A Wee Chat with…Velveteen Riot

As they prepare themselves for a tour that will take them all over the prime cities to play in Scotland, there’s never a better time to sit down with Velveteen Riot than right now.

They’ve undoubtedly become more prominent over the past year, in no small part to them being brought on to support Wolf Alice in 2017 and following that up with a sturdy new EP. So before they set off to Perth in a fortnight’s time, let’s see what the band have to say as liam menzies (@blinkclyro) asks them about their career so far, what makes them stand out and much, much more.

 

photos fae Mairi McAnena (FB)

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TRANSISTOR: Your EP ‘She Rains Over Me’ dropped last month – how have you guys felt since putting it out into public? Is there anything you’ve learned from any of the feedback received?

Velveteen Riot: We were really excited with how much of a response we got with it. It got way more attention than we anticipated and people were reacting really well to it. It’s definitely the work we’re proudest of so far.

T: In your view, what makes Velveteen Riot stand out as a band?

VR: I think what makes us stand out is that we’re basically the ABBA of shoegaze. Though joking aside, we’re not trying to stand out, we’re just making music for ourselves. We started out as four strangers who met online that wanted to play music but as times gone on it’s been out friendship that has driven the band forward. We’ve become really close, Velveteen Riot wouldn’t work without all of us – we’ve not had any lineup changes because to do that would be to change the entire dynamic of us as a band. I think this is what grabs people’s attention as we’re just trying to be ourselves rather than trying to emulate anyone else.

T: In addition, what’s your general view of the Scottish music scene, specifically Glasgow?

VR: Glasgow has such a rich music scene with so many great bands and venues. Although, there can be a very cliquey nature to some of it and a lot of smaller scenes have formed within it that can be quite hard to get into if you don’t know the right people. It’s a bit like high school in a way – if you get in with the designated cool kids you’re able to get much more attention than the bands that are still starting out, or running their own gigs.

That being said, we’ve had such a great experience playing in Glasgow and have gotten to play with some great bands. We’ve all grown up listening to Glasgow bands and are incredibly proud to be one ourselves and to be a part of such an amazing music scene.

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T: You got to support Wolf Alice – what was that like? Are there any other bands you guys would be keen on supporting in the near future?

VR: Wolf Alice was surreal. It’s been a year and none of us really believe it happened. They were some of the nicest people we’ve ever played with and that gig was one of the moments that made us think, “huh, people actually really like what we do”. It was a big confidence boost for us going forward and it’s given us a real determination to keep developing our sound.

The list of bands we’d love to support is endless really, of course, there’s Slowdive and My Bloody Valentine. We’re also all big fans of Sunflower Bean. Additionally, it’d be very cool to support some of the Scottish bands we grew up loving such as Franz Ferdinand, The Jesus and Mary Chain, and The Pastels.

T: Speaking of gigs, how has your experience playing live turned out? What makes a Velveteen Riot show?

VR: Lots of fun and lots of mistakes. Playing gigs is one of our favourite parts of being in a band. What makes a Velveteen Riot show for us is having a lot of fun and not taking ourselves or the show too seriously. Our confidence playing live is constantly evolving, none of us are very extroverted so it has taken some time to find our feet on stage. We aim to produce the best sound we possibly can and just enjoy ourselves. Overall, I think our authenticity and pure passion for the music is what makes a Velveteen Riot show.

T: Lastly, is there much in the way of plans for the rest of 2018?

VR: We’re planning a mini-tour in Autumn with a couple of our friends’ bands which we’re very hyped about, details on that will be announced very soon! We’re also are planning on recording more music and getting as much stuff out as we can before the year ends.

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stream velveteen riot’s she rains over me here

catch velveteen riot on tour:

18th October – Green Room, Perth

19th October – 13th Note, Glasgow

20th October – Secret Set, Dundee

21st October – The Cellar, Aberdeen

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SWAY: Standing Out and Speaking Up

words fae liam menzies (@blinkclyro), photos courtesy of Daniel Blake (FB)

In a year that has seen both great things occur, such as bands like The Vegan Leather landing a tasty spot on the Electric Fields billing, as well as harrowing events, the loss of the O2 ABC being a prime one, the music scene in Glasgow is certainly one thing and that’s active.

