‘They Done Wrong / We Done Wrong’ – Out 24th May

New Single From Acclaimed Album ‘It’s Frightening’

“Beguiling, coherent and memorable” MOJO
“A winning balance of art-indie and pop energy” Q
“Deserves attention from start to finish” The Fly
“They’ve pulled a great album out of the hat” The Sun

Later… With Jools Holland performance – 18th / 21st May

UK TOUR INCLUDING Relentless Garage, 19th May

White Rabbits release ‘They Done Wrong / We Done Wrong’ on 24th May – the shimmering follow-up to the explosive ‘Percussion Gun’ and second cut from their acclaimed new album ‘It’s Frightening’ and will appear on the new series of Later… With Jools Holland, on air on 18th and 21st May.

Following the band’s short but hugely impactful run of London shows in February, White Rabbits return to the UK for a tour that will begin with Brighton’s Great Escape on 13th May and ends with what will be a must-see show at The Garage on 19th May before the band travel to Europe for further shows.

‘Dramatic’ said The Times in their 4* review of the sextet’s recent headline ICA show, while The Independent declared the performance ‘Remarkable’ in their glowing 5* review.

Written by White Rabbits, produced by Britt Daniel, and recorded in their hometown of Brooklyn, ‘They Done Wrong / We Done Wrong’ is an epic slice of free flowing, piano led rock, wrapped in a contagious and enduring melody. The tracks features lead singer Stephen Patterson’s rasping vocals and a haunting yet driving bassline. The single comes backed with Rudie Fails, recorded live in London.

White Rabbits are: Stephen Patterson (vocals/piano), Jamie Levinson (drums), Matthew Clark (drums, guitar), Alex Even (guitar, vocals), Gregory Roberts (guitar/vocals) and Brian Betancourt (bass).

13 May – Brighton Great Escape, Coalition
14 May – Bristol, Cooler – £8
15 May – Manchester, Night & Day – £8
16 May – Glasgow, Stereo – £8
19 May – London, Relentless Garage – £10

Tickets can be purchased from http://www.artistticket.com/link/?s=white+rabbits

www.whiterabbitsmusic.com

‘They Done Wrong / We Done Wrong’ Out 17th May

New Single From Acclaimed Album ‘It’s Frightening’

“Beguiling, coherent and memorable” MOJO
“A winning balance of art-indie and pop energy” Q
“Deserves attention from start to finish” The Fly
“They’ve pulled a great album out of the hat” The Sun

London Show Announced – Relentless Garage, 19th May

White Rabbits release ‘They Done Wrong / We Done Wrong’ on 17th May – the shimmering follow-up to the explosive ‘Percussion Gun’ and second cut from their acclaimed new album ‘It’s Frightening’.

Following the band’s short but hugely impactful run of London shows last month, White Rabbits return to the capital for what will be a must-see show at The Garage on 19th May.

‘Dramatic’ said The Times in their 4* review of the sextet’s recent headline ICA show, while The Independent declared the performance ‘Remarkable’ in their glowing 5* review.

Written by White Rabbits, produced by Britt Daniel, and recorded in their hometown of Brooklyn, ‘They Done Wrong / We Done Wrong’ is an epic slice of free flowing, piano led rock, wrapped in a contagious and enduring melody. The tracks features lead singer Stephen Patterson’s rasping vocals and a haunting yet driving bassline. The single comes backed with Rudie Fails, recorded live in London.

White Rabbits are: Stephen Patterson (vocals/piano), Jamie Levinson (drums), Matthew Clark (drums, guitar), Alex Even (guitar, vocals), Gregory Roberts (guitar/vocals) and Brian Betancourt (bass).

www.whiterabbitsmusic.com

Hear is the video for Juliana Blue by The Smoking Hearts – http://www.youtube.com/watch?v=fn-f4yccHIY

This made me laugh so much!

The Smoking Hearts are supporting The Dead Formats on Thursday 11th March at The Garage.

We will be there and so should you!

