Ev has synesthesia, and they incorporate their sensory experiences into music reviews. Synesthesia is a condition in which the brain links a person’s senses together in a rare manner, prompting unusual sensory responses to stimuli. People with synesthesia, for example, might see a certain color in response to a certain letter of the alphabet. Those who experience synesthesia “hear colors, feel sounds, and taste shapes” in a remarkably consistent fashion.
On a Wednesday night, the 27 Club hosted a lineup of smashing bands. Breaking boundaries of restrictive genres, the show consisted of four bands that crossed their own respective sounds. Swaying, dancing, moshing, and singing took over the hot club on a hot Ottawa evening.
Pronoun kicking things off at the 27 Club in Ottawa, ON.
Rocking an indie pop vibe were openers Pronoun. Their fun and upbeat sound swirled through the room and painted it various shades of yellow dripping with vivid cotton candy pinks. The upbeat and light guitar paints the sun even in the darkest of places. Like the sun shines through some rainy days – if that moment had a soundtrack, Pronoun would be it. Melancholic and yet contrasted by the chords that painted a soft joy, the guitar remained clean through each of the songs. The vocals crescendoed from soft and mellow to loud and soulful.
The drumbeats held a full and warm sound but they didn’t reverberate as the guitar and bass did. Even so, the bass placed itself in the background, hidden behind the guitar. It built dimension and strengthened the overall sound the band wanted to convey.
The band painted the overall soundscape teal blue, dandelion yellow, and specks of a dark cyan. They built up a summer vibe and played away the rainy glum with a bit of sunshine, that made you want to dance in your bedroom.
Oso Oso bringing the feels at the 27 Club in Ottawa, ON.
Next up were a band called Oso Oso. They rang in the night with a pop-punk feel that pushed toward indie punk. They held an airy and light sound while releasing some light aggression through the choruses. They painted beach party vibes with clear ocean blues, lavender, and rosé. Oso Oso sprayed bright yellow splashes through the drumming and used the cymbals to contrast it. The toms and snare gave off different hues of yellow and filled the room with a warm and golden vibe.
The guitar swirled the lavender and rosé colours together in a bright tone. It provided you with something to sway to while it simultaneously filled you with nostalgia. Guitar solos intertwined the cold blues with ease and made them hard to miss. Having danced with the bassline, the two instruments tangoed, blending into one another and created a depth of sound that muddled together – almost undetected. Hidden in the background, it stitched everything together.
The vocals were higher pitched and yet when harmonized which created a unity that seemed to tie the songs together. Mellowed out and smooth, aggression builds up but not in the same crescendo like manner as Pronoun. Rather each song is a buildup to the next.
Angel Du$t picking things up at the 27 Club in Ottawa, ON.
After Oso Oso were the ever anticipated Angel Du$t. They were loud and full of aggression that became prominent through the live performance. Sharing similarities with bands such as Culture Abuse, Angel Du$t put on an electrifying show. Deep sea greens, vivid reds, lime green, and sky blue hues soaked the room in bursts of colour. The roaring of the guitar brought on a sense of pent-up tension that yearned to be released while the vocals let out the upheaval. The pace chugged on and the slides added a new level of tension to the songs. The buildup painted the scene dark green with maroon bubbling up from underneath.
The bass ragged on and provided vivid reds from underneath the guitar. It was enraged while remaining the skeleton of said rage. It was the structure that the guitar seemed to follow – the bass leads without leading. Deep and rattling, the basslines camouflaged themselves behind the riffs and distressed chords the guitar emanated.
The drumming found itself full of rolls and rudiments that reinforced the cold hues. Each beat fell in quick succession to the last and the toms were heavily relied on. They produced a thick and round sound. The snare sounded very brass cat – meaning it’s softer but produced a smooth aggression. They generated a swift and powerful backbone to the structure created by the bass.
The vocals were deep and strained, unlike anything I’ve listened to before. Ranging from smooth and even to ragged and strained, the vocals came in either exasperated shouts or drawn out and steady. They painted the room bright reds to muted burgundy and got the crowd to scream along as they opened a mosh pit.
CITIZEN closing out the night at the 27 Club in Ottawa, ON.
