‘Miss Together’ delivers an eerie blend of gothic art-rock and shoegaze chimes that make it hard to decipher whether you’re charmed by their bewitching appeal or scared by their taunting melody. Lyrics crash against induced silent strikes and underlying moody bass tones before erupting into chaotic roars where everything happens all at once. “She went after control” and “bounced off to hell” unravels the track’s unrealistic compromise for desiring freedom yet craving authority – one which vocalist Mia Scarlet alludes to wishing went hand in hand.

At the centre of the track, there’s a nostalgic theme of constant frustration and feeling isolated within the world they live in. Much like a cry for help, ‘Miss Together’ peels back the layers of toxicity that are found in having unhealthy obsessions and highlights the risk of being stuck in a rut.

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Showcasing shoegaze and emo inspirations, the track builds raw-rooted energy through a gritty rhythm section that’s hard to ignore. The guitars twinge amongst daringly honest vocals that dive into the band’s rough and empathetic personal reflections while still sharing their burning love for music.

‘Corner Couch’ a bold first single that highlights anthemic abilities within alternative rock, which, if you’ve been lucky enough to already see live, you’ll know it’s no disappointment. Kissing On Camera have developed an early sound that binds to bands like Feeble Little Horse and Title Fight yet carries a playful twist of their own.

Photo by Aoife Breen

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NYC’s Gnarcissists Release New Single ‘Broadway Baby’

The first taste of Gnarcissists’ debut LP has arrived as an unapologetically raw punk song that lingers with inspiration from the NYC greats. Recorded last summer with Gus Oberg and Johnny T beneath a bar in the East Village of Manhattan, the track carries the same manic rhythm of its origin, breathing life into the stale and mundane.

Influenced by animation and a love for 70s cinema, lead vocalist Matthew Orr pitched an idea for the ‘Broadway Baby’ screenplay that delivers a rare breed of music video genre. A piece about the long-standing NYC ‘Cop Shot’ reward programme is transformed into the perfect backdrop by visual artist Kingcon2k11, widening the single’s irreverent and tongue-in-cheek style.

With a catchy chorus about the desperation to be someone’s babe on a stage, ‘Broadway Baby’ carries the straight-to-the-point nature of a classic punk anthem that is hard to ignore.

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The track opens with an eerie, fly-on-the-wall atmosphere, embedded within haunting strings and lingering bass, as Mia Scarlet’s vocals become whistling whispers amongst a ‘Creep’ meets Avril Lavigne backdrop. The four-piece explore the things we hide and the lies we tell, all in the name of preserving this fragile idea of pride to demonstrate that sometimes taking the easy escape blocks us from the uncomfortable but necessary step toward growth.

At its core, the song is a quiet yearning for honesty and realness within ourselves and the people in our orbit. It’s a cycle, one that breeds more problems and makes us feel and act less like the person we’ve grown to know.

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On title track ‘Polyurethane’, it sounds as though you’ve been trapped in a fun house at the town’s carnival for about 6 hours, and when you finally get your escape, this song falls out of it. From staring at yourself in distorted mirrors to trying to find your way off that dreaded wheel at the end, ‘Polyurethane’ is one of those crazy image-makers that Smith is becoming known for.

The music video drives this further; it’s rather deranged. Constant flashing lights match the franticness of the drums, with early Madness-esque rhythms filtered throughout to create that clown-house tune. From empty audiences at kids’ birthday parties to clear, plastic masks that look like something from VHS (2012), everything is thrown at it.

On ‘Polyurethane’, “A lot of time, care and savings went into producing the EP. It’s probably the most laborious thing I’ve created up until now. I’ve been working on these songs for about two years. Typically, I would just sit down in my bedroom with a guitar and a basic 4-channel mixer. I used these to record 10-15 second “blocks” of song structures, then I edited them together how I saw fit. I have a pretty short attention span, and I find it hard to write entire songs in one sitting. Overdubs of other instruments came after. At the very end, I came up with lyrics and cadences to go over the final versions.” Kenny finishes with a wishful note “Hopefully, this record energises its audience and inspires feelings of youthful vigor and confidence.”

