Track Of The Day: Weekend Recovery – ‘Chemtrails’

Weekend Recovery’s latest track, ‘Chemtrails‘, is a direct response to the rampant spread of misinformation, both on unregulated social channels and in the mainstream news media. From start to finish, the song captures the emotional journey of watching dangerous lies spread through your community. It takes the frustration and annoyance of that experience, and condenses it into a few minutes of unbelievably catchy music.

‘Chemtrails’ hits heavy from the start, with fuzzy guitars, throbbing drums and lyrics delivered in a way that aches with feeling driving them. By titling the track, the band have created a clever metaphor that bleeds into its structure – it takes a conspiracy theory popularised by tools spreading misinformation, and uses it to critique those exact tools. It’s a fun parallel that shows the group’s skills when it comes to crafting lyrics with depth, nuance and sharp commentary.

The lyrics strike that delicate balance between being relatable, while still capturing a specific moment. A huge proportion of the people listening to this song will know the exhaustion of hearing another tired cover of Freebird at an open mic; it wouldn’t surprise me if the band (perhaps each member individually) and every one of those listeners will have the face in mind of a specific bland performer who finally tipped the scales and made Freebird unlistenable for them. These words are fuelled by vocals soaked with feeling – there is an initial aggression to them that captures the rage you feel seeing people legitimise dangerous lies. They relax into an almost spoken section heavy with sarcasm that is cathartic to hear. These are bookended by upbeat, bouncy lines that let you fall back into the space where, if nothing else, you have to laugh at the situation. The strings ramp up to the climatic finish to wrap all those emotions into a powerful scream, which swiftly drops back into the bouncy vocals before it implodes like your mental health after too much time in the wrong corner of Twitter.

In ‘Chemtrails’, Weekend Recovery have captured the nuanced anguish of being caught in a constant untrustworthy news cycle, and made it catchy as hell at the same time.

Kirstie Summers
@ActuallyKurt

Photo Credit: Keira Anee Photography

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ALBUM: A Void – ‘Dissociation’

Since their formation, A Void – the London-via-Paris triple threat of guitarist/vocalist Camille Alexander, bassist Aaron Hartmann, and drummer/backing vocalist Marie Niemiec – have been channelling their societal frustrations into a style of unapologetic alt-noise-grunge all of their own, with a punk-as-fuck riot grrrl attitude. From their 2016 EP, Roses As Insides, to their 2018 debut LP, Awkward and Devastated, A Void exude cathartic rage through raw visceral energy.

Mixed and mastered by Jason Wilson at Stakeout Studios, A Void’s sophomore LP Dissociation is a more mature record, spanning a song-writing period of two years, but no less aggressive than their previous offerings. Opening with the one-two punch of ‘Sad Events Reoccur’ – a six-minute punk rager presented in two parts – the trio take no prisoners with a Dinosaur Jr.-esque fuzz.

Propelled by L7 inspired chaotic energy and Hartmann’s heavy-as-fuck basslines, Alexander and Niemiec’s sing/screaming vocal harmonies throughout ‘Stepping on Snails’ encourage us to break free from anxiety, and embrace life through hypnotic grunge. Alexander’s intoxicating punk guitar groove throughout ‘One of a Kind’ is relatively calm in contrast to the trashing breakdown of ‘Newspapers’ – “Instead of destroying myself, I decided to destroy everyone’s ears!” – and its doom-sounding counterpart ‘Bag of Skulls’. Whiplash is expected!

‘Sick As a Dog’ follows as a dark, cathartic track detailing the fear of abandonment; “the idea of channelling pain through several emotional states”. Mental health is a reoccurring theme in the band’s lyrics – Alexander not shying away from her emotions as she screams with a sense of hopelessness: “When all the changes make you lose the plot / and bring you into a state of dissociation.”

From the distorted guitar sludge of ‘2B Seen’ to the softer dissonant strings of ‘5102’, A Void’s bewitching sound is vampiric, demanding your energy as you headbang along to the snap of Niemiec’s rhythm, and Alexander’s emotional outbursts: “I’d rather face my fears alone than with someone like you / …toxic mermaids are swimming around you / They wanna suck all the blood that’s inside you!”

Taking inspiration from nineties punk-infused grunge, reminiscent of Hole, Silverchair and Sonic Youth, the nostalgia-inducing playfulness of ‘In Vain’ and ‘Bad Habits’ leads to the anthemic closing track ‘Sonic Untitled’ – a vitriolic attack on toxic masculinity. “Just give and give and give and give and give and get nothing! / So scared to live in the shadow of a woman…”

“When you compose an album like this, each song is a reflection of a different personality…”, the band explain. From mental health and heartbreak to womanhood, A Void confidently stage-dive into twelve cathartic tracks of justified punk rock angst; delivering a deeply personal record of riotous grunge.


Dissociation, the new album from A Void, is out now. Buy here.