Enjoy

Words by Brendan Monteiro / Photos of TC and YG by Marcus Maschwitz

The house lights don’t even dim for This City’s stage entrance and sadly the crowd barely make a sound, it’s a clear indication that a exstensive quantity of tonight’s crowd are here for the headliners. This little downer does not affect This City in the least as they start off with a high in the form of the infectious We Move. Chris Purr launches every molecule of himself into the song and it’s this passion that starts turning the spectators attention toward the stage (although there are a few still with their backs turned and I can’t help but wonder why bother coming to a show if your not going to watch). Purr’s gesture of “If your cold, move around” is a fitting intro to accompany the dynamic With Loaded Guns, you can’t help but move your feat to it’s contagious beat. New … additions to the line up mean that This City are not firing on all cylinders tonight but I am sure with time the guys will find their feet.

Young Guns have made an incredible impact on the London scene lately and their presence is dually welcomed as they start the night off with their hair tingling new single Winter Kiss. From the first moment Gus’s mouth opens it’s evident that he is hell bent on turning the crowd upside down. The mellifluous mid section to Winter Kiss is even more jaw-dropping with the full voice of the venue mirroring Gus’s lines. Weight Of The World culminates in the first circle pit of the evening and YG shift the gears, soon enough the whole room is in a spin, inside out and sweating and panting like it’s nobody’s business.

The atmosphere inside has changed dramatically from the beginning of the evening and the momentum keeps building up until You Me At Six make their way on stage, with the crowd literally going mental at Josh Franceschi starts. Being by first experience of YMAS I decided to keep to the back, find the best view and try and take it all in. Time went by so fast and although I didn’t know a single track I could easily see each one becoming favorites in time.

YMAS have been slated and praised, my thinking is a lot more logic or at least to me. In a live setting you can’t say a bad word about them, the band give it their all and Josh is model front man with a great voice. If you however are able to muster up bad vibes about them then your probably a music hating agoraphobic who in essence was more perturbed about being out of the house then actually paying attention to the stage.

Words and photo’s by Tiaan Kotze

As I wait outside my favourite London venue getting soaked to the bone I realize that it doesn’t bother me as nothing can extinguish the excitement of going to witness one of our generations’ true treasures of music. I’m pleasantly surprised at the amount of people that have turned up as there is a big show at the Brixton academy and having shows clash is always a letdown not just for fans that have to choose but for bands having travelled from far to a not sold out show which this should have been.

One thing I always wanted to know was are these guys actually able to pull of what they do on a record at a live show, it’s so technical and fast for a three piece it was either going to be a massive disappointment as they fail and I go home to delete their music and burn my cds or I leave with all the merch I can get my hands on and a massive smile.

Thankfully there was no bonfires needed tonight as the band casually stroll out take up their instruments and proceed to molest every brain cell that you’re hoping will still be alive after the show. Thomas Erak moves with extreme flare and ease as he pulls of every single note and verse without any trouble, his hand creating a blur of fingers across the frets of his guitar. The remaining members are not to be excluded as Ene and Forsman keep the rhythm section progressing with extreme speed and crazy beats that are so infectious it is hard to stand still for a second.

They blast through a lot of new stuff but still throw some of the old crowd favourites in just to keep the masses happy and the first timers are smiling wide with songs like FCPREMIX caressing eardrums. Erak connects with the crowd and high fives every crowd surfer that makes it to the front. The crowd all seem to be enjoying every song and hang on to Erak’s every word. Disappointingly the band finishes their last song and evacuates the stage like there was a bomb scare which leaves the crowd screaming for more. Either curfew is getting earlier or they know there is only so much Fall of Troy a brain can take before it melts down.

It feels weird being on your way home at 22:30 but none the less it was one of my top ten shows this year, next time they are in town forget about any other show and make sure your wherever these guys are performing.

Words by Rant Chick / Photos by Warren Zanin

Caliban, along with tour headliners Emmure, led a full metal assault on a handful of wildly devoted fans at the Relentless Garage in London tonight. The hardcore metallers from Germany played to a rather sparse crowd, most likely owing to poor tour promotion, but wrecked havoc nonetheless.

Vocalist Andreas Doerner’s beast of a voice put fans in a manic mood and the singer’s animated gesticulations so aptly reflect the aggression and intensity of his lyrics. New album Say Hello To Tragedy explores some dark (and tragic) topics inspired by Doerner’s personal experiences as well as the real life drama of the Josef Fritzle case. The album reflects an anger provoked by an unjustified evil that encompasses our world today and reflects on the sad reality of how, in many cases, tragedies could have been prevented. And there is no better place to thrash out anger and frustration than at a live metal show – for both fans and band.