The same can’t be said about Paisley based rock outfit Sway: thankfully the shoegazey foursome haven’t split up but this year has been a relatively quiet one which mostly comes down to some hapless occurrences. “We sadly didn’t hit the ground running this year due to some unfortunate circumstances outwith our hands,” tells frontman Craig, the details of which are unclear but regardless, it’s not all doom and gloom. “We took it slow for the first half of 2018, but for these last few months of the year? You’re gonna be hearing a lot more from us” adamantly states Matt, the band promising not only new material but branching out with their gigging by hitting some other locations across the UK they haven’t yet played.

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If you so happen to find yourself nearby a venue SWAY is playing at though, why should you bother to fork out and go along? JonJoe doesn’t mince words when declaring what makes the band stand out, the group priding themselves on “the darker topics we explore through our music and our different perspectives, as well as our interests, bleed into that“. This isn’t just a bit of PR fluff either – To Be A Man saw SWAY take aim at a toxic relationship bubbling over with manipulation, all juxtaposed with poppy sensibilities that no doubt take influence from the bleaker state of rock during the 80’s. Not only that but their latest single Another Lover sees the bass agonising over a fittingly desperate set of lyrics that pack in equal parts heartbreak and determination.

While the boys are no doubt focussed on their newest material, Matt is sure to use their time to sing the praises of other acts that are often overlooked. “There’s a fair amount of people who I’d say don’t get enough praise, but personally I’d say Lizzie Reid definitely doesn’t. Lizzie is an incredible singer/songwriter who’s been playing in and around Glasgow for some time now. I saw her at the Old Hairdresser’s not that long ago and was stunned at how moving her performance was.

You may be wondering where cool as a cucumber David DIV Roberts is through all this but don’t worry, he didn’t keep hush through this entire interview as he chimed in to talk about one of his favourite releases of the year. “For me, Shredd’s EP is astounding,” he says, Jonjoe concurring, before going on to reminisce about The Walkmen record The Rat which fills in whatever other time he has left. 

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All those days spent writing and gigging must take a toll on you but it seems SWAY have a pretty healthy coping mechanism in the form of, well, each other. “Personally writer’s block has been a constant problem,” Craig says “that I’ve had to deal with since I started to write music especially with outside factors over the past few years that suck your motivation and drive out of you. Luckily enough I’ve always been able to bounce off the rest of the boys and get back into it when going through a slump.

As the photos included throughout show, SWAY are a wholesome bunch of boys who aren’t afraid to dabble in some fun as well as some sombre topics. The fluidity and brotherhood displayed between them all, while often seen, is refreshing in the scene considering how they channel it into their music as well as their live shows. The band are very much that in general: refreshing, like a nice cold glass of water, though with probably a tear or two in there.

stream sway’s new single Another Lover here

Vistas: Touring, Tuts, and Teasing

words fae liam menzies (@blnkclyr)

It’s a sunburn inducingly warm day in Glasgow and already you’re probably asking yourself “is this interview lying before it’s even started” but no, it really was one of those special afternoons where the weather wasn’t as bleak as most of the general public were. Sitting (well standing, the tables turned and I was put in the hot seat) out behind the rubble littered back streets behind the iconic King Tuts venue, Prentice (vocals + guitar), Jamie (bass) and Dylan (guitar) of Vistas all crowd around the touring minivan, their soon to be humble abode when the boys set off a UK tour later this year. 

The prospect of a UK tour probably seemed like a faint glimmer in the band’s eye when things started off back in 2016 but two years later and the Edinburgh based band have found themselves excessively trailing over the country, accumulating millions of streams on Spotify and rubbing shoulders with inspirations like Circa Waves and The Magic Gang. Their brand of indie pop tunes, having started off more in the rock side of things, has obviously struck a chord with fans who have stood by them as they’ve further tinkered with it. According to Prentice, fans can expect a new EP in “September, October-ish” which they feel will be more of a new chapter for the band compared to their first one Medicine.

When it comes to prodding about the long-anticipated debut record, the answer is a bit murkier, Prentice simply saying that the band doesn’t want to force things out until they feel more comfortable. “We’re a very cautious band and we don’t want to do too much too soon before we’re ready and we get asked quite a lot when that album is coming out but admittedly we’re not prepared to do it“, going on to say how excessive touring can throw a further spanner in the works.