After the chaos that ensued during Angel Du$t, Citizen tackled the stage with undying nerve, energy, and passion. They won over the crowd with somber sounding chords and painted the room murky blues, periwinkle, and gentle pinks with the song “In The Middle Of It All.” Tension built up through the songs and mellowed out through the verses. The further the guitar progressed and the more violent the sound became, the bolder the blues and purples stood out. It was overdriven and painted a sea of mellow aqua, pastel, lime greens and bright blue. The somber sound crashed over you in a wave of emotion and tugged at the heartstrings.
The vocals melded into that fit but kept a steady tranquil tone, strained when there were lyrics to be emphasized and drenched in emotional turmoil. They held half a pop punk and half a grungey feel to them. Soft-spoken one moment and poignant the next, it was enough to have brought someone to tears.
The drumming was cold, bony, shallow and hollow. It took over with its acuteness and drove the intensity through the compositions. Stacked on top of the guitar riffs and basslines, it rang through the room and created a Pollock-like masterpiece out of the vibrant cold hues it splattered across the scene. The drumming protruded through the soundscape.
The bassline didn’t draw that type of attention to itself but it still remained powerful having kept the tempo through and through. It added the blooms of bold blue and deep purple to the scene while keeping integrity and grit. While it did reverberate and blend into the background, it was still prominent enough to have created a distinction between the chords being picked and the deep hollow rumble.
The bands managed to capture emotion in striking ways, the whole range of them. If ever you’re in need of a good time – getting your mind off someone, releasing anger, needing to feel something – these are the bands you want to go see.
It was a packed bill Friday night at the House of Targ with Doc Hopper, Steve Adamyk Band, Audio Visceral, Laureate, and Matt Charette all gracing the stage.
Doc Hopper—the headliner for the evening—is a 90’s punk band from the North East US named after Doc Hopper, who was the owner of Doc Hopper’s French Fried Frog Legs chain of fast food restaurants in The Muppet Movie. As a bonus, Mikey Erg, of the Jersey pop punk legends The Ergs!, is currently playing with the band as they tour, which was quite anawesome surprise.
They played a solid fast hitting set of pop punk which took me back to my younger years of the late 90s when I was just discovering this style of music. Now, I never really listened to Doc Hopper other than a few songs on some mix CDs (remember those?!) but they had a sound that I was always very fond of. The song that really caught my ear and stuck with me was “She’s a Coke Head,” which is not the most uplifting of songs I know, but it was damn catchy. I also loved that the lead singer and guitarist gave a shout out to Punchbuggy, an infamous local punk band from the 90s, and asked if Scallen was at the show and then said “he is probably actually sleeping at this time, actually all our friends are old and tired.” There was a pretty excited group of folks who were moshing and dancing for much of the night. I don’t think they really knew any of the bands, but were just there for a good time. It was a lot of fun to see and definitely upped the energy in the room.
Steve Adamyk Band joined on stage by friends and former members during their set at the House of Targ in Ottawa.
The Steve Adamyk Band were on fire as always, bringing their local punk rock to the stage. The three-piece band opened with a new song which sounded great and they played another new song later in their set, which hopefully means we are getting new Adamyk on wax soon. Steve Adamyk is one of the most prolific punk rockers in the capital so you never really know what you’ll get as a set list, but on this night we got the aforementioned new songs, a bunch of tracks off his 2016 release Graceland, including favourites “Carry on” and “Swallow you whole,” as well as some deeper dives into the back catalogue. It was awesome to watch him play “I Fought for the U.S.A.” and have Dave Williams of Crusades and Black Tower, and former Adamyk band member Davey Quesnelle jump on stage to sing along. Adding to the moment was the fact that Davey was working at the time and was still sporting his perogie making apron. Good times were had by all for sure.
Audio Visceral dressed to chomp and rocking out at the House of Targ in Ottawa.
Steve Beauchesne, owner of Beau’s and guitarist of Audio Visceral, took to the stage sporting a sweet Pacman suit. Audio Visceral is made up of Steve and two other Beau’s employees. Yeah they make some of the country’s best beer and still find time to be in a pretty cool punk band. Some people have too much talent…but I digress. Once they finally got started (damn it Garry!) they powered through their first six songs without really taking a break, except maybe to have a sip of Lug Tread. They played a hilarious song called “I Suck” which doesn’t appear to exist online anywhere but the lyrics had me in stitches. Hopefully the fact that they are playing this new song and a few others means a second album is in the works. I know us fans will certainly drink it up…
Laureate playing at the House of Targ in Ottawa.
