#unknown kerrang

[callmeblake]

Kerrang review of Frank at Reading and Leeds in August, 2015. (from ebay)

[thesecondshow]

“It is really safe to do Fall Out Boy because I’m hidden behind Patrick and he’s hidden behind me.” - Pete Wentz

[id in alt text, sources below]

caption: Pete Wentz interview with NME by Ali Shutler (April 21, 2020)

image one: Black Sails, Episode 38

image two: Fall Out Boy at Los Premios by Kevin Winter (October 15, 2009); Earth, My Likeness and Here the Frailest Leaves of Me by Walt Whitman; "It's Not a Side Effect of the Cocaine, I Think It Must Be Love" by Fall Out Boy

image three: "Fall Out Boy: 'So Much (For) Stardust' & New Beginnings | Apple Music" (timestamped link to 21:20)

image four: n0hartandsole (June 28, 2007)

image five: There’s Always This Year: On Basketball and Ascension by Hanif Abdurraqib

image six: unknown photographer (October 12, 2008); “Cranes, Mafiosos, and a Polaroid Camera" by Natalie Diaz

image seven and nine: Kerrang Issue 1554 (February 2015)

image eight: cover art for Believers Never Die

image ten: The Castle by Franz Kafka

image eleven: Black Sails, Episode 32

[andoutofharm]

patrick & pete + cryptophasia:

noun. Language that is private or impossible to understand, particularly the odd transmission trends which are occasionally formed between twins and are comprehendible only to them.

( pete’s twitter / interview on elvis duran (gifs and description by pigeoncowboys ) / patrick interview (source unknown) / interview with rolling stone (2018) / interview with zane lowe (2023, gifs by 1833outboy ) / kerrang issue 1554 / pete’s disloyal order of water buffaloes annotations / pete and patrick as the two halves of the new smiley face logo / pete's twitter)

[thekidsarentalright]

pete and patrick x friendship (part VIII)

[backstage at the metro (2023) / interview unknown (2013) / on stage in cologne (2009) / interview unknown / source unknown / on stage at band on the wall (2023) / kerrang interview (2023) / gif source unknown / interview source unknown / on stage at heaven (2023) / diy mag interview (2023)]

[earlycuntsets]

all 2004 mcr links

mcr’s old website  2004 (the gerard is missing capture)

spaceyraygun’s youtube

photos

1/13/2004 night & day cafe manchester uk tony woolliscroft on ig

08/20/2004 gillette stadium foxborough ma – brokenvoices

04/03/2004 majestic theater detroit mi – schwegweb.com

04/04/2004 bottom lounge chicago il – mechanical_riot

04/28/2004 washington dc – brokenvoices

05/07/2004 bakersville ca – rocksandiego.com (kira olsson-trap)

