After their hugely disappointing A Thousand Suns album of 2010, Linkin Park look set to return on 26th June with Living Things, and have preceded that release with the first single Burn It Down.
Immediately concerning is the dance/electronic melody that opens the track, almost having a Calvin Harris-esque style, suggesting another turn down the wrong creative avenue. Thankfully, the song recovers quite sharply, bringing a little more meat and power courtesy of a thudding percussion and thundering guitar work on the hook, whilst Chester’s ever-harmonic yet angsty vocals compliment both the electronic elements and the rock core well, alongside Mike’s short rapped contributions which are enjoyable and certainly leave you wanting more from him. A stronger lead single than that of the last album, fingers crossed that the album will deliver in the same vein. Stream here, and grab it on iTunes next Monday.
After departing Victory Records in July of 2010, Chicago-based pop-punk band THE AUDITION is set to write their own history with the self-release of their brand new EP, titled ‘Chapter II’ on 11th June in the UK to coincide with appearances at the 2012 Slam Dunk Festival in Leeds, Herts and Wales. Backed by the support of their fans around the world, ‘Chapter II’ sees the band heading in a fresh direction and honing their signature sound into one that demonstrates a maturity and breadth evident in their earlier releases but not fully realized until now. The first single from the EP, the catchy ‘You Make Me Sick’ can be heard here. Click on for EP and tour details.
OFF! have unleashed a music video to accompany the track ‘Wiped Out’, which will appear on the band’s forthcoming self-titled album – their first proper full-length. A slew of European live dates is also plotted, including headline performances across the continent (with seven dates in the UK), as well as festival sets at the likes of Primavera Sound in Barcelona.
The album ‘OFF!’ will drop on May 7th, 2012 via Vice Records. Barreling through sixteen high intensity tracks in as many minutes, the album demonstrates the LA quartet had still further to ratchet up their visceral sonic maelstrom, delivering a “dark party” soundtrack of unleashed exasperation and bitterness executed with a rigorous precision that more than lives up to the cavalcade of accolades heaped upon them so far by the likes of Pitchfork, The Guardian, NPR, Kerrang!, LA Times, among many others.
We’re into our second week of what proved a popular new feature last week, and you’re in for another journey not too far down memory lane. I call it Recollection Avenue.
This genre-less weekly episodical seems like the perfect opportunity to mix things up, and whilst there’s still ‘normal’ stuff in there, feel free to indulge yourself with the two curveballs I’ve thrown in this week.
Last week you may recall Kid Cudi featuring heavily, and this week’s theme is…April 2009. I’ll be honest, it was more coincidental than anything.
Switching up to a rock/alt style with this one, as San Francisco band Dirty Ghosts come through with an edgy, stripped-back effort that will win some admirers for sure.
Allyson’s vocals are pack a raw, unfiltered punch that makes for refreshing listening in an increasingly ‘polished’ genre, without sacrificing a solid grasp of core melodies, as demonstrated in the catchy hook. The vocal synergises with the spiky guitar work very well throughout, which combines with the relatively easygoing percussion for a punk/alternative crossover that makes for a decent listen.
My love of ‘winter music’ has been far from secret here on OTU, and several discussions with music fans of various tastes have led me to believe many OTU readers share that appreciation.
We’re all about satisfying the fans, so welcome to our new 5-part feature. Each edition features a selection of tracks that are taior made for the dark winter period, and in keeping with OTU’s diversity code, expect some old tracks, some modern tracks, with a vast range of genres represented (in no particular order either; for example, Vol. 1 doesn’t necessarily have all of the best tracks!)
Just to really drive those frosty vibes home, we’ll even provide you with fresh, original artwork for each ‘EP’ for you to download at your pleasure and finish off those playlists. Kind aren’t we? Without further ado, click below for 5 tracks to get your winter started. → Continue Reading OTU Presents The Winter EP: Volume 1
One of my favourite songs from their thoroughly-excellent Neighborhoods album, and certainly one of the more mainstream-ready tracks.
The video is comprised of live show and backstage footage, much like the last video, and though it’s disappointing to not have a ‘real’ video, there’s no doubt that this still captures the essence of the track. Full of action and energy, there’s plenty of performance shots alongside the customary funny moments (there’s lots of crotch thrusting), packed around the vibrancy of the live crowds. Unfortunately (and annoyingly), they’ve not made it available for embedding, so you’ll have to click below and head over to get182.com to watch the clip.