Pop-punk foursome, Laureate, from Montreal, were the first full band to play on this night. The band beautifully builds off of vocal harmonies between guitarist Giancarlo and bassist Erin, who essentially share the role of lead singer. This is complemented by some intricate guitar work by the other guitarist, who at times brought me back to the finger picking ways of screamo and heavier bands, particularly when they tap out the strings on the neck. It was fun to watch and he was really rocking out. The band’s set featured a minor setback when the bass started phasing in and out. Members of Steve Adamyk Band were quick to try to help, fiddling with the amp and providing a new patch chord. In the meantime Erin powered through, and what could have been a disaster really allowed us to focus on their impressive and really tight harmonies in the absence of the bass. This band needs to play Ottawa more often given that Montreal is not that far, and their sound really fits in with a lot of what is happening in this city. Check them out, especially their new record Landmarks and get ready to sing a long at their next show.
Matt Charette kicking things off Laureate playing at the House of Targ in Ottawa.
Opening things up was something completely different than the rest of the show. Matt Charette, a singer songwriter from Boston, played more folk and country than punk rock with his acoustic guitar and harmonica. Now don’t get me wrong, I’m not complaining as he has an awesome voice, is a great story teller, and certainly has some punk rock running through his veins given his lyrics and the Black Flag cover he chose to play. This was his second ever show in Canada, the first one being the night before in Toronto, and someone decided to play a trick on him and rewrite his setlist. The “custom” list included all covers by bands such as Nirvana, Metallica, The Cure, and Dead Kennedys. While he did play some covers, his original tracks were great. I especially liked “City Streets.” All in all, this night was chalk full of great bands and great times.
Galapagos play a style of gritty indie rock that evoke elements of 90s alternative, turn of the millennium emo and garage rock mixing vulnerable lyrics, jagged guitars and layered melodies.
Since the release of their debut EP Potential Space in June 2017, the band has finalized their lineup with the additions of Gerardo Mantecon (bass) and Jamie Orser (drums) joining up with founding members Matthew Wood and Adam Ferris, both on guitar. Orser brings technical training and a prog rock background to the band, while Mantecon has been very involved in heavy metal and punk for years. But the most important thing they brought is stability, as the band played their first show as this iteration in August 2017 and quickly got to writing new music and recording.
“It really allowed us to focus on the music including allowing Matthew to play with more textures and sounds with his guitar playing,” said Ferris about finalizing the lineup. “We also wanted to follow up the debut fairly quickly due to the fact it wasn’t a true reflection of where we are at presently as a full unit. We feel that each individual member really contributed to and influenced the sound of this new EP.”
The five-song EP shows a band that has grown and evolved in such a short time, both in members but also in song writing and prose. The songs mostly focus on the process of moving forward rather than looking back, though there are clearly sad moments and darkness on Even This Glow. “[The EP] touches on all aspects of healing including finding hope in a new light,” said Ferris.
While each song name is only one word—which I really like—they are far from simplistic and do truly convey pain and hope all at once through the honest and heartfelt lyrics, and the beautiful layering of sound achieved by the quartet. I was hooked from the very start as the guitar and Ferris’ voice seemingly dance hand in hand, strum in strum, in the lead track “Wall,” really unifying the music and the vocals.
The track that really stands out is “Jersey” with it’s catchy riffs and vocals that take me back to my yesteryears of classic pop-punk and emo breakup songs, except that as the track progresses it really shifts to a much more mature forward looking song. It also sounds like one of those songs that will be even better live, with people rushing the front to sing along beating their chests.
The band has been making waves in the nation’s capital since forming in 1998 and their latest releases sees them return to their pop-punk and Ramone-style jams. As a born and raised Ottawan, I have had the luxury of seeing and hearing the Riptides for years. It is great to have the first full length Riptides album in nearly a decade as they had focused on releasing a bunch of splits over the past few years with bands such as The Dwarves, The Apers, and The Connections.
The 18-track album only features two songs over 3 minutes in length, as it focuses on quick catchy tracks leaving you wanting more. One of my highlights of the album are the great local references such as “hanging out at Brewer Park” and “going to Barbarellas’s after dark.” I always find it very special when I can connect to the location or a person a band is singing about, especially after years spent signing songs about other towns other than your own. That local touch always strikes a chord is the very best way.