05/11/2004 san francisco ca – from strawberyxlove

09/13/2004 birmingham academy uk – blackvelvetmagazine.com

10/13/2004 kansas city mo – grrphotography

videos

05/17/2004 des moines iowa house of bricks – 515 archive

06/02/2004 manchester university manchester uk – TEMIHATOP-HvH

06/08/2004 vintage vinyl fords nj – spaceyraygun

06/09/2004 newbury comics shrewsbury ma us – punkstermann

06/10/2004 north star bar philadelphia pa – spaceyraygun

08/08/2004 summer sonic festival tokyo japan – dusted out on route guano

11/08/2004 hard rock live orlando fl – ryanninja

11/13/2004 unknown venue orange ca – TEPMIHATOP_HvH

12/12/2004 universal amphitheatre universal city ca – andrea amador

flyers

03/26/2004 soma san diego ca – theydrewblood.blogspot.com

03/28/2004 house of blues anaheim ca – theydrewblood.blogspot.com

2004 spring tour – theydrewblood.blogspot.com

04/25/2004 state theater st. petersburg fl – theydrewblood.blogspot.com

05/01/2004 sin 13 san antonio tx – theydrewblood.blogspot.com

05/14/2004 graceland seattle wa – theydrewblood.blogspot.com

06/10/2004 the northstar philadelphia – theydrewblood.blogspot.com

07/30/2004 the furnace syracuse ny – theydrewblood.blogspot.com

08/18/2004 trocadero philadelphia pa – theydrewblood.blogspot.com

11/13/2004 best buy parking lot orange ca – theydrewblood.blogspot.com

11/15/2004 rock island denver co – theydrewblood.blogspot.com

12/10/2004 cafe du nord san franciso ca – theydrewblood.blogspot.com

scans

01/2004 alternative press – mcrmyhollywood

01/2004 nme – mcrmyhollywood

01/2004 rock sound – mcrhollywood

03/2004 metal hammer – mcrmyhollywood

04/2004 sucker magazine – mcrmyhollywood

05/2004 hustler – mcrmyhollywood

05/2004 rock sound – mcrmyhollywood

06/2004 amp – mcrmyhollywood

06/2004 metal hammer – mcrmyhollywood

06/2004 rock sound – mcrmyhollywood

07/2004 alternative press – mcrmyhollywood

08/2004 blender – mcrmyhollywood

08/2004 grind house (japan) – mcrmyhollywood

08/2004 rockin’ on (japan) – mcrmyhollywood

09/2004 big cheese – mcrmyhollywood

09/2004 inrock (japan) – mcrmyhollywood

09/2004 nylon guys – mcrmyhollywood

09/2004 revolver – mcrmyhollywood

09/2004 rock sound – mcrmyhollywood

09/2004 spin – mcrmyhollywood

09/2004 volume – mcrmyhollywood

10/2004 inrock (japan) – mcrmyhollywood

10/2004 rock sound – mcrmyhollywood

10/2004 rolling stone – mcrmyhollywood

10/2004 threat – mcrmyhollywood

11/2004 grind house – mcrmyhollywood

11/2004 metal hammer – mcrmyhollywood

11/2004 rock sound –mcrmyhollywood

12/2004 guitar breakers – mcrhollywood

12/2004 guitar world – mcrmyhollywood

12/2004 rock sound – mcrhollywood

2004 warped tour guide – mcrmyhollywood

kerrang! # 1001 – mcrmyhollywood

kerrang! # 1024 – mcrmyhollywood

kerrang! #1010 – mcrmyhollywood

kerrang! #1022 – mcrmyhollywood

kerrang! #1027 – mcrmyhollywood

kerrang! #1028 – mcrmyhollywood

kerrang! #1029 – mcrmyhollywood

kerrang! #1031 – mcrmyhollywood

(2002 & 2003)

[mermaidinthecity]

By Unknown for Kerrang! Magazine - 2011

[grigori77]

2023 in Music - My Top 5 Favourite Albums

5.  LONELY THE BRAVE – What We Do to Feel

The alt-rockers from Cambridge, UK have completed their reinvention after their post-sophomore record shake-ups with what is arguably their best album to date, a canny mixture of moody, anthemic guitar-heavy muscle and haunting introspective beauty.  Enthusiastically gruff vocalist Mark Trotter definitely seems to have really earned his place now after making an impressive debut on 2021’s similarly excellent The Hope List, taking what was already a strong band producing great music and helping to transform them into something truly special.

Standout tracks:  Long Way, The Lens, Our Sketch Out, Victim, In the Well, Eventide, Unseen, The Bear

4.  HOLDING ABSENCE – The Noble Art of Self Destruction

Looks like it’s third album’s the charm for one of the very best bands to have emerged from the 2010’s second-gen post-hardcore alt rock scene (which also produced my absolute favourites of all, Don Broco … but that’s a different story).  Following up in FINE FORM INDEED from their already MAGNIFICENT second album The Greatest Mistake of My Life, Cardiff’s (no longer) best kept musical secret have crafted a streamlined powerhouse of a record that’s all killer/no filler, perfectly showcasing their ubiquitous double-threat of blistering guitars and lead singer Lucas Woodland’s spectacular, nakedly honest vocals.