Blink-182-Wishing Well Video
Several people have recommended this song to me today, so it only seemed right to give it a listen and see what all the fuss was about. Frankly, I’m not really buying into the hype.
It’s not a bad song by any means, but truthfully I’m struggling to distinguish the sound from the myriad other hipster ‘indie-folk’ favourites doing the rounds, and ultimately it sounds like yet another band singing high notes in a bittersweet song. Again, that doesn’t make it a bad song as that’s generally a pretty engaging combination by all accounts, and credit goes to the instrumentation which has a powerful progression that infuses a little energy and intensity to the track, blending well with the passionate vocals.
The video is simple and effective too, having a stripped back yet vibrant style that puts lots of emphasis on organic elements, with various eyes, nudity and so forth shown. Worth a listen for the more ardent alternative fans, but those who just loosely flirt with the genre won’t find much to shout about here.
Benji and Joel Madden of Good Charlotte fame appear to be branching out and have enlisted the services of many upcoming and established hip-hop acts for a mixtape that could end up being a half-decent listen, assuming the Maddens don’t start rapping.
It’s difficult for anyone to claim to be a true Good Charlotte fan with a straight face, but they’ve occassionally shown flashes of quality, with The River in particular being an excellent song. It is on the quality of that track I hold hope that the project might be decent, and features from the likes of The Cool Kids, Wiz Khalifa, Kreayshawn, Casey Veggies and many more are also encouraging signs that this could be worth a listen. The 12-track tape is available to both stream and download for free below.
Blink-182 follow up their comeback album’s release this week with brand new visuals for what is probably the most energetic, fast-paced track from the fantastic Neighborhoods album.
The track followed Up All Nightas one of the first released from the album, and the video follows suit. Unlike the aforementioned video, this is comprised largely of live show footage, which makes for a much-needed personal touch and sense of collaboration from the band: whilst the music has been genuinely great, many Blink fans have missed the fun, togetherness and camaraderie of the group, and there are certainly instances of those elements in this video as the group appear to have a little fun throughout whilst performing.
It’s not clear whether its going to be the in-game soundtrack or an accompanying album, but Arkham City: The Album boasts an impressive line-up of artists from the rock/alternative world that certainly warrants attention.
Whilst the line-up is admirable, it has to be said that P!ATD’s normal style doesn’t seem to entirely fit the dark, sinister nature of the video game. Though there is a clear gothic influence on their production and instrumentation here, it doesn’t cover the natural perkiness and pop-punk bounce of their sound enough to make it a relevant fit with the visual style of Arkham City, and whilst it’s not a bad song by any means, the synergy with the product its tied to just isn’t there unfortunately.
“50% of all proceeds from iTunes sales of this release of Stories From the Sky will go two one of two different charities – US sales towards The Animal Miracle Foundation’s “International Emergency Disaster Fund” to provide much needed supplies for people, pets, search & rescue handlers and their dogs in times of disaster. They were involved in the Japanese Tsunami efforts where dogs were used to find people trapped under rubble etc. 50% of the UK / world sales will be given to help for heroes.”
Recognise the name Forever August? If not go back here and refresh your memory you fool. In memory of the tragic events that happened on this day 10 years ago, the band has got involved with this good cause and produced a track of good quality for you to enjoy. The video montage itself was put together with their new US management company Furocious Music. Press play to the left here to feast your ears upon this emotional track.
Introduced to you way back in April, Scams impressed me with a fresh take on the Indie style and that evolves with this hugely enjoyable track.
Opening with a dark, gritty style, the track bursts into life with an explosion of sharp guitars, thudding percussion and intense vocals, blending together for a rebellious, energetic effort from start to end. It’s all held together with a pop-rock sensibility that ensures the instrumentation remains memorable, the verses are engaging and the hook is catchy, with a clear comfort in their own sound. They even throw in a dub-esque bass around two-thirds of the way through and at the end, displaying their diversity and sonic flexibility.
The video is dimly lit, mostly monochromatic and plays off the darker elements of the music very well, thankfully avoiding both over-complication and over-simplification, rather landing in a happy medium that suits and enhances the audio. Slick production is key here, as the video matches the band’s own refined style with a smartly-edited and generally enjoyable visual product. Lots of potential here, and it could be only a matter of time before they crack a mainstream audience.