One of the perfect examples that the band hasn’t lost touch with it’s pop-punk roots after all these years are the back-to-back tracks of “Homing Missile” and “Happy Ever After.” The first is full of analogies and about being locked in on love as the title suggests, and the second is all about lost love and how there will be no happy ever after in his life due to breaking up. You can’t get much more pop punk than trying to secure love and being destroyed after losing it. What is great is even after doing it for nearly 20 years, The Riptides do not come off gimmicky or fake, just true veterans of the scene.
My favourite track might have to be “Someone Just Like You” which has almost every element I love to see in a song. It features claps, duet vocals, a relatable story of attraction out at a show, catchy chorus and then on top of that they make a guitar sound like they are joined by some brass on the track. Just love it.
Lyric videos have been immensely popular since the launch of YouTube. Often they are made by fans and simply feature the lyrics scrolling across the screen almost like karaoke, some going a little further to contain images along with the words. Dead Weights just took it to a new level with their video for “Stuck in My Head.” The video does feature the lyrics that are written on a black board in what looks like a classroom.
What makes it truly special is that the band invited several talented local artists and friends with very different style to draw two or three at a time on the blackboard really elevating the lyrics. The artists are: Jordan Seal, Kendall Valerio, Vance McBride, Cory Levesque, Yafa Jarrar, Pascale Arpin, Kieran McKinnon, and Liam Sheehan. Band members also jump in from time to time. To ensure they can fit all of this within the time constraints of their song, they speed up the video which makes the drawing unfold like magic before our eyes… drawing with chalk in hyper-speed!
The video peaks while the band sings the refrain “Try and keep an open heart” over and over at the end and you have eight people drawing at the same time creating one big beautiful mural with a great message.
Ottawa pop-punk group Dead Weights have just released their second full-length album, Mountain Arresting. It’s been a few years since we’ve heard new material from these guys, and we’ve been waiting impatiently ever since hearing a few of the tracks live earlier this year.
Mountain Arresting is a big step forward for Dead Weights, and clearly the product of a lot of work. The band strikes a balance of heavier guitar and bass parts with melodic flourishes, all woven together with rough and grumbling vocals of Jonathan Becker and Steve McCrimmon. Their signature sound comes through loud and clear on this record, as they tightened up their instrumentation even more and obviously had some chemistry in the studio. It doesn’t hurt that Dead Weights have been playing together for years, with lots of shows under their belts in recent memory.
Fans of bands like Latterman, Off With Their Heads, and Direct Hit! will feel right at home with this record, although it’s appeal is vast. Those who enjoy no-bullshit punk rock with some grit will fall into Mountain Arresting with ease. Their goal isn’t to play faster, louder, and harder than everyone else—their style and approach is intentional, and it grasps the listener tightly without losing meaning or using studio tricks as a facade of perfection. What you see is what you get with Dead Weights, and anyone who has seen them live can attest to this.
It was nice of them to put lyrics up on their site, because sometimes it’s hard to hear the words since it sounds like Becker just smoked three packs of cigarettes before the recording session. But hey, I wouldn’t have it any other way. The higher register howling of McCrimmon on tracks like “House is Not a Home” offers an appealing contrast to Becker’s whiskey-soaked rumbles. And the cherry on top? Hooks of gold, yearning for crowd vocals. You might catch yourself blasting these tracks and screaming some of the irresistible group vocal parts, only to realize that you are the only one in the room.
A stand-out aspect of the Mountain Arresting are the well-crafted lyrics, words about the everyday lives we live, social injustices, and growing up and getting by in a world that’s not always fair. Earnest words in these difficult times we live in is a breath of fresh air, offering perspective about the harsh conditions around us. But there’s a sense of hope in the songs, a sense that we’re all in this together and that all is not lost. Things are fucked up, but we can help each other and pick each other up. A little empathy and compassion go a long way, and while many of the songs discuss life’s difficulties and injustices, there is an overarching sense of humanity on this album.
It is obvious that a lot of effort was not only put into writing each song, but also composing a full album with no filler to speak of. The album itself is short and punchy, and although I was left wanting more, I still felt completely satisfied when I finished listening. Dead Weights have a lot to offer, and Mountain Arresting is a tremendous achievement.
Find ‘Mountain Arresting’ on Spotify, Apple Music, and bandcamp (stream below). Be sure to catch Dead Weights live on October 17th at House of Targ along with Montreal legends The NILS and Steve Adamyk Band. Follow event link here for more details.