Ken Wynne
@Ken_Wynne

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LIVE: Alvvays @ Islington Assembly Hall, 07.10.22

A rainy Friday night in North London and what better way to soothe our dampened spirits than with some shimmering surf-pop sounds…

Thankfully, we arrive at the springy-floored Islington Assembly Hall in time to catch support act Lande Hekt. Though you may know her from her band Muncie Girls, her debut solo album, Going To Hell, was one of my favourites of last year and live, her songs are no less special. Starting off with a few captivating solo offerings, Hekt treats us to beautifully heartfelt songs covering themes ranging from the struggles of coming out, to comforting times with her cat Lola. With a lilting musicality and stirring, luscious vocals, she kicks off our evening with a collection of shimmering soundscapes, all delivered with a raw emotion.

Having been a huge fan of Canadian band Alvvays since falling in love with their self-titled debut album upon its release in 2014, I’m not quite sure why I’ve not yet seen them live, and so it’s with an apprehensive excitement that I await their arrival to the stage – that feeling of having waited so long for something, that you can’t help but worry that it won’t live up to your high expectations…

However, I’m soon to be proved wrong as Molly Rankin and co. take to the stage amidst a sea of adoring cheers filling the packed out venue (it’s the most busy I’ve ever experienced it and I’m a little miffed about being stuck behind one of the tallest people I’ve ever seen, but I’ll try not to dwell on that…). As they kick off the set with the dreamy musicality of second album Antisocialites‘ opening track ‘In Undertow’, I’m instantly immersed in the sparkling splendour of Alvvays’ trademark swirling surf-pop energy. And I feel very lucky to witness the band’s shiny new line-up (with the addition Sheridan Riley and Abbey Blackwell now forming the seamless rhythm section) first hand.

Introducing themselves, Rankin oozes an infectious sense of excitement as she tells us that today is the day of release for their brand new album, Blue Rev, and informs us that the set will consist of some newer songs from the record, as well as “some oldies – gotta include those crowd pleasers too!” before diving into one of said new tracks, ‘Very Online Guy’. With a more synth-driven sound than previous offerings, it fizzes with a whirring energy alongside Rankin’s rippling crystalline vocals.


And from new to old as the band flow smoothly into the first track from their 2014 debut, ‘Adult Diversion’. Propelled by lilting hooks and a buoyant, uplifting energy, the large crowd sway along with a joyous sense of unity to Rankin’s luscious vocal tones, as the raw power of Riley’s thrashing beats shines through. Twinkling with a whimsical allure, ‘Plimsoll Punks’ proves to be another crowd favourite before perhaps the band’s most famous song ‘Archie Marry Me’ sees each and every one of us sing along to each and every word, and I find myself getting quite emotional; the track’s dreamy grace and twinkling romanticism holding a special place in my heart (it was even featured on my wedding playlist), and – despite not being able to see the stage – live, it is every bit as beautiful as I could have hoped for.

Interspersed between the shimmering musical offerings, Rankin interacts with the crowd, oozing an endearing charm – apologising for her lack of vocal strength which is feeling strained as they come to the end of their tour, and receiving mixed reactions as she shares that she was going to wear an Arsenal jersey to the show. However, despite her apologies, her vocals glisten with a soaring majesty throughout truly captivating renditions of ‘Dreams Tonite’ and ‘Party Police’ to draw the set to a close.

After we cautiously make our way to the back of the room, Alvvays return to the stage for a very welcome encore of old favourites. After the sparkling emotion of ‘Atop A Cake’ shimmers with a scintillating allure, the band offer the final track of the night, another one from their debut album, ‘Next Of Kin’ – a perfectly euphoric way to end what has been a blissfully exquisite experience (and it seems my apprehension of being disappointed was totally unfounded).

Mari Lane
@marimindles

Photo Credit: Eleanor Petry

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Track Of The Day: Alaskalaska – ‘Glass’

Painting a sonic picture of mystery and gloom, South London’s ALASKALASKA brings a beautiful eeriness in latest single ‘Glass’. Taken from their new album release Still Life, it oozes a resistant spirit whilst confronting the question: “Do we work to live or live to work?”, pondering the unhealthy relationships we have with work and the societal expectations that come with it. 

ALASKALASKA uses a theme of choice to depict the coercive correspondence of hustle culture in ‘Glass’. Although mid-paced, everything about ‘Glass’ feels demanding while it requests our undivided attention as the track intensifies. Hypnotic synth pads and a crisp drum beat kick off ‘Glass’ with immediate sophistication that soon introduces Lucinda’s effortlessly cool vocals, the flow with. nonchalant grace while delivering their critical take on societal norms. Luncinda’s lyrics to speak for themselves, leaving room for listeners to reflect on themselves and consider their unique roles in the need to grind. 

Building from an indie-electronica base, ALASKALASKA seems to handpick elements of the genre solely to serve the disposition of ‘Glass’, whilst drawing on influence from artists such as Porches and Tame Impala to execute the track’s story. The lyrical concepts and rich mix of eclectic sounds make boundaries limitless, inspiring us to expand our philosophy on genre and society. If ‘Glass’ is just one avenue for ALASKALASKA, Still Life is certain to be a compelling journey in its entirety.

Still Life, the new album from ALASKALASKA, is out now via Marathon Artists. And catch ALASKALASKA live, currently on tour supporting Porridge Radio – details here.

Jill Goyeau
@jillybxxn

Photo Credit: Tami Aftab

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