The third track made available from Neighborhoods, and it’s delivered in an unconventional manner in keeping with the unique methods both Tom and Mark have favoured in recent years. Having been premiered by Zane Lowe a few hours ago, you can now head to Get182.com to play a game and be rewarded with a free download of After Midnight: It’s not my job to ruin anyone’s fun/promotional tactic, so head there to get the track!
The instrumental work has a fantastic blend of the wistful, distant Angels and Airwaves guitar style with a bittersweet pop-punk edge, giving it a sound similar to the previous Blink album, but with a heavy dose of Angels’ ethereal influence. Tom’s melodies are as strong as ever on the verses, belting out some incredibly catchy vocals throughout, whilst Mark delivers an addictive chorus lyrically reminiscent of his work with +44, synergising superbly with the production to really anchor the song. The first real audio evidence of a fusion between the +44 and Angels & Airwaves styles, whilst also having a throwback Blink style, and it’s a successful combination that arguably makes for the best track we’ve heard from the album thus far. Grab the track here!
Fresh off the back of releasing visuals with Blink-182, Tom DeLonge shows no signs of slowing down with his latest video as part of Angels & Airwaves, and the first single from their upcoming album Love Part 2.
The track opens with the trademark delayed guitars so prominent on their first two albums, whilst the heavier guitar work found on Love comes to the fore soon after. A noticeable addition is the strong work on the keys that gives the track a heavy Coldplay vibe, making for a more mainstream-friendly sound and still fitting snugly into their ethereal style.
The video is undoubtedly one of their more spectacular visual efforts, with bright, powerful lights surrounding the band in an otherwise dark environment, as they’re backed by images of war and space, both of which also make up engaging scenes interspersed between the band’s performance shots. It’s generally a nice representation of the audio, with the harder, spikier guitar work visualised in the grittier war images, whilst the celestial nature of their music is encapsulated by the various galactic sights. Enjoyable audio-visual combination, and I’m looking forward to more ahead of that 11.11.11 album release date.
Anarchy, looting, disorder and mayhem is the central theme here, only this time I don’t think anyone’s going to get arrested for it.
Blink-182 cement their comeback with the first official set of visuals from Neighborhoods, going with a rebellious video packed full of an infectious, youthful carefreeness, contrasting nicely with the general darkness of the clip, and hence accurately reflecting the opposing styles of the uplifting hook and grittier verses in the audio.
Busy nighttime scenes of kids (and of course, Blink themselves!) causing as much havoc as possible make up most of the video, whilst the band themselves are seen surrounded in flames to further enhance the edgy, anarchic style of the video. Thematically, it’s nothing groundbreaking but it’s an easy, energetic watch that works well with the audio, and will certainly appeal to the mainstream viewers.
There were many that weren’t totally won over by the first release from Blink-182′s upcoming Neighborhoods album (the artwork is quite clearly to the left), and whilst I wasn’t one of those folk, the departure from their previous sounds was inevitably going to lead to such divisions in their fanbase. Back in 2003, many weren’t totally convinced by their ‘final’/previous album for identical reasons.
This song however will win over anyone with lingering doubts from either project, heralding a return to the fast-paced, energetic music with the unmistakeable boyish charm that characterised the majority of their back catalogue and epitomised 90′s and early 00′s punk music. Lyrically however, it feels considerably more mature that previous works, with a relatively bittersweet message atop the frenetic instrumental work, throwing in a welcome influence of the +44 style. With it being such a radical stylistic departure from Up All Night, thoughts naturally linger towards understanding the direction of the album, though admittedly the unpredictability is welcomed and I hope to see further shows of diversity ahead of that September 27th release date.
When the release of this track was announced, I expected my review to be anything but subjective. I’m a massive Blink fan, and the release of their first new material in 8 years (!) is something I was always going to meet with overwhelming positivity, hence I felt it would just become a love-in. Thankfully though, any praise I do give is absolutely warranted here, as they’ve come through with a very enjoyable track from their upcoming Neighborhoods album.
Up All Night blends together the jagged, heavier instrumentation found on the Box Car Racer album (and in parts on the last Blink album) with the melodic sensibility of Tom DeLonge’s work as part of Angels and Airwaves, the catchy, anthemic hook in particular being reminiscent of Tom’s better work with AVA, whilst the Box Car-esque punchy guitar and pulsating drum work add a powerful intensity and addictive energy. The result is a successful synergy of styles that lives up to Travis’ billing of this being a ‘logical step-forward’, and should satisfy large chunks of their fanbas by virtue of drawing on multiple influences. Inevitably, it will be compared to more ‘accessible’ singles from previous albums, but it’s a song that certainly grows in stature with each listen and crucially it feels as musically watertight as any of their previous material. Grab a listen below. EDIT: Buy the single here! (A demand, not a recommendation).