Opening with the ambiguous angst of Lovesong, the band includes 24 Years, No One Is Safe and Caliban’s Revenge – from the new album, in this evening’s setlist. Aptly, No One is Safe heralds the perfect opportunity for a wall of death, as commanded by Doerner who bellows over the mic “We do our best here on stage; you do your best in the pit.” Older favourites including My Time Has Come, I Will Never Let You Down, Revenge, Together Alone, Forsaken Horizon and It’s Our Burden To Bleed reflect the melodic tones in the band’s sound and the crisp clarity of guitarist/singer Denis Schmidt’s vocals leave hairs standing on end. As a short interlude, band members and fans send Schmidt birthday wishes on this, his special day, as Doerner leads the crowd in the Happy Birthday chorus. And five seconds later it’s back to metal with Caliban’s Revenge.

Caliban ends a raucous evening with It’s Our Burden To Bleed and ecstatic fans head to the back to check out the awesome band merch and hang around in the hope of meeting their favourite musos.

Keep a look out on Clink for an exclusive interview with Caliban.

Words by Brendan Monteiro / Photos by Marcus Maschwitz

The Relentless Garage plays host to the inaugural Energy Sessions and on the first evening the line-up is nothing short of incredible. First up with the uneasy task of opening is a band called Sharks, and after hearing a great deal about these guys it’s a set I must say I had been looking forward to. As the first notes play out I’m taken aback as there sound seems a lot more maturer than what I pictured but at the same time sort of lethargic, but the pace grows steadily with each song. The crowd might be a little sparse but James Mattock gives it his all, maybe their sound is just a little too eccentric for this crowd.

The second band to make their way on stage is This City and the charisma on stage from the start is nothing short of spectacular, every member of the band seems to be sporting a smile from ear to ear. Opening track We Move has all the upbeat tempo’s of Bloc Party blended in with so many other great things and it’s sensually amazing. Their sound is so crisp with well structured soaring riffs that had my ears on a magical journey through speedy sections into atmospheric parts and some good old chugging bits, all this in a song is just incredible, as was their entire set.

Failsafe is my second suprise of the evening as I literally only knew about one band before I arrived. They combine all the passion of Rise Against, the fast paced riffage of A Wilhelm Scream and the happy fun tones of No Trigger and I can’t help wanting to hear more from these guys. James the lead singer makes the utmost effort to make a connection with every member of the audience, his vocal smash through the air like a flying kick slap from Chuck Norris. Something To Someone is definitely my stand out song from the set and just is an all round awesome song.

It is by this time in the evening that it dawns on me that upstairs has it’s fair share of bands playing but I only get to see a small bit of The Plight’s set. They are hard and as loud as shit. It’s a real contrast to what is happening down below, with such a raucous amount of pure volume coupled with Alistair Mancrief strident growls, their music will literally put hair on you chest.

So back down below at the Garage the headliners make their way on to the stage. The venue might not be packed to it’s maximum but there is an abundance of adoring fans, this might be down to the fact that some people just prefer the couch rather than a gig but who am I to judge. Itch and the guys have everyone on the floor area moving about, by the second verse of Let’s Hang The Landlord the front man has disappeared into the crowd. I never thought about it before much but they sound like a funky mix up of Rancid and UB40 which might come across a little strange in writing buy sonically it really works. The Streets Are Ours gets fists punching the air but tonight I got to admit that Headbutt was something special. I can only imagine how good it would of sounded with a massive audience giving it their all, even with a small little crowd like tonight it is truly evident that The King Blues have got so much love.

Words by Rant Chick / Photos by Marcus Maschwitz

Tonight, a thousand maniacs serve their lives up on a silver platter as they congregate at The Garage to participate in the metal onslaught of Malefice, Trigger the Bloodshed, Suicide Silence, Behemoth and DevilDriver. The bloodied faces that exit the venue post-performance testify to the fact that, on this night, the ‘safety in numbers’ tactic proves to be no protection against five of metal’s most brutal acts.