Standout tracks:  Head Prison Blues, A Crooked Melody, False Dawn, Scissors, Honey Moon, Her Wings, These New Dreams, The Angel In the Marble

3.  HOZIER – Unreal Unearth

The rightly beloved Irish singer-songwriter has returned with what is arguably HIS VERY BEST record to date, a brilliant ever-shifting musical landscape incorporating subtle, spellbinding Celtic-flavoured gentleness, ear-wormy pop-accented bops and bravely inventive experimentation.  The result is the year’s most effortlessly SOOTHING musical offering, which has done wonders to cheer me up every time I’ve put it on after a rough day.  But I still miss “the woo” …

Standout tracks:  De Selby (Parts 1 & 2), Francesca, I, Carrion (Icarian), Eat Your Young, Damage Gets Done (featuring Brandi Carlile), Who We Are, Butchered Tongue, Anything But, Abstract (Psychopomp), Unknown / Nth, First Light

2.  ENTER SHIKARI – A Kiss For the Whole World

The craziest rock band to have EVER come out of St Albans continues to blow me away with their fiendishly eclectic mixture of edgy post-hardcore grit and anarchic electronic-edged musical MADNESS.  This is BY FAR their most streamlined record to date (I can’t believe it’s little more than HALF AN HOUR LONG!), but in some ways also their most rewardingly EXPANSIVE, Rou Reynolds and co. once again playing in an arena of massive themes and making us think as much as they make us ROCK OUT.  More of this please, lads!

Standout tracks:  A Kiss For the Whole World x, (pls) Set Me On Fire, It Hurts, Dead Wood, Bloodshot, Bloodshot (Coda), Goldfish, Giant Pacific Octopus (I Don’t Know You Anymore)

1.  SLEEP TOKEN – Take Me Back to Eden

It’s fascinating to think that just a year ago I’d barely even HEARD of Sleep Token, and certainly wasn’t at all FAMILIAR with anything they’d done.  Then they dropped The Summoning and everything changed … less than 12 months later this is BY FAR the best record I’ve heard ALL YEAR, and as far as I’m concerned anyone who DOESN’T rate it at the very top of their own 2023 list clearly wasn’t paying attention (I’m looking as YOU, Kerrang!).  The mysterious Vessel and his equally unknowable fellow collective have crafted a work of unrivalled MAJESTY here, a little over an hour of pure sonic MAGIC which constantly flips between the hardest possible progressive metal and a dizzying myriad of other genres from its attention-grabbing opening to the heart-wrenching closer.  The end result is not only the best album of the year but a very strong candidate indeed for, potentially, my album of the DECADE.  Worship indeed …

Standout tracks:  Chokehold, The Summoning, Granite, Vore, Ascensionism, Are You Really Okay?, The Apparition, Take Me Back to Eden, Euclid

The ones that didn’t quite make the cut:

STONESIDE. – God of the Mountain (the Texan prog metalheads amaze us once again with their long-awaited debut album); PVRIS – Evergreen (multitalented musical genius Lynn Gunn delivers her most eclectic and full-on electronic alt-rock record to date); TESSERACT – War of Being (the latest offering from the endlessly inventive Milton Keynes prog metal maniacs just might be their best yet, and it’s DEFINITELY their most memorable); BABYMETAL – The Other One (quite possibly the greatest metal band to ever come out of Japan have done it again with another stone-cold banger of a record); STAIND – Confessions of the Fallen (one of the greatest secret weapons of the American post-grunge era makes their long-awaited return after a 12-year absence with one of their best albums to date)

Honourable mention:

EXPLORING BIRDSONG – Dancing In the Face of Danger

Much like with Sleep Token before them, I was genuinely ignorant of this emerging prog rock band from Liverpool up until mid-November, when Kerrang! Radio introduced me to them through their haunting cover of Deftones’ Diamond Eyes.  Then I did what I always do, see what else they’ve got knocking about on YouTube, and within two videos I was LOST.  Their second EP is completely fucking AMAZING, a magnificent musical adventure of pure imagination and experimental GENIUS which goes a long way to prove you don’t actually NEED guitars to rock out, lead-singer and pianist Lynsey Ward doing a genuinely beautiful job with just her keys.  All five tracks are absolute FIRE, but the undeniable standouts are Bear the Weight and the killer closer, No Longer We Lie.