Finally, there’s an official music video (Rather than video with music) released from Taking Back Sunday’s self-titled fifth album.
The comedic video focuses on a disturbingly large cat (OMGWTFTBSCat) that manages become a YouTube sensation, obtaining over 80 million views. Unfortunately, this new found fame goes straight to OMGWTFTBSCat’s head, who begins to alienate his old friends and fans alike whilst delving into the seedy world of porn and catnip as he tries to recapture the fame and stature he once had.
It appears as though OMGWTFTBSCat is actually a reflection of Taking Back Sunday’s (or more specifically, Adam Lazzara’s) rise to fame and the much publicised events of in-fighting, departures and returns. A strong hint towards this idea is the band’s new motto, that “Sometimes it takes sometime to remember where you were headed in the first place and the people you intended to go there with. There’s no hard feelings, just the future”.
While there are moments in the video that are genuinely funny (such as Shaun Cooper’s letter to the cat at 2:18mins in), much of the humour feels forced and laboured but that doesn’t stop the video from being an enjoyable watch that fits the message of the song well. Oh, and you can follow OMGWTFTBSCat on Twitter at @OMGWTFTBSCat.
An acoustic cover of Kanye West’s Can’t Tell Me Nothing taken from Taking Back Sunday’s set at the Warner Brothers Summer Sessions.
Although the synth, sample and bass heavy original has been stripped down to just two guitars and the two TBS vocalists, the mood of the original hasn’t changed one bit. There’s still an air of bravado, hostility and of defiance that made the original such a powerful and telling song.
Criticise Linkin Park’s recent material all you want (I certainly have), but there’s no denying that fundamentally they’re pretty talented guys. This is a wonderful example of the power Chester Bennington has in his voice, delivering a rousing acoustic rendition of the ubiquitous Adele single, and doing real justice to the original’s raw, hugely emotional vibe.
Watching someone perform in such an unfiltered manner generally makes for compelling viewing, but the performance here surpasses that particular generalisation by virtue of being hugely replayable, and is most definitely worth watch. Note the crowd claps towards the last third, and how horribly out of time they are. At least 50% of them were thinking of a different song, of that I have no doubt.
We were treated to the audio some time ago, and Coldplay cement their ‘comeback’ (why is it always referred to as a comeback when artists launch a new album cycle?) with this video.
As with most Coldplay visuals, this is slickly produced and boasts some enjoyable effects to keep viewers engaged throughout. In particular, the stop-motion cinematography used captures the frenetic, energetic style of the audio, turning what would otherwise be a relatively unremarkable video into something more distinctive. A similar transformation is made by the lashings of colour used throughout in both the paint and outfits, contrasting nicely with the somewhat grim, industrial settings they’re surrounded by, and hence offering flashes of brightness that turn mundane scenery into a more positive environment. A decent video for a mainstream-friendly song, it’s both a solid watch and listen. Available on iTunes for those that don’t already have it.
Coldplay are one of those acts that upon making a ‘comeback’, you realise it never actually seemed like they went away, so ubiquitous is their music and image. It’s not confirmed whether this will be from an upcoming album or EP, but it’s new music and I’m sure the Coldplay fans will be hungry to give it a taste.
Very positive and rooted in a hugely uplifting style, it’s a well-timed song as it comes back with an infectious summer vibe that gives this track a great deal of potential in terms of popularity. Though the electronically-driven intro will certainly throw listeners off, the nuts and bolts of the rest of the song aren’t anything particularly new for Coldplay, with progressive instrumentation building to an explosive finish, led mostly by some solid guitar work from the band. With relatively bland lyricism, it’s a testament to Martin’s vocal ability that the lyrics/vocals still remain relatively engaging, though it’s probably more to do with his sheer command over a melody than anything else. A solid listen, and one you’ll probably give a fair few plays as the weather improves. Available on iTunes right now!
I present to you our new music video for “Iridescent,” from the movie, Transformers: Dark of the Moon. The video explores how human existence might be affected by the elements of Transformers robots and the threat of the Decepticons. What would it be like to be citizens in a decaying universe? I tried a lot of new things here, and we had a lot of fun shooting it. Hope you enjoy.
