powerful… but that the giver and receiver of that love are the ones who ultimately decide whether that builds or breaks.” In their specificity, Jodie reaches her listeners in a way that’s intimate, relatable, and yet far-reaching—the way you’d imagine your story as told by a friend.

Jodie identifies as a third-culture kid, queer, Christian, and a number of other things, but most importantly “not one thing.” Her music is an extension of her beliefs to the importance of inclusion, diversity, and the conversations that move us in that direction.

“If Ever She Goes” is taken from Joya’s highly anticipated debut album SHE IS JOYA, in stores later this year.

In the buzz-filled Electric Ballroom of North London last week, the woman next to me exclaimed, “Aren’t these guys fantastic? They’re like, 17!” She was spot on with her enthusiasm, if not with their ages. The Lemon Twigs, composed of brothers Brian and Michael D’Addario, may no longer be in their teens, but their youthful energy and electrifying talent are captivating the rock scene.

Watching the Twigs perform was like witnessing the revival of classic rock stardom. Their performance sparked reminders of the look of Steve Perry and Journey at the peak of their powers, the harmonies of Badfinger, and the songwriting genius of Big Star, and yet it still felt like watching something new and fresh. The D’Addario brothers, hailing from Long Island, New York, demonstrated an uncanny ability to channel the exuberance of classic rock, infusing their music with rich harmonies that would make bands like Jellyfish beam with pride. The duo’s knack for multiple instruments, coupled with their ambitious songwriting, has made them a stand-out act that’s breathing life into a forgotten genre.

While their recorded music is a blend of 7’0s rock and pop-baroque influences, their live performance takes it up a notch. I walked into the Electric Ballroom expecting a mellow, ’70s-style rock band. Instead, I was met with an explosive, high-energy spectacle that left me unsure of where to look. The music was a rollercoaster ride, heavy at times and reminiscent of Zeppelin, married beautifully alongside the jangly pop of 10cc, all while still maintaining a unique twist. It was clear the Twigs draw inspiration from a variety of sources, channelling them into a sound that’s distinctly their own. I know this sounds cliched, but give them a listen and you’ll hear exactly what I mean.

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Rising neo-soul sensation Anaïs Cardot stuns on new single “Colors,” out now.

Get ready to be blown away by Anaïs Cardot and her mesmerising single “Colors.” Anaïs is a French and Gabonese artist currently based in Ottawa, Canada. Her latest cut sees Anaïs singing soothingly in French and it’s the perfect summer sizzler for these warm, woozy days. Influenced by vocalists such as Ella Fitzgerald, Portuguese guitarist Joao Gilberto and her family’s musicality, Cardot has been crafting her unique sound since the young age of fourteen.

Cardot has received high praise from culture-shifters like Masego and PJ Morton, who have enjoyed her angelic voice on renditions of beloved covers as well as gracefully written original work. And as we near her graduation from Canada’s Ottawa University, we gear up for her highly anticipated debut EP “Pink Magnolia,” due for release later this year.

“Colors” is in stores now.

Get ready to vogue into the week with the eccentric, inclusive Tom Rasmussen and their sass-infused single “Look At Me,” out now. The release is taken from their debut album Body Building, also out now.

What a bop! Non-binary newcomer Tom Rasmussen shows us how it’s done with the release of their high energy house-infused new single “Look At Me.” We can’t wait to dance to this one! Taken from their debut album Body Building, Tom wants to challenge societal preconceptions of those who exist outside the binary to both highlight the ever-present issues and celebrates the diversity, beauty, and power of their community. Here here!

Talking about the album, Tom explains “Body Building is the culmination of a decade thinking about what it means to be different to other people, but in a way so many people have felt too. It’s about grieving a part of you that has been taken by others, it’s about escaping violence, it’s about accepting—and attempting to thrive in—reality and not simply fantasy. It is the last time I want to talk about all the violence I’ve experienced in my life as a queer femme person. But never say never. It is dedicated to queer people and trans people everywhere.”

“Body Building” is in stores now via Globe Town Records.

This week we’re celebrating British trans artist Geo Jordan and his wonderfully woozy new single “Close Enough,” taken from his new EP “Fathom,” out now.

Channelling the likes of Jack Garratt, Geo combines club-driven beats with ambient soundscapes creating a sound that is both dance floor ready and perfect for those sun-soaked afternoons in the park. This single and the whole record was written, performed, produced, and mixed by Geo himself. Talking about “Close Enough,” Geo says, “‘Close Enough’ is a feel good bop for the ages. I wanted to capture that feeling of that spark you get in a new bond with someone. Hopefully people can hear the vibe in the music. Had a lot of fun making it in the studio.”

As a multi-instrumentalist, writer, and producer, Geo attained two Grammy nominations for work with global sensation Doja Cat, alongside a history of previous production and writing credits with BRIT award winner Lianne La Havas, MOBO award winner Ego Ella May, Oscar Jerome, Sasha Keable, Laura Roy, and more. Jordan has also toured extensively as a musical director and musician worldwide with a variety of critically acclaimed acts, including Jungle, JGrrey, Jack Garratt, and Rina Sawayama.

“Fathom” is in stores now.

KOSCHKA—aka Edita Karkoschka—returns with the release of her stunningly cinematic new single “You Can’t Bear My Love,” out now.

Oozing with atmosphere from the offset, KOSCHKA’s velvet-like vocal soars intricately over the textured musicality. Fans of the likes of The xx and Cigarettes After Sex will feel at home here. Talking about the track, KOSCHKA elaborates, “this song is expressing the specific feeling of waiting and understanding a love without having any confirmation of it really existing, or knowing if it there is a future. For me, it’s one of the most important songs on my upcoming album—it’s real, it’s intimate. It needs time to develop.”

Edita is a singer, composer, and music producer currently based in Berlin. Her upcoming debut album is due for release later this year, so watch this space for more brooding atmospherics coming your way soon.