[ijustwantedtobeoneofthestrokesuk]

The New Rock Revolution

The Strokes, the New York circuit and everything exciting that was going around in Detroit with The (White) Stripes was the future of music but they arrived fully formed, leaving the UK labels in a panic. There was bands around but they weren’t ready yet so the labels looked to their commonwealth partners who had relatively unknown bands on their books, waiting for an opportunity. If they were ready, this was their moment but this new movement of bands from different countries, who didn’t sound like one another needed a name.  

The NME had created a “New York scene” with the “We Love New York” issue, in November 2002 they went global with the “New Rock Revolution”. In the issue (which came with a free CD), NME editor at the time Conor McNicholas said 

“Once in a generation, something so revolutionary happens in music that afterwards nothing is ever the same again. Right now, that’s exactly what’s happening.  

The last twelve months have been one of the most amazing periods for music in living memory. After 5 years where pop culture has amounted to little more than a seemingly endless conveyor belt of bland and contrived non-entities, kids across the planet are suddenly, and spontaneously, rediscovering the thrill of rock music.  

This CD is the sound of this new rock revolution and we can assure you it’s the most upfront, exciting and finger-on-the-pulse music compilation you’ll get all year. There’s just one thing we ask – play it very, very loud.” 

The tracklist included tunes from those who will always be remembered including The Libertines (we’ll come on to them soon), Yeah Yeah Yeahs, Interpol and Black Rebel Motorcycle Club as well as ones that are long forgotten, such as Burning Brides and The Beatings...  

It sounded great, at the time it felt organic, however, Conor McNicholas has since said otherwise. 

“After The Strokes and The (White) Stripes, suddenly there was a massive demand for bands and nobody was prepared. It was running at the speed of the internet, which nobody had seen before.  

In 2002 we put The Datsuns on the cover with the headline, “All hail the heroes of the New Rock Revolution”. Kerrang had “nu metal” and we, accidentally had the “New Rock Revolution”, people moaned that the NME created a genre but it was the headline from The Datsuns cover that had been taken in that context and people rolled with it, so we had to. 

There was now a gap, record labels panicked, they hadn’t got time to sign anybody, none of the big UK labels had anything but they had associated labels who had bands around the world. Suddenly there was a bunch of mysterious bands from all over the world elevated and given UK marketing budgets to plug this gap. 

The rise of any band is manufactured, there’s a team of people whose job it is to generate hype. Every band has a publicist who is actively pushing stuff at the music press, if the music press like it, they will then collaborate with the manager to create a hype machine.  

A friend of mine was saying, “wasn’t it amazing that, we in Britain discovered all of these brilliant American bands before the American’s did and it’s a testament to our great taste”. That’s not how it works, it’s all planned, for a band to break America it’s incredibly hard, the market is so huge, you can play endless gigs in New York or LA until you get noticed but you’re still a local band. If you take an American band out of America and put them in the UK you can go from zero to the front cover of the NME much, much faster. You then take that cover back to the American press and tell them they are behind the curve, Spin and Rolling Stone take notice. 

Because of the speed of everything, the size of our scene, American labels actively brought bands to the UK to accelerate their development then export them back to America. The whole thing is planned, it’s a machine.” 

With the help of the NME, bands who had struggled to break out of their hometown now had their moment and they became part of this worldwide eclectic ‘scene’. Try categorising The Beatings, The Music and The D4, the only things they have in common is that they are bands and have ‘The’ in their name. There was ‘new’ bands being ‘discovered’ but, in reality, it was all part of a well-executed plan. However, all the marketing in the world can get anybody noticed but they needed talent to back it up. Without The Strokes, would this have ever happened, The Modern Age EP gave Swedish garage punks The Hives hope, they had been playing to empty rooms for years, then there was another band who sounded similar to them, being played on mainstream stations. 

Touring the US was hard, expensive and exhausting which is one reason many American bands ‘made it’ in the UK first (The Columbia Hotel was their home when they were in London, the hotel bar was the hottest ticket in town). Many of these bands had been together long before The Strokes, and 3 of them, championed by the NME, who didn’t come from the States or the UK and ended up having different levels of success are The Hives from Sweden, The Vines from Australia and Hot Hot Heat from Canada.