On the heels of opening for the Red Hot Chilli Peppers at Bluesfest, Steve Adamyk Band dropped their brand new album Graceland July 29th.
Ottawa’s most prolific pop-punker Steve Adamyk has done it again with an excellent 13-song album with all the energy, “wo-ohs”, and power-pop perfection we have come to expect from Adamyk and his band. This certainly isn’t a Paul Simon album. The band, which has always been fronted by Adamyk, has seen some moving parts over the years. It currently features Pat Johnston (of many bands in Ottawa, notably The Acorn), and Max Desharnais and Seb Godin (Sonic Avenues). The album also features guest vocals by the eclectic Mike Kroll and LA’s pop-punk sweetheart Colleen Green which really adds to the raucous energy.
As great as it was to see some of these songs live before RHCP it is wonderful to get our hands on another album by Adamyk, this being his fifth. Just like their live performances, this album doesn’t really ever slow or give you a moment to relax, with most songs coming in at under two minutes. And just because it is pop-punk, power-pop, or garage… or whatever you’d call it – don’t think all these songs are love songs or about partying. Songs like the angry “Die Dead Forever” and the dark “False Teeth” show Adamyk’s depth beyond the prototypical sound of the genre. Fret not though, there are still super catchy tracks like “Carry On” and great rocking tracks like “Swallow You Whole” that will win you over right away and make you want to sing a long.
Put on some shades, a white jumper and chow down on a grilled banana and peanut butter sandwich while you have a listen to Graceland. If you like what you hear, the album is available in Canada on iTunes and Spotify via Royal Mountain Records, and there is vinyl in the works.
When the matching jackets come off you know it’s Peach Kelli Pop time. It was a cold May night but the all-girl power pop group teleported us to a sunny SoCal beach.
Allie of Peach Kelli Pop was all smiles all night at House of Targ in Ottawa. Photo: Ming Wu
Fronted by a great local talent Allie Hanlon on guitar and vocals, Peach Kelli Pop, played a most excellent set during the all-ages show at House of Targ. There was a ton of energy and so many smiles, on stage and off the stage throughout the entire set, which is always the case when Allie comes home. Peach Kelli Pop played some great new songs, “Halloween Mask” and “$100 Bill,” and also played a cover of the Sailor Moon theme song, which Allie dedicated to “all the girls.” It also brought me back to grade four – the nostalgia was real. Allie also showed her love for House of Targ, “I feel like this place was invented in someone’s dream, it’s out of this world, it’s the perfect mishmash of things.”
Nightshades rocking out at House of Targ. Photo: Ming Wu
As Nightshades took the stage, their drummer Geoff Clarke looked quite frazzled and winded… and rightfully so. During Toxic Thoughts’ set, the opening band, Geoff chased down a couple of kids who threw a brick through the House of Targ window after being kicked out. Well done Geoff! The band then appropriately opened with “Teenage Fool.” There were some other great things about this show, other than Geoff’s sprint. It was their first show with a new bass player, Dean Morris of The Haig, and the band played several of their songs with a much different feel. Songs such as “London Bass” and “Broken Bag” have changed for the better and I am very excited about it. Nightshades also played several new songs and they are still super bass driven and I cannot wait to hear those new tracks some more.
Felix of Toxic Thoughts in the crowd raging with a fan during their set at House of Targ. Photo: Ming Wu
Opening the night was new local hardcore punk band, Toxic Thoughts. “Hello everyone, we are here to provide some interruption before Peach Kelli Pop,” said lead singer Felix Lahbabi-Granger. The last name Granger may seem familiar, as the band is led by Yogi’s son Felix and man does the kid have stage presence. He often jumped into the crowd to mosh with his friends while singing. The band is still a little raw, but there is much potential in Toxic Thoughts and I look forward to watching them grow.
Sedatives took to the stage Saturday night for one of the most anticipated reunions in the Ottawa music scene in years. House of Targ was absolutely packed for the return of a band, some may even say a super group, that features members of Crusades, Steve Adamyk Band and The White Wires.
Scotty Lobotomy joining Sedative on stage at House of Targ in Ottawa.