On that touring note, the boys aren’t taking things lightly; “We’re set to do around about 24 shows in the space of 30 days, give or take” Jamie states, teasing that there are quite a few to be announced though goes on to clarify how fatigued the experience can be. “When we did our first UK tour with touts, we were away from home for a month and looking back it wasn’t all that bad. Compared to our last two shows in London, we were absolutely done in from it” though Prentice builds on that by saying the horrible heat hasn’t helped matters which is probably for the best considering the energy of a Vistas show is a huge drawing in factor, both in the fans’ view and the band’s.

We’ve come on quite a bit the past six months but I think the fact we care so much gives us that edge, especially when we’re aware that people are spending £8-10 that they could spend elsewhere” Prentice chimes. Dylan chips in to say that while there is definitely that element to it, the band themselves have so much that they make the trip that people venture on to see them worth it, Jamie mentioning how many are off to see them tonight from Edinburgh where that journey can last twice as long as their set.

As the interview draws to a close, and Graham (drums) appears, no doubt from the drawn-out soundcheck that had happened prior to this, I wish the band luck on their performance tonight though I could have done the complete opposite and they would still have a successful night: photos from the Tuts gig flood into my social media feeds, the venue looks packed to the brim as the gratitude of the members are unashamedly painted on their faces. It’s easy to fawn over the popularity of Vistas but what’s worth mentioning is the sheer down to earth attitude that only goes to add to their likability: millions of listeners could easily fill up an ego but all that extra air has gone straight to their lungs so they can keep that consistent quality more than steady. 

 

 

5 TRANSISTOR Writers On Their Favourite Music Videos

thumbnail and intro fae liam menzies (@blinkclyro)

While music is *shock* for your ears to enjoy, it was only a matter of time before it branched into a medium that could stimulate most, though maybe not all of your senses (only Spy Kids 4D can offer you that).

It’s been almost four decades since the first music video aired on MTV in 1979, aptly titled Video Killed The Radio Star by The Buggles, but since then, we’ve been blessed with experimental, haunting and evoking pieces of visual spectacle that have only gone to add to our enjoyment of certain music. Here are just five of these pieces, chose by none other than the writers of this very site – enjoy.


Isabella McHardy (@izzmchardy): Oblivion by Grimes

Oblivion is pretty simple in comparison to Grimes’ other more theatrical, character-based music videos. But somehow delivers the strongest message. Grimes puts herself in male-dominated spaces, reclaiming her body after sexual assault. Although such an intense topic, she manages to bridge the gap between her and the men in the video.

She breaks down the intimidating reputation sports arenas and male locker rooms have, as well as flipping the male-gaze on its head. The start shows her cautiously navigating unfamiliar places but the video ends with her standing tall amongst her male counterparts.


Gregor Farquharson (@grgratlntc): Lost Little Boys by Fatherson

The way this video follows two best friends dealing with the loss of one of their wives is beautiful – it shows the fun the three always had and the heartache of the man who’s lost his lover.

The feeling when we find out the best friend had an affair with the wife tears apart the viewer but when the two come together at the end and makeup, the emotion felt is unreal. Put together with a strong song, this music video is a real treat to watch.


Liam Menzies (@blinkclyro): Come To Daddy by Aphex Twin

While the videos so far have been about evoking empowerment or sadness, there’s one feeling we haven’t quick chatted about yet.

Seeing as it’s appeared on various “100 Scariest Moments of TV” lists, it should be no surprise that this one is a bit creepy. Filmed in the same estate that Stanley Kubrick’s classic A Clockwork Orange was, the video includes a gang of small children with Richard D James’ face wreaking havoc while an evil spirit emerges who’s face is very much nightmare worthy. Watch this one with the lights off.


Ewan Blacklaw (@Ewanblacklaw): Sabotage by Beastie Boys

The video for one of the NYC trio’s biggest hits really speaks for itself. The Beastie Boys took a much different approach to their videos in comparison to some of the more glamorous productions that became popular in the 90s. With that being said, the videos of the Beastie Boys were often just as extravagant, but took a less serious approach and implemented their unique style just as they had done with their music.

