Alternative punk rockers Everafter share the video to brand new single, Who You Are with Rhythm & Booze
RAMPAGING THROUGH THE AUTUMN IN A CITY NEAR YOU
- UK Headline Tour
w/ support from Freeze The Atlantic & Speaking In Italics (5th – 14th Oct 14)
- UK Tour supporting The Subways (25th – 31st Oct 14)
- Just added to Nightmare Festival in Camden (1st Nov)
Burton-On-Trent punk rock n’ roll four-piece Max Raptor crack the long tail of adoration for their 2013 debut album Mother’s Ruin (out now on Naim Edge Records) and their storming set at Sonisphere 2014 this summer, with a live schedule to get the pit circling.
Making a name for themselves as one of the most underrated young British rock groups around, Max Raptor’s live performance was given 10/10 reviews across the board at this year’s Sonisphere, also being given the “Craziest Moshpit of Sonisphere 2014 Award” by rock blog Sinister Resistance.
Heralded by Kerrang! as making “songs you can fight, f*ck or dance to” and supported by BBC Radio 1 Zane Lowe & rock guru Daniel P Carter, Max Raptor’s anthemic candour and riotous live performance have established them as a cornerstone of the underground Midlands alternative rock scene.
Max Raptor are stoked to be embarking on a headline tour with support from fellow British alt-rock group, Alcopop! Records own Freeze The Atlantic, described by NME as “an impressive demonstration of grit and grace 7/10”.
The Raptor boys have also been invited by spritely garage rock band The Subways to accompany them on five nights across the UK, whilst promoting their new single My Heart Is Pumping To A Brand New Beat.
Thereafter, Raptor return to London for the Camden High St’s Nightmare Festival, brought to you by the makers of ever-successful Camden Rocks, in full Halloween fancy dress! Visit them here on Facebook for more details: www.facebook.com/NightmareCamden
Watch the video for the Kerrang! and Scuzz TV playlisted video for England Breathes here: https://www.youtube.com/watch?v=I6BBiPwSffY
Stream the new album Mother’s Ruin (out now on Naim Edge Records) in full here (media only): https://soundcloud.com/naimedge/sets/max-raptor-new-mixes/s-r40Wr
Max Raptor w/ Freeze The Atlantic & Speaking In Italics
5/10 YORK The Duchess
6/10 NORWICH Waterfront
7/10 BIRMINGHAM Flapper
8/10 LEEDS Temple of Boom
10/10 GLASGOW Nice N Sleazy
11/10 DUNDEE Buskers Bar
12/10 BOLTON The Alma Rock and Metal Bar
13/10 LONDON Barfly
14/10 TUNBRIDGE WELLS Forum
The Subways w/ Max Raptor
25/10 PRESTON 53 Degrees
27/10 DERBY The Venue
28/10 PETERBOROUGH Met Lounge
29/10 CAMBRIDGE Portland Arms
31/10 OXFORD Academy 2
01/11 LONDON Nightmare Festival (venue tbc)
Tickets available from:
ARTIST: HANNAH SCHNEIDER
ALBUM: RED LINES
RELEASE: LOJINX (UK) SONY (DK) – October 27th 2014
“Getting in way over my head is the best thing I know. And the worst.”
Melody fanatic Hannah Schneider isn’t just the result of a colourful family history. She’s also driven by almost frightening courage – from the time she broke with her internationally renowned family’s classical traditions, until she decided to take the stage as a woman alone with a pile of instruments. But she’s also endowed with the delicate soul of an artist. Now, on her third album, she brings all the contrasting threads together for the first time – and that has set her and her music free.
Over and over, people ask Hannah Schneider where she’s from. The short answer is “Denmark”. The longer one is that her grandfather was famed violinist Alexander Schneider, a member of the celebrated Budapest String Quartet. He had Russian-Jewish roots, and the family’s name had been Znaider before they adopted the German spelling to make it easier for them to cross borders.
Alexander found himself in the United States in the 1930s and had a son there, but he was known to have a “woman in every port”, including one who bore him a daughter in Copenhagen. When Alexander’s American son visited his half-sister, he fell in love with her bohemian lifestyle and decided to remain in Denmark. He met a Danish violinist, and the couple had a daughter – Hannah Schneider. As you might expect, Hannah inherited a bit of everything from her family – the street performer’s free thinking, the artist’s sensitivity, a Russian temperament and a good dose of American ingenuity.
“It’s been a huge conflict, and I’ve always been extremely sensitive. I let everything in the room affect me, but I’m not, like, this nice little quiet girl. I’m incredibly temperamental and I’ll go home and smash things. And when it comes to music, I’m always making all these drastic decisions,” she says.
The contrasts inevitably find their way into Hannah’s songs and the way she approaches her career. It all began with a break – a break with her family’s proud classical music traditions. She describes herself as born in the orchestra pit at the Royal Danish Theatre, where her mother was a violinist. Her earliest musical memories are the sound of the violin, but she was seized by the rhythm when she first heard “Lambada” years later. She also toyed around with a keyboard in her room, and discovered it was more fun to write her own songs than to interpret others’. Gradually, she began to give shape to her own type of gauzy electronic pop music.