Probably the best track on their wholly disappointing A Thousand Suns album, this ethereal, galactic video makes for a nice synergy with the atmospheric audio. I’ve only ever seen about an hour in total of the Transformers films, and thankfully it doesn’t matter too much as the video’s dark style and universal scale are easy to appreciate regardless. Scenes such as the brief mirroring of The Last Supper and various examples of cosmic imagery add that grand, almost apocalpytic feel, all building into a big, energetic climax with added brightness and a flurry of motion.
Definitely worth a watch, particularly if like myself you’ve fallen out of love with LP somewhat: this video shows they can certainly still get it right.
Probably my favourite track from their Come Around Sundown album, the easygoing blend of country, indie and rock make for a very enjoyable listen in this instance.
One of those videos that really captures the vibe of the audio too, opening with lots of bright, summertime scenes infused with positivity and warmth, and closing off with a blend of lively fireworks and relaxed performance that enhances the feelgood vibe of the song. Very welcome refresh of a song I gave a lot of time, and a video that will both satisfy the current fans, and should also grab them a few new ones by virtue of being a generally inoffensive all-round package. Come Around Sundown available everywhere.
I’m not really a fan of these guys outside of the odd track here and there, but I’ve been neglecting the indie side of things as of late, so I’m sure the fans out there will enjoy this preview of their forthcoming album.
The whole album is available to listen to in full, along with buttons to pre-order and such. I’m actually looking forward to giving this a go, despite my aforementioned lack of fandom, purely to see how their sound has come on and whether they’ve made/are yet to make that ‘artistic integrity’ album that alienates the regular fans and wins over mavericks like myself. We’ll see, but for now enjoy the album in its entirety here.
Having had the pleasure of seeing these guys live on a number of occasions, I’ve been left blown away by their performances each time and I would like to introduce to OTU and Unsigned Hype, The Verdict. Hailing from Liverpool, The Verdict are a 3-piece Indie/Britpop band, featuring Gaz Wilcox (Lead Vocals/Guitar), Josh Ferrigan (Bass/Vocals) and Kev McKay (Drums/Vocals). As their Myspace states they bring pounding drums, throbbing bass and a big guitar sound with a modern britpop vibe.
You can preview and purchase the bands debut EP Business & Pleasurehere, or you can head over to their Myspace and listen to a few more tracks from the guys, including a few of their earlier tunes. You won’t be disappointed.
Sometimes, you talk to people about music and they just come alive with an infectious passion: Gaz Wilcox (who I also know to be a very talented barber) is one of those people. I took some time out a while ago to speak to him on his thoughts and ambitions of the band. To read what Gaz has to say about the band, hit the jump and keep reading.
Post-hardcore gods Enter Shikari are currently slaving away in Thailand, recording and hopefully finishing their yet-to-be-titled third album. Luckily for us, they’ve released visuals for the first single Quelle Surprise. The song itself is typical of Enter Shikari’s style of synth heavy production and a mishmash of other genres but keeps to their high standard of music.
The video begins with a Minority Report influenced scene. A battered and bruised vocalist Rou Reynolds using the technological advancements he’s singing about before pushing them aside. Reynolds and the rest of the band continue their journey towards the white light through sheer will power. Could the video be suggesting that we’re over reliant on technology? Or that it’s being used incorrectly? Whatever message you may infer, the video is at least entertaining enough, though pretty primitive in parts.
They’re back and they’re back with aplomb. With a new, self-titled album due on June 28th, Taking Back Sunday return with their first official single from the album, the punchy and charming Faith (When I Let You Down). And with it being a new TBS album, that means another line-up change. But at least it’s a familiar change with John Nolan and Shaun Cooper re-joining the ranks, returning TBS to the line-up of their strongest album, Tell All Your Friends. This change has brought an air of irresistibility around TBS, as all us TBS fans look forward to seeing if the ‘original’ line up can recapture their former glory.
The song is a standard TBS affair, especially for those familiar with their two previous albums Louder Now and New Again: the massive, catchy chorus, the introspective and usually personal lyrics of Adam Lazzara return, along with a strong and loud instrumental which combine to create an atmosphere of uplifting splendour. Whilst TBS’ sound may always be expanding, this song falters somewhat by sounding far too similar to a 30 Seconds to Mars song; even the video recalls the premise of Closer to the Edge. These issues are only minor however, as Faith (When I Let You Down) is still an infectious and grand song, with a video featuring an intriguing post-modern twist which is unveiled at the end. See if you can spot it before hand!
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