Malefice and Trigger the Bloodshed open the evening with an invasion to be reckoned with and Suicide Silence rips through a set that makes cannon fodder of the crowd. No Time to Bleed, the title track off the band’s latest album, and Disengage are highlights in a performance that captures the band’s raucous stage personality and verifies why Suicide Silence is gaining in popularity and continues to entrench a solid fan base. The Californian quintet even found time to hang with fans after their stint – a true sign of a working band carving its way to the top.

The aftermath of Suicide Silence’s assault is amplified by the unsettling site of Behemoth’s war paint, which inspires a foreboding that makes the venue’s dark corners seem rather inviting. But the band does not allow it: fear is beaten into submission with opening song Ov Fire and the Void, which provokes the crowd into a craze of delirium, manifested in the chants of “hey, hey, hey” led by the great and powerful beast that is Behemoth. Fans of the beast welcome the blackened death metal vehemence of songs including Demigod, Conquer All and Slaves Shall Serve, and revel in the carnage of an authoritative performance draped in the characteristic scorn and malice of the occult masters.

The evening finally meets its purpose: DevilDriver. The band has gained a reputation for its mind-blowing live performances and tonight the machine of mayhem obliterates the crowd with awesomeness. DevilDriver gigs are characterised by a level of insanity that is driven by the monstrous charisma of frontman Dez Fafara, who inspires fans to pump their fists in the air and animate songs with impassioned facial expressions and gesticulations. Only a minute into opening track End of the Line, surfers are somersaulting over the barrier to be greeted with a slap on back, or whatever body part is nearest, by Dez. The atmosphere ignites as the singer commands the crowd to “bang those heads” and by the time Clouds Over California strikes, it is evident that the chaos truly reigns. Hangman’s Noose is affirmed as one of the band’s best live songs and Pray for Villains establishes itself as a firm favourite with fans. DevilDriver’s riotous performance is driven by a dynamic setlist (End of the Line, Not All Who Wander Are Lost, Nothing’s Wrong, Pray for Villains, Clouds Over Calfornia, Fate Stepped In, I Could Care Less, Hold Back the Day, I’ve Been Sober, Back With a Vengeance, Before the Hangman’s Noose, These Fighting Words, Another Night in London, Meet the Wretched, ENCORE: Dreamed I Died) that expresses the potent strength and energy of the band. In Another Night in London, DevilDriver acknowledges the importance of the collaborative relationship that exists between the band and its fans and, to the appreciation of the crowd, pays homage to one of the world’s greatest cities:

It takes people like you to make people like me
It takes people like me to make people like you

Let’s start a riot, another night in London
Let’s start a riot while the night is still young
Let’s start a riot, another night in London
Let’s start a riot while the night is still young

While the night is still young!

DevilDriver takes the crowd back to its first album with encore song Dreamed I Died and as the song’s final notes blast the venue into oblivion, it is clear that the night is not over for the battle survivors who stagger, limp or crawl out of the venue – hardly recovered, the yearning for the next onslaught has already set in.

Words by Ian Dickinson / photos by Brendan Monteiro

We are in the cosy and intimate womb that is Upstairs at The Garage, whilst some washed up indie rock known as the Datsuns are down stairs in the main venue. The contrast between the two bands headlining in the same venue could not be more defined. Flood Of Red are young, talented and have won my personal award for best live finale of the year…so far.

The 6 piece from Scotland take to the small red light stage (a photographers nightmare so I hear). The crowd is made up predominantly of young females, who all gaze upon the lead singer with gooey eyes; it must be that sexy Scottish accent, which lends itself beautifully to the passion of the music. Maybe this is caused by the aggressive yet sentimental melodies and breakdowns that Flood Of Red thrust upon the crowd. It is amazing that with so many bodies on such a small stage, coupled with intensity that the bands plays with that no one sustains a serious injury. The band seem unfazed and actually appear to be genuinely overjoyed to be playing tonight, as smiles beam from their faces and jokes are made. Flood Of Red never break or waste time in-between tracks as the keyboardist provides enough time and atmosphere for each song to roll seamlessly from one into the other. The penultimate tracks sees two lads finally loose control of themselves as the slam dancing and high kicks begin as the H&M clad teens gaze on with a combination of confusion and fear. For the grandee finale every member of the band takes to a drum. With little room on the stage, members of the band are down to the left of the stage, in the crowd, all thumping away in unison. It is an impressive and unexpected sight which creates forceful and epic sound.

Everyone gets a free CD as they leave, bonus!