Kings of Leon’s bassist Jared Followill was 2 years old when The Hives first started playing together in the small mining town of Fagersta in 1989 but they didn’t become The Hives until ‘93. If you have seen The Hives, you have seen a show, they are entertainers, they are slick attention seekers but they had to, they had already played hundreds of gigs, to empty rooms, or uninterested crowds so when they were given an opportunity, they were ready to play in front of a crowd. 

They masked themselves in self-confidence and faked arrogance which got the audience on board but in reality, they were just happy to be there. After years of struggling, they had dealt with failure, they were going to grab every opportunity while it was there as they expected it wouldn’t last. Everything else was just a bonus. They had already released Veni Vidi Vicious and the punchy single, Hate To Say I Told You So but the album only sold 600 copies and their label was going to drop them. Alan McGee (who discovered and managed Oasis) stumbled across The Hives after seeing the video for Hate To Say I Told You So, signed them up, rereleased the single and the best songs from their first 2 albums and the timing couldn’t have been better. The Hives are still selling out large venues and releasing albums over 20 years later.

While The Hives were prepared for exposure, The Vines necessarily weren’t, despite being a band (with an ever-changing lineup) since 1994, however, they were more of a party band for the erratic frontman, Craig Nichols. Based in Sydney, The Vines took influences from ‘60’s pop, grunge and Brit Pop which can be heard on their perfect 2002 debut, Highly Evolved, packed with chaotic energy and delicate moments. 

Success was tough for frontman Craig who was diagnosed with Aspergers and The Vines became the first “big” band from the “New Rock Revolution” to start falling to pieces. Winning Days couldn’t live up to the debut and although they continued to release albums, the magic that Highly Evolved had was lost. 

The New Rock Revolution could be found in Canada too as Hot Hot Heat were a heavy band with pop influences (especially The Beatles) but, unfortunately for them, they were “cancelled”, in a music way…

In 1999 4 school friends, lost in life after graduating, with jobs that didn’t fulfill them moved into a punk house full of musicians. Each week a new band of housemates would form, they’d write a few songs and play a house party then form another band with housemates for next weekend's party.  

One line-up stuck, they made a cassette tape with a few songs and did a tour on the West Coast of America. The first night of the tour they played in San Diego and sold all 100 copies of the cassette.  

The debut album, Make Up The Breakdown was made in 7 days, which included finishing off lyrics, recording and mastering 10 songs with Nirvana and Soundgarden producer Jack Endino. The first song they recorded was Bandages which originally wasn’t even a song, Steve was writing lyrics on the way to the studio.  

Make Up The Breakdown was initially released in October 2002 on Sub Pop and it was the single, Bandages that was their breakthrough hit, despite some controversies. The danceable indie, punk, pop number was a guaranteed floor filler at every indie disco thanks to its up-tempo beats and catchy lyrics but the BBC pulled it from the radio as they felt it was insensitive due to the Iraq war going on at the same time which had a significant impact on the bands' exposure. Despite that, the band was loved in the UK early on, they sold out Camden Barfly, appeared on CD:UK and Top Of The Pops as well as the cover of the NME. 

The album was rereleased in March 2003 after the band signed to Warners where they were given major label resources and a budget to promote it. They were a band who made the most of being on tour, each show felt like a party for the band and crowd but the band partied before and after each show.  

The debut album was a huge success and instead of following it up with a similar-sounding record, they returned to the same approach they did in their punk house when they formed a new band each weekend. Every Hot Hot Heat album had clear guidelines when they started to write and record it and Elevator, released in April 2005 ditched the party tunes for songs that could be played on an acoustic guitar. It was heavily influenced by The Beatles, produced by Dave Sardy and cost £300,000 to record, a contrast to Make Up The Break Down, made in a week.  

The album did well for the band, showing their ambitious style,and it took them around the world with headline shows and some huge slots supporting Foo Fighters, The Killers, Snow Patrol and Garbage in arenas and stadiums. After years of playing to small crowds in intimate venues, working these huge rooms took some readjusting for the band while fighting fatigue. 200 shows a year started to affect their performance, particularly Steve’s vocals, he wasn’t a trained singer, he was a punk who dismissed vocal warm-ups and singing techniques until he realised he was shortchanging the fans. It was then that he came to terms with the fact that he was now a pop star, not a punk. 