The video sees basically comes off as an 80s-cop movie, with plenty of moustaches and bad special effects. As their popularity increased, their music video budget seemed to stay the same as the video for Sabotage looks like a video made by the class clowns of a film class. This all plays into the Beastie Boys charm and makes for one of the funniest and most memorable music videos from the 90s.


Will Sexton (@willshesleeps): Sweetheart What Have You Done To Us by Keaton Henson

Keaton’s haunting musicianship alone is always enough to bring you to tears but the sheer vulnerability and simplicity of this music video bring it to a new level. The spacey guitar and vocals compliment the image of the open sea and staring straight into Henson’s eyes aren’t easy considering the pain and anguish expressed in the lyrics.

However, the climax of the song where it physically gets too much for the musician and he walks off set is hard to watch without feeling something at the very least. Whether it was scripted or not (knowing about his chronic stage fright and anxiety issues we would presume not) it doesn’t matter as the closing scene of him crying offset breaks your heart.

TRANSISTOR’S Record Store Day 2018 Picks

photo fae Nikki A. Rae at Record Store Day 2016

For those amongst us who enjoy the sound, smell, sight and sheer eye-watering expense of vinyl, Record Store Day is pretty much our musical Christmas, not least because vast sums of money will be spent on gifts, all of them for ourselves. However, with the sheer volume of releases, re-releases and special editions on offer, it’s hard to see the wood for the trees, so we’ve assembled some of our finest vinyl collectors to give you their hot picks for RSD ’18.

Liam Menzies (@blinkclyro)

Twin Peaks – Music From The Limited Event Series

Not to be confused with the indie-pop outfit that share the same name, Twin Peaks is easily one of the finest pieces of entertainment to grace us and while it may have changed over the past couple of decades, its quality is consistent. This includes its score and soundtrack which range from flourishes of cheesy soap opera romance to borderline nightmarish remixes of classic tracks, all adding to the formula that makes Twin Peaks such a stunning piece of art.

Sufjan Stevens – Mystery of Love EP

While its title song may have been “done dirty” at the Oscars according to some people, there’s no denying Sufjan Stevens crafted one of 2017’s most beautiful songs for an equally mesmerising film. Call Me By Your Name wasn’t a film that relied on its soundtrack but it was one that was vastly improved by its gorgeous music which all comes to the tracks featured on this EP. If you’re maybe in the mood for something a bit different from your usual rock affair then this will be right up your street.

Jake Cordiner (@jjjjaketh)

Car Seat Headrest – Twin Fantasy (Mirror to Mirror)

The original version of one of 2018’s best albums (so far), the 2011 version of Will “Massive Furry” Toledo’s best album is a brilliant insight into how a songwriters’ style can change as they do as people. Some of the lyrics are different, some of the breakdowns are different, the whole mood of the album has changed in 7 years, and I just think it’ll be cool to hear the original on a beautiful, heavy piece of vinyl mate, ok?

 

Will Sexton (@WillSheSleeps)

Florence + The Machine – “Sky Full of Song”/”New York Poem (for Polly)”

Really hope someone will be able to pick up this gorgeous new single from Florence + The Machine (AS I’M WORKING THE WHOLE WEEKEND NOO!)*. Lovely new art-pop single from Florence and co. Love the ethereal, stripped back sound and it’s nice to hear something fresh from the band, being the first piece of music in 2 years since the gorgeous How Big, How Blue, How Beautiful. What is more interesting is the new single is backed by Florence’s first recorded poem! Coming from her first book Useless Magic (released 5th of July), New York Poem (for Polly) will be a very interesting listen!

*Prizes for anyone who sorts oor Will out

Josh Adams (@jxshadams)

The National – Boxer (Live from Brussels)

What’s not to love about one of contemporary rock’s greatest bands releasing a Record Store Day exclusive vinyl, documenting their 2017 performance of arguably their most important album front to back?

Anyone who’s managed to catch The National performing tracks from Boxer live, either in concert or on YouTube, will know not only the added energy they bring to certain songs – such as Squalor Victoria or mistaken for strangers – but the deft touch of dynamics and tension the group tweak for some of their biggest numbers (see: Fake Empire and Slow Show). Also, it has a cool as shit reworking of the original album’s cover art. Gimme… NOW.