Sedatives last released an EP in 2010 and haven’t released a full length album since 2009. With all that time away, anyone might expect some rust, but they were tight and on-point for all 14 tracks they performed. It was really like a dream come true for Matias and myself, as we had unfortunately missed out on the days of Sedatives shows and thought we may never be so lucky to hear Ian Manhire’s synth paired with the slamming punk rock sounds of these great local gems. We weren’t the only people who were super excited, as Scotty from The Creeps and Eric Neurotic from Cheap Wine each joined the band on stage taking over vocals during the set. And just in case this wasn’t enough, the band played a brand new song called “New Calling.” Yes you read that correctly, Sedatives are working on new material and will be recording it!
Eric Neurotic joining Sedative on stage at House of Targ in Ottawa.
Unfortunately, the show wasn’t all good. There were two or three individuals who considered their drunken flailing more important than everyone’s else’s feelings and space. Luckily, bassist Emmanuel Sayer reminded them – “Remember fun is fun when it is fun for everyone around you, not just three of you. Please be mindful of people around you.” The public shaming helped the two or three individuals get the message and the show continued in much better spirit. If you missed out on the show, I don’t know how you could have but maybe you did, Jordy of The Creeps recorded the entire thing and put it up on bandcamp. You can listen here and buy it to help the band fund their upcoming album.
The Creeps getting weird at House of Targ in Ottawa.
Before Sedatives was the always energetic and entertaining The Creeps from Ottawa. The dark pop punk band played a great set featuring mostly song off of their 2014 album Eulogies such as “Makes Sense,” “Ghost” and “Off My Guard.” No song got the crowd more into it than their hit “Cancer,” which my dad and long-time Ottawa punk veteran Steven Scharf said “is the perfect song.” The band didn’t forget some of their older songs like “Cold Feet” and the very rarely played “Car Crash” which was quite a perfect song to cap off the set with. I don’t think I will ever get tired of seeing The Creeps.
Durs Coeurs playing House of Targ in Ottawa.
Opening the night was Durs Coeurs. This was my first time seeing this three piece Francophone punk act play. They introduced themselves as “Hi we’re called Durs Coeurs, on s’appelle Durs Coeurs,” which made me chuckle. Their tracks are catchy and I always love hearing French lyrics over driving guitar. The band may not be as heavy as lead-singer Pat’s last band Asile, but they did impress. My favoutire track was “Coeurs Durs” which starts out sounding like you could grab your darling and do a lovely slow dance to it, but then quickly changes pace and really kicks in.
Creep Wave have something to share with you. At first, I perceived it as merely a piece of cake, but as I cut into it I saw something else – something much more substantial. The Ottawa based group’s EP Winter Sucks begins with a thin slice of melodically frosted pop punk guitar, which is joined at full force by the hurried, driving pound of the rhythm section. Immediately the head nods, the sun shines and we are in a place that we have been to before. But then, of course, comes the opening line, as vocalist Brittany Neron asks,“why don’t you smile?”. The album’s first cut, ‘”Cat Call”,should become a permanent installation on the streets of Ottawa, so next time when some seedy bastard passes unsolicited comment on a woman’s appearance, she can point towards one of the mounted speakers before telling him to fuck off. It is a frustrated and poignant reply to this kind of street harassment, told with wit and a sneer; a refreshing burst of personal commentary that carries with it great social significance. This is exactly the kind of voice we need to hear in punk today.
Essentially punk musicians, and to a similar extent all artists, should continually strive to re-invent the genre in which they are working, and if they are acting with an honest intention, they will succeed and carry with them a mark of personal innovation. Some choose to eschew the traditional forms of rock to seek new voice in experimentation, some choose to share original voices that are reflective of a personal struggle within a particular culture that is in need of re-invention. With “Cat Call”, I feel that Creep Wave have touched on to something special.
Elsewhere on the album we are buffeted about by tiny storms of power-pop and surf-inflected garage rock. Angst and melody co-exist with a mercurial sense of playfulness. “Sick Note” is a brilliant spray of attitude across a rollicking tom-roll; surf-trash for urban living, and anyone alive in Ottawa will understand “Outside”, the seasonal affective track that harkens to the title of the EP.
Winter Sucks is a tight, bright ray of sweet sunshine shone down to cut through the murk of a February afternoon. There is much here to recommend, in particular the first track which, when taken together with the energy and integrity of their sound, points to a promising future for Creep Wave.
Catch Creep Wave, Cheap Wine and The Disasterbaters at House of TARG this Friday, February 5th, event here.