From there, it all went down for the Canadians who, like The Von Bondies, had a frustrating relationship with a major label who wanted something that they weren’t. After the frosty experience on album 3 Hot Hot Heat returned to their roots and went with an independent label, giving them the space to do what they wanted without big money expectations. 

NEXT CHAPTER

[chorusfm]

The Dangerous Summer Announce New Album

The Dangerous Summer will release Gravity on June 21st. Today they’ve shared the title track. Today, The Dangerous Summer are thrilled to announce their forthcoming record, Gravity, out June 21st via Rude Records.  Pre-save Gravity on streaming services HERE. For vinyl, merch and custom item pre-orders visit HERE. To celebrate, the band have also shared their brand new single, “Gravity,” out now. A perfect way to begin a new era of The Dangerous Summer, “Gravity” is a powerful anthem about overcoming personal darkness and navigating the mysteries of the unknown. The tracks' mystical instrumentals alongside Perdomo’s dreamlike vocals offers listeners a provoking glimpse into the band's soul-searching journey through space to find their unique sound. Speaking on the track, lead singer, AJ Perdomo shares, “‘Gravity’ almost never happened. It had an old name - ‘The Walls Outside,’ with completely different lyrics. A week before the end of the record, I locked myself in my room for 2 and a half days. It was kind of a breaking point in the record, but it turned out to be filled with so much heart, that it ended up as the first single. It really encapsulates the album. The lonely journey we spent out in space finding our sound. There were times where I thought that we would never make it back.” Listen to “Gravity” HERE.  The band have also shared the official music video for the track today. Created by AJ Perdomo, Josh Withenshaw, and Christian Zawacki, with additional shooting by Ethan Luck, Danny Zawacki and various artists, the clip follows a group of astronauts on a mission, sharing a touching story of resilience and hope. Watch it now HERE. The Dangerous Summer signed their first record deal as high school seniors and quickly established themselves among the alt-rock world’s elite. Passionate delivery, confessional authenticity, and deeply resonant musical storytelling define their sound. The band writes hooks that serve as soundtracks for important life moments for a diverse group of listeners spread across the globe.  The audience is more family than a fanbase. The community feeling is apparent at every gig, from Slam Dunk to Riot Fest, from touring with State Champs to headlining shows. Reach for the Sun is the record that “shot them into the pop-punk pantheon” (Kerrang!). Powered by unshakeable, enduring alt-rock anthems, the Ellicott City, Maryland band’s debut album made them heroes of the Warped Tour world, all while they carved their own unique path. 2011’s War Paint was a sophomore-slump-smashing follow-up. Grantland likened the “tall and wide” riffs of 2013’s Golden Record to The Hold Steady and U2. (“Catholic Girls” even earned The Danger Summer praise from the famously discerning Pitchfork.) Alternative Press saluted The Dangerous Summer as a group that stayed true to their sound, praising the songs on their 2018 self-titled comeback album as equal parts charismatic and addictive. 2019’s Mother Nature conjured an emotional storm, with an uplifting bent. Underoath’s Aaron Gillespie appeared on the 2020 EP, All That Is Left Of The Blue Sky.  Produced by Will Beasley (Turnstile, Asking Alexandria), 2022’s Coming Home ushered in a new era for TDS. The Dangerous Summer never sacrificed their unique, diverse sonic identity, one that appeals to fans of everything from Kings Of Leon and Coldplay to Jimmy Eat World and Bright Eyes. Coming Home is a triumphant summary of what The Dangerous Summer is all about, past, present, and future.  The Dangerous Summer is: AJ Perdomo | Vocals/Bass  Josh Withenshaw | Guitar  Christian Zawacki | Drums Track Listing * I Feel More Like Myself When I'm Losing It * Pacific Ocean * Gravity * You'll See It All Coming * What's An Hour Really Worth * Turning Love Into War * Where Did All The Time Go? * With My Pen * Wild One * Clouds In My Eyes * Dream * Into The Stratosphere --- Please consider becoming a member so we can keep bringing you stories like this one. ◎ https://chorus.fm/news/the-dangerous-summer-announce-new-album-2/