Oliver Butler (@notoliverbutler)

Motorhead – Death or Glory

In a move that’ll shock absolutely no one, my hot pick for RSD ’18 is a reissue of Motorhead’s 1993 album Bastards under the guise of Death or Glory. If anyone’s interested, which they’re not, ‘Head were, as ‘Head do, having some trouble with their record company, and the family-friendly titled album was only largely released in Germany, and in the rest of the world, you couldn’t even steal it. A real shame considering it was one of the best, if not the best, albums they’ve ever produced.

Sure you’ve got Motorhead by numbers tracks like Burner and Born to Raise Hell, but Bastards had a wider range and more emotional depth with songs like Lost in the Ozone and Don’t Let Daddy Kiss Me, a harrowing song about the horrors of child abuse. A must listen for the most seasons of Motorhead fans, or for anyone who wants a crash course in the band’s range & depth.

Motorhead – Heroes

Heroes was something that came out of the blue, more than a year after Lemmy’s tragic passing. The final word had been growled; no new Motorhead or “lost” recordings. Then seemingly out of nowhere came this emotional, expertly done cover of Bowie’s Heroes. Not too detached from the original that it’s a hatchet job, but retains that Motorhead magic. It then formed part of a covers album, which featured the band covering some of their favourite songs, including a, dare I say it, better than original cover of Metallica’s Whiplash.

Side B features a “live” version of Heroes, featuring the most angelic of voices, the Wacken Open Air Festival choir. Lovely stuff.

An Ayr Rise Festival 2018 Review…

words fae liam menzies (@blnkclyr)

It’s not often mentioned but the state of music festivals in Scotland is rather depressing. Sure, TRNSMT is doing awfully gid for something that just began last year but when you look at some of the countries heavy hitters, you’ll come to the startling realisation that the days of Rockness and Wickerman Festival are far behind us with most being sadly cancelled. Hell, even TRNSMT itself is the continuation of an annual festival that sadly dipped in quality before reaching its anti-climatic end.

That being said, we’re beginning to see a rise (no pun intended) in smaller festivals that relish in giving smaller acts a chance to show off and bring their sound to an audience that may have previously passed them by. It makes total sense considering that the likes of Tenement Trail use established venues in order to host the acts, meaning the razzle-dazzle of your usual festival is left to the wayside in order for the music to be the real selling point and with tons on offer, and plenty to drink, it’s an ideal situation.

Ayr Rise definitely seems keen on bringing this to an area that, while rife with talent, often doesn’t generate a blip on the musical radar due to its location. Taking place in local nightclub Furys, a venue which is often the go-to for local gigs, it was an event that was not only important for those involved but one that would ultimately serve as a determining factor for whether or not something of this magnitude could work.

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Things were off to a promising start with Molly Eliza taking to the stage. While she may have been filling in the slot left vacant by Atlas Run, it ultimately gave Ayr Rise some variety which benefited it greatly: she may reference the likes of Nina Nesbitt as an influence but you wouldn’t be mistaken for noticing hints of Sophie Allison or even a vocal resemblance to pop heavy hitter Lorde. Her music wasn’t only just pleasant to listen to but also offered some interesting insight lyrically, meaning she could end up joining the ranks of Young Fathers in politically aware Scottish music. Some songs may have been screaming for some backup, specifically some drums, but the minimal performance from Molly left a good taste in the mouth – keep this one on your radar.

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Keeping the momentum going were Ayr-based rock outfit Anna Conda and right off the bat, we were hit with remnants of what could easily be mistaken as demos from the fictional Scott Pilgrim band Sex Bob Omb (a high bit of praise fae us). As the act continued on, the band’s influences became increasingly obvious (someone or all involved in the act definitely has a soft spot for The White Stripes as shown by their Fell In Love With A Girl cover) but it by no means detracted from the enjoyment Anna Conda provided: infectious harmonies rolling over some octane performing culminated in what was easily a hugely entertaining set from the boys who we’re sure we’ll see more of in the future.