Hannah’s ability to take her own path musically was first showcased in a project called “Window Sessions”, where she and special guest artists performed songs in her apartment, recorded them, and released the recordings. More recently, a tour where she appeared completely alone on stage earned her a lot of respect for the courage she showed in getting up and singing and playing all the instruments herself. What people didn’t know was that she was lying awake at night, terrified of having to put her latest musical path into practice. But these are contrasts she has to live with, and that actually drive her onward.
“Getting in way over my head is the best thing I know. And the worst,” she says.
On her new album “Red Lines”, Hannah is fully aware for the first time that she’s always balancing between extremes. This realization has given her songs a new sense of clarity and optimism. She’s also investigating – to highlight the contrasts again – more masculine sounds. Her two co-producers, Andreas “The Machine” Summer and Lasse Baunkilde, have pushed her to go places she’d never been, particularly with beats and bass. But the main thrust of her writing is still the same:
“I’m a total melody fanatic. I have favourite songs in every genre, from Robyn’s “Do You Really Love Me” to Joni Mitchells “A Case of You”. A good melody does the right thing at the right time. You have to be able to cover a whole landscape in three or four minutes. Every time a verse finishes, there’s got to be a little lift,” she explains.
Hannah’s own melodies were composed during stays in different cities and in a little rundown shed in the middle of nowhere. A song like “Everything” embraces quite a bit of the theme that pervades the album. It’s a song about “spring cleaning” gloomy moods away, so you can see that good things lie ahead. “Dreaming Kind” was conceived as a battle cry for sensitive dreamers. And the summery single “Life Is Easy” is about the moment you start to trust in your own life.
“This record is about the glimpse you get of yourself when you can observe yourself from the outside. You know, I’m done with navel-gazing. All I want to do now is just open up,” Hannah explains.
Not that she’s reached the end of the line. Or that she’s now on completely firm ground. She’s got too much classical music in her blood for that. In classical music, you never stop improving and growing.
“If there’s anything that annoys me, it’s this idea that pop musicians – especially women – have a certain limited time to shine. After that, you sit around writing about the kids. I plan to keep on finding my way and getting better and better at writing songs. Being a musician is a life-long project. It’s with you from the minute you’re born to the day you die,” she concludes.
Red Lines will be released on CD, digital & vinyl on the 27th of October on Lojinx in the UK.
Worcester’s finest purveyors of infectious folk-pop, Jasper In The Company Of Others return with a brand new EP, after the successful release of their debut album, back a year or so ago.
Since the release of the aforementioned album the band have been hard at work gigging, taking in festivals such as Wychwood along the way, as well as writing and recording the four tracks that make up Kind Regards.
For the uninitiated jasper In The Company Of Others mix upbeat melodies, acoustic guitar, frantic ukulele and elastic rhythms to create a contagious and instantly memorable sound, so much so that if you don’t find your toe tapping or head nodding, you might just want to check your vital signs, the band whether it’s live or on CD never fail to raise a smile and Kind Regards continues the trend.
The EP opens with the high spirited Between The Lines, a glorious pop-laden indie folk number that contains more hooks than most band’s muster in a life-time, it’s a blustery fun opening with frontman, “Jasper Malone” trading riffs with Uke star Jak Hayward, whilst the rhythm section lay down an infectious groove and new addition, Ed Roser weaves in and out of the mix with a blur of fiddle, further enhancing the sound. Passive Smoke follows and in comparison is something of a refelective number that sees Jasper initially deliver a wonderful heartfelt croon accompanied by a lonesome acoustic guitar before the rest of the band join in with a combination of expressive fiddle, driving bass and drums, Passive Smoke concludes with a lovely line of delicate vocal harmonies that showcases how well the band work as a unit as well as the warm production values of the EP.
Something In Water, opens again, as a subtle reflective number, with understated drums underpinning that omnipresent combination of acoustic guitar and fiddle before slowly building up to a rousing chorus that’s pre-meditated by an almost punk thrash of the acoustic guitar. The chorus itself is instantly contagious, whilst the middle section of oohs and ahhs will have you singing along by the end of the first spin.
The band finish the EP with the glorious ode to going out and having a good time, Wait For The Weekend, a track that seems to unite the various different elements that make up the sound of jasper In The Company Of Others in a glorious three and a quarter minutes, folky verses make way for a pulsating (dare I say slightly Mystery Jets influenced) indie pop chorus, that’s peppy, fun and ultimately unforgettable.
Jasper In The Company Of Others always deliver live and with the release of their debut album and indeed this brilliant four-track the band could well find themselves (and justly s0) on the cusp of something very big indeed.
Rhythm & Booze Rating 10
- Exclusive Everafter Video For Rhythm & Booze
- Max Raptor Announce UK Headline Tour
- Thomas Nicholas Band Announce UK Dates
- Hannah Schneider Reveals Red Lines
- Kent Duchaine @ The Fleece, Bretforton 29/8/14
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