[metalshockfinland]

EVILE Announce New Album + Reveal Music Video for Title Track 'The Unknown'

[photo by Steve Dutton] Since their formation in 2002, British thrash masters EVILE have been turning heads and taking names, delivering pure thrash offerings blended with an uncompromising metal assault. Not only have the band played a notable role as the thrash metal resurgence movement of the mid-to-late 2000s, but as Kerrang! praised, they have “carried the genre’s whole ‘revival’ on their…

[existentialmagazine]

Review: Dead Reynolds new thundering alternative-rock single ‘Wake Up’ tackles the struggles of addiction in its personal lyricism

Five-piece Dead Reynolds hail from East Anglia, bearing a mix of alt rock, indie rock and pop punk perfect for fans of Foo Fighters, Don Broco, Mallory Knox or Nothing but Thieves but still strikingly their own. Since forming in 2018, they’ve picked up long-standing support from Kerrang! Radio, RockSound, Powerplay Magazine, and critical acclaim from Louder/ Classic Rock, plus Amazing Radio and BBC Introducing that has only pushed them further to succeed. Now bearing their newest single ‘Wake Up’, Dead Reynolds are making it clear they’re a band with a lot to give and this new track will only solidify the places they’re heading.

Storming into the three and a half minute experience of ‘Wake Up’ with clashing drums, emphatic electric guitar and an overall identity that’s big and bold, Dead Reynolds don’t limit themselves to anything other than greatness. The verse sees vigorous beats settle down to a steady lull, with rich electric guitar and deep bass all together building a sonic base bridging between alt rock, indie rock and softening into brilliant pop melodies. As the chorus instead of bursting into an explosion levels out into more of an atmospheric moment of vastness, ‘Wake Up’ manages to balance brewing energy with a diffusion you can’t help but chant along to, with aggressive drums falling into a backing whilst soaring electric guitar riffs find their own place. With their new vocalist Rossco bringing a new direction to the band’s sound, ‘Wake Up’ shows off the edging of both rock-y grit and charismatic flair that he weaves between, erring the edge of a clean pop delivery and the more rich tones of hoarseness and bundled emotion. A bridge that fades out into a moment of sincerity and stripped-back beats leaves a moment to ponder before building drum beats climb towards a high the song feels it’s been awaiting since pressing play, taking vocals that interact with one another to truly ramp up the rising adrenaline. It’s clear that in terms of sound, ‘Wake Up’ is a song that wields a war behind its ebbing and flowing of velocity, serving both an anthem to be played loud and a message to be heard.

With a heartbreaking story to tell that covers darker lyrical themes, Dead Reynolds don’t shy away from touching upon the harshness of reality inside of ‘Wake Up’, expressing a narrative rooted in the struggles of an addict. Close from the heart and relating to experiences of members of the band, ‘Wake Up’ is a hauntingly penned journey of love and loss, watching someone you care for detach from the person they once were and being unable to intervene. A fear of their loved one’s demise is engrained within every day, rooted in the choruses’ repetition to emphasise the recurring thought that just won’t stop coming back even in lighter moments: ‘I wonder if we’ll see tomorrow.’ Rhetorical questions seek to find answers that will only continue to be left unspoken and un-responded to, weighing heavy as they watch someone they care for throw everything away and slowly realise they cannot pull them out unless they truly wish for it: ‘was it everything you wanted?’ Left feeling out of their depth, lines like ‘only you can break these chains’ plead for change while they are only able to witness from a distance as their loved one continues to downwards spiral. Every moment and personally pained line of ‘Wake Up’ captures the reality of addiction, as well as the burden it places upon those around them, preaching a message of solidarity with those watching a loved one lose themselves and hoping to reach out to those who need the encouragement to turn things around.

Check out ‘Wake up’ for yourself here to enjoy Dead Reynolds’ thundering alternative-rock sound that’s dedicated to sharing an important message sure to resonate with many.