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A band still very much in their infancy, only emerging at the tail end of 2017, Honours. were up next. In terms of stage presence, it was a little lacking (which may be totally down to either nerves or the sheer variety of chords that they’ve bolstered in promotion) but there was definite moments that showed they’ve got the foundations laid to make some really interesting alt-rock.

27545489_381304295674464_7592854196806952831_n.jpgThere would be no prizes for guessing what acts have paved the way for the sound ZANG are going for but oh lordy, did they put on a show. Frontman Bunny Wood channelled that rock and roll frontman attitude both in his vocals, that were reminiscent of another funky, bluesy rock and roller Robert Plant, and the mannerisms he showed off on stage. The argument could be made that the band weren’t quite as varied as we would have liked them to be but for what they’re going for, and for how they managed to keep our attention, ZANG did exactly what they needed to do and then some.

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Positioning themselves as an alt-rock riff machine, Zola didn’t disappoint with a rip-roaring good rock time. While the audience at Rise were rather timid (myself included), this didn’t stop the band from interacting with the crowd and trying to get everyone right into the gigging spirit. There were a fair few moments where I found myself reminded of Queens of the Stone Age, a comparison I may throw around a bit frequently but the layered performances and the synergy between and the vocals means I feel justified in that bit of acclaim. Showing off their latest single to finish things off, Zola are certainly going places and we’re looking forward to seeing how they evolve.

21949833_822681854604537_7924578189341822206_o.jpgOur last act of the night (family ting), The Mawb are an act we’ve discussed a fair bit over the past year and a bit but for good reasons. Front-man Ewan McCulloch was the head honcho of tonight’s operation so the fact he had the energy to balance both organisation and performing all on the same day has to be commended. On the related note of said performance, The Mawb were the best they have been yet and hit me with that familiar feeling of pride, not only for the fact they’re an Ayrshire based act doing it proud but for constantly shifting their sound.

Everyone in the act was on phenomenal form, Callum McIlwaine being the devilish chap on guitar we’re all used to and incorporated a wireless device so he could prance about the club while playing, picking up a pint in the process. The aforementioned Ewan continues to impress with those pipes of his and bassist Harry Mawb still radiates that effortlessly cool as a cucumber attitude about him without breaking a sweat. Drummer Paul Nally seems to have totally come out of his shell at this point and it definitely added it all, his commentary during the break between each track adding a certain charm to it and by the closing track, he was clobbering away at his set with the energy of a man who had just went through a botched exorcism. To put it simply, it was a bloody great end to our night.

So Ayr Rise was an overall success, showing that a local festival can definitely work when the right management and acts are brought in. If there’s any feedback we could give, it would be that next year’s event (which we hope is on the cards) tries to shake up the genres on offer: every festival has their strong point but we’d love to see some more bands that don’t fit into the alt-rock mould. From an optimistic perspective, money permitting, it would be exciting to see Ayr Rise branch out amongst some other venues in the town: West of the Moon may no longer be with us but places such as Soundmagic would serve as a nice alternative stage and Big Sparra Vinyl potentially acting as an acoustic one for some stripped back sessions. Of course, this is pure speculation but Ayr Rise, much like the acts playing it, is brimming with potential and we’re crossing our fingers that we get to see it return in 2019 and beyond.

Sobriety get moody and murky on ‘Ronnie’s Song’

words fae liam menzies (@blnkclyr)

Having gigged away for the past year, brushing shoulders with some prominent bands in the Scottish DIY scene in the process, alt-rock outfit Sobriety are hitting out with their debut single and if Ronnie’s Song is any indication as to what the band are capable of, they’ve got an exciting future ahead of them.

While their approach to music would be enough to make them stand out from their up and coming contemporaries alone, shifting away from the pop/ indie rock sensibilities that are rife at the moment, there’s an emo vibe that radiates from this track which is certainly welcome: there are moments of immediacy for sure but Sobriety are more than capable of weaving a moody atmosphere, especially when they tell tales of narcotics and desire. It all culminates in a robust climax, the hazy vocals being overpowered by the backing instrumentals which take center stage. Right off the bat, Sobriety are aiming to be more than your usual rock band and with the potential on show here, it’s difficult to not see them achieving that.

Sobriety: Facebook