Photo by Aabid Youssef

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In the form of a rallying cry, here’s one for those who see a visit to a smash room in their immediate future. With anger and frustration served up on a platter, Martial Arts deliver a whole new meaning to having steam come out of from your ears.

Flipping their lid at those who set conforming tones, ‘Triumph’ is an ode to the misfits and the estranged from society. Challenging leadership and authority with unpredictable hits and breaks, the demanding structure of the track gives listeners a new direction to follow as the band themselves try to keep their heads above water, navigating the value of every day as a young person. It’s raw, personal and considered.

Speaking on the track, lead singer Jim Marson says, “‘Triumph’ is a rallying cry for anyone who feels stifled by societal pressures. It’s an exploration of the tension between personal desires and the pressures of society. Societal norms can suffocate the younger generation, many of whom can feel out of place in a world that demands conformity. It questions the true cost of such conformity to our own potential and values.”

Photo by Gary Conway

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With Halloween’s around the corner, there’s an apt creepy, stalker-ness to ‘Teething’ that I can’t seem to turn away from. The urgency to be wanted and desired is rife, and somewhat relatable, but creature analogies of bites and lingering bruises make for an utterly unique love story.

Vocals sound like whistles in the wind, guitars crunch on every word and disappear without warning, only to reappear like nothing has happened seconds later. ‘Teething’ is unpredictably beautiful, coming to an end with violent drums and 90s riffs, signalling it’s over for now but never for good.

Speaking on the Track, Ain’t add, “’Teething’ is definitely our creepiest song – Ed wrote it ages before Ain’t and the lyrics ‘you don’t even notice me from the window’ encapsulate the whole premise of the song neatly. It’s about vying for someone’s attention when they couldn’t care less – and how the sting of rejection isn’t so much a sting, but a persistent throbbing, like toothache.”

Photo by Marieke Macklon

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With an eye on Wax Head for a while now, their renowned adrenaline-charged shows have sparked the tip on everyone’s local tongue, and after watching them implode most recently at Manchester Psych Fest, the buzz is still there.

The raw and unfiltered impression I’d had of them echoes through new single ‘Rusty Cutter’ like a punch. Doom-laden vocals alongside grinding guitars shoot the explosive track through the doors of garage psych and into the midst of erratic unpredictability. They have an unsettling, untamed nature, and after learning that the single’s cover art is a photo of a fan from a London show with his head shoved in a kick drum (see below), I feel the need to emphasise UNTAMED!

Speaking on the Track the band add “’Rusty Cutter’ pays homage to our love for garage-rock. Despite us all having various influences, it is the respect for the genre that ultimately ties Wax Head together. We wanted to blend noisy, angular, and experimental sounds into the more straightforward structures we are inspired by, but the track’s brain-tickling noise and treble-driven guitars keep it distinctively Wax Head.”

Photo by Alberto Santinon

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Playing the opener (‘Swallow’) of these two songs on my way to work the other morning, and it put me at ease for a jam-packed Monday on the M62. The blend of lo-fi ambience from Heka and the engaging electricity of Saint Jude sent synths down my spine and made me miss the glimmers of sunlight I’d close my curtains to block out.

The gospel and folkier elements within the tracks master a ‘Wuthering Heights’ warmth, creating a sound you’d find on subtitled romance films from the 90s. I craved it. So, it makes sense to hear they found inspiration in early 20th-century Italian poetry.

Speaking on the lyrics to ‘In Your Garden’, Heka explains: “The song is about new love. It was inspired by La Pioggia nel Pineto, a poem by Gabriele D’Annunzio, which follows two lovers as they walk through a pine forest in the rain, progressively morphing with the vegetation around them, and experiencing the elation both of their growing feelings for each other and for the communion with the nature they are immersed in.”

Photo by Louis Barby

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