Written by: Tatiana Whybrow

Photo Credits: Unknown

// This coverage was created via Musosoup, #SustainableCurator

[callmeblake]

2013 Kerrang (X)

[ritchieblackless]

My Cozy Powell Collection

I know that nobody cares but yesterday MY Cozy Powell patch came and it's LOVELY and I wanted to show you

Two Cozy Powell T-shirt. The Bedlam one is hand made. The other one is vintage I think... I got it very cheap... Very very cheap, talking about £6 pounds.

I don't know if this is worth to be in my collection but since is a Cozy Powell item I will let it pass. P.S: I am preparing a post explaining why this book is awful.

THE PATCH. Since is vintage is not for the iron so I will have to glue it or, worst case scenario, sew it. I found it lovely because most of the patches that have a person on it are creepy but this is sooo perfect. (WELL it is still creepy but it look fine)

The dad version of the patch. Cozy Powell poster featured on a unknown magazine (because I bought it as a clip) saying thanks to the people that voted him as the #1 drummer for the 5th time (not in a row though)

My Cozy Powell vinyls. I didn't take a picture of the Rainbow ones because you already know that Cozy was in Rainbow 5 years and he is in the most memorable albums.

We have Octopuss his 3rd album. ELPowell (which funnily enough, that was the first Cozy Powell album that I bought without knowing anything about him but just his name. So I have an a affectionate relationship with it). There is Tilt, his 2nd album and one of my favs. Also there is Night Games which is an amazing album, so poppy but good. The mythic Bedlam self-titled, good good album, is on YouTube and is highly recommend if you like pure 70s rock. Bedlam "Demos and Anthology" this album is lovely and there is a rough demo of his iconic 1812 Overture Drum Solo. The one and only Over The Top. I have nothing to say about this album, is just so perfect. And last but not least, Rough and Ready, Jeff Beck Group. WHAT AN ALBUM ok

Don't believe I am rich. I just had luck on finding these on Ebay and record shop at £6 pounds or even less.

More clippings. This is an interview.

On the right there is a Kerrang magazine of August 1981. On the left, is a Cozy Powell poster that came with the magazine and also there is a Rainbow family tree explaining all the members.

On the left we have a Japanese edition that I found ON A CHARITY SHOP of The Drums Are Back, Cozy's solo album of the 90s. The normal The Drums Are Back the cover is an illustration. On the right is The Very Best of Cozy. Bedlam live in Birmingham and Big Bertha live in Germany 1970 (Cozy and Ball brothers's band before Bedlam)

More clippings. Two newspaper promotion cuts of Cozy's albums.

My Cozy Powell bracelets and ome Japanese pin badge that I found on Ebay for £2 pounds. I am telling you, I am just lucky. Not rich or spoiled, just lucky to find these things.

I hope none of you hate me for doing this, I am not trying to brag about the stuff or something.

[thekidsarentalright]

pete and patrick x friendship (part IX)

[tourdust woodlands / pete livejournal entry (2007) / m&g photo (2015/2016) / source unknown / tourdust st. louis / kerrang interview (2023) / p2 mirroring each other (2009) / kerrang interview (2023) / tourdust wrigley (via fobs insta story, no longer available)]

[earlycuntsets]

marilyn manson hating mcr like it's his job

radio host: uh. are you still fighting with my chemical romance?

mm: I never was fighting with them. but we did a show with them and um. what was it? like norway. and one of the guys - the guitar player came up and he's a dwarf. legally. there's a law against dwarves. and he came up to my chest bone- cuz i'm like 700 feet tall and he's like 2 feet tall. and uh, he said to me: "i'd really like to apologize for things" I said it's a good thing. cuz I would have beat him down like a bitch. but um. I never tried to instigate something with them. to me its.. i'm not trying to complain. everyone was like "did you write that song about my chemical romance?" i'm like no.. yknow so it was something to press or instigate. but to me, my chemical romance.. it's just kinda. not something I like. I don't care and I told him i'm like "yeah I have no problem with you but I don't like you"

unknown radio show- mm interview

kerrang# 1164

nme 06/2007

spin 12/2005

[mermaidinthecity]

By Unknown for Kerrang! Magazine - 2011