Review: MAYPINE – In The Back Of My Mind

20799924_453307101719264_463182109330886952_nThe UK pop punk scene is bursting with energy, showing a huge amount of determination, passion and all over fun interactions within the community. Brighton based MAYPINE joined the scene mid-2016, and have already taken thousands of listeners by storm. Taking their music to the stage, their notability came from the lively and exciting shows that really stuck in your mind and making you question, “who is MAYPINE?”

21272489_460910904292217_3812576184233086093_nIn The Back Of My Mind is their first recorded EP where Maypine took to Emeline Studios with producer Ian Sadler, who’s previously worked with artists such as ROAM and Homebound. The first track, ‘A Little Sooner’ is their facebook biography captured in one song, supporting evidence of Maypine being one of the most exciting pop-punk bands in the UK. ‘A Little Sooner’ is full of the kick of a pop-punk band, but combined with melodies of a trained guitar, Maypine have really taken their creativity and turned it into reality. It honestly feels like the picture you want to draw in your mind, and having it turn out better than expected. As we move into ‘North/South Divide’ the distinctive vocals become more appealing as you listen on. It’s easy to say that pop-punk is catchy through the instrumentals, but Maypine have vocally and musically created this anthem-esque music that could well and truly fill up venues with ease. Alternative clubs hear the likes of Neck Deep, sending the crowd into a flurry of excitement, and it’s quite easy to imagine Maypine following the same footsteps.

‘North/South Divide’ not only has the appeal of vocals, but an emphasis on the drums and bass proving that every instrument is vital to their overall sound. It’s very upbeat, promoting subconscious body jerks whether you like it or not. One thing to say about the production of In The Back Of My Mind is that it’s such a clear, modern sounding recording, that one of the most appealing aspects is the sound of traditional pop-punk which have likely been remastered for the ears of today’s upcoming generation. An example of this, is third track ‘Inside Out’ that really shows their ability to create a heavy hitting pop-punk sound and high energy. As a band, Maypine have a real chemistry between them, turning musical ideas into reality and being the pop-punk band we all didn’t know we needed. Their music fits into playlists beside Microwave, ROAM, Neck Deep, pre-American Idiot Green Day and even Blink 182. Pop-punk has expanded, changed and grown over the years, almost sounding completely different to how it started back in the early 90’s, but Maypine’s fresh take on the genre that so many have come to love is appealing across all generations. As ‘Inside Out’ progresses, we hear the heavy breakdown, representing and proving that their talents are far from being explored.

‘Never Far Apart’ is an acoustic song, that really compliments the voice of lead vocalist naaame filled with emotion and passion channeled through music. It’s actually quite a lyrically beautiful song, and eventually moves into the works of the whole band as the vocal emotion peaks, letting the instruments take over. It’s a masterpiece, in every sense of the word. The band have cleverly managed to draw emotion through every component, ending the song in the same relaxing way as it started, taking you through twilight. The EP does come to an end a little too soon as we hit the final track, ‘Day After Day.’ After the incredible display of talent throughout the compilation of songs, it’s only right that Maypine shows one last push of energetic spirits as they close In The Back Of My Mind. Constructed of melodic guitars, cadenced drums and an aggressive bassline, ‘Day After Day’ is the perfect ending for their first, massive step into the pop punk scene.

Follow MAYPINE on Facebook and Twitter.


Interview: Autumnboy opens up about “Ghost Of A Broken Record”

autumnboy1Autumnboy recently released his first album, Ghost Of A Broken Record, under his current name. Often referring to his personal and spiritual process, the album is made up of emotionally driven song writing and at times consulting very deep and intimate emotions. “The album addresses a lot of my issues,” Autumnboy starts, “so there’s a lot of feelings that are in there, and it ranges from hopelessness and isolation, to heartbreak, regret and self-deprecation and then hopefulness.” Opening song, ‘Kill Yourself, Become The Sky’ is a very immediate introduction to the album and the style of music that Autumnboy has taken on. The sense of honesty that the music holds is a very appealing attribute, and with the artist being so open about his inner demons, it’s a very intriguing look at another person’s release. While the intimacy can be quite bare and nakedly placed in front of us, the inspiration of honesty is remarkable. Ghost Of A Broken Record has, in a way, promoted the sense of honesty through its own reflective and growing nature. “The album itself runs almost like a story, the beginning of each track, I tend to express a lament over a certain issue; whether it be struggling with my relationship with God, or with a girl, or a sense of overall insecurity. This then all accumulates to a peak with the title [Ghost Of A Broken Record], in which I come into a call with Alex from HXVNTED, and he represents the voices in my head – the voices that aren’t from God – whilst I’m speaking truth into each statement and fighting back. Eventually it drops down into me repeating the truth over to myself again and again: “I am a child of the King.”

“As an individual and as an artist I am unashamedly a follower of Jesus Christ, and over the years I feel as if my relationship with God has come to bleed into every part of my life.” He says. “When I first had the idea of putting this album together it wasn’t my intention to have it be an articulation of my process, but as the process of collating the songs went on, I felt as if God really began to direct what it was going to be. It was a really cool process to watch unfold in front of me!” Second track, ‘Terrible,’ is a challenging self-reflective track, in which Autumnboy address his senses of insecurity, and reminiscing over the reasons why the Autumnboy project came to life, he says “It started from a friend of mine sending me a song by an artist called Nothing, Nowhere, in the summer of 2016. It introduced me to a new genre of music that’s popped up over the past few years that mixes emo with trap-style drums and I fell in love instantly! So, I decided to start up the project as something to experiment with since I’d been writing music under the emo genre previously.” Ghost Of A Broken Record is an interesting combination of both of those genre’s, but it’s a real grower. While being very extraordinary and breaking away from the normality of emo, Autumnboy has taken it upon himself to tackle the obscure genre of music and triumphantly succeeded in making it work.

autumnboyAn example of Autumnboy’s honesty and intimacy is through the fifth track, ‘I Never Meant To Hurt You’ that shows the brutality that self-reflection can have, but through acceptance can help the path towards a better understanding of behaviour. “It was a hard track for me to write in many ways. A while down the line after the breakdown of a romantic relationship and close friendship, I ended up finding out a lot of things that this person thought of me and many things that they accused me of, all of which were negative. It was scary and induced a lot of anger in me at first, but after a few days of cooling down I felt an overwhelming sense of gratefulness,” he says. “I was grateful that through this situation I had been given a chance to be introspective and understand more of the things about myself that needed to change, and I did it through by putting myself in her shoes and try and understand her viewpoint. To some extent, I began to understand how I had negatively treated people in the past, and gained a desire to change that.” The four-and-a-half-minute track is a very storytelling track, being outright rather than vague – an emphasis on the reaction that the writer had when looking at the bigger picture, and through acceptance, moving on to truly recreate himself. “A dude called Louis C.K. once said “When a person tells you that you hurt them, you don’t get to decide that you didn’t,” and it really stuck with me throughout this whole process. Regardless of what I thought was right or wrong in the situation – truth or lies – I had hurt her, and that wasn’t okay. The song was me swallowing my pride, trying to explain myself and apologising. There’s no passive aggression; there’s no ‘oh I’m sorry but you said this about me,’ but just an understanding that this person was hurting, and I was the one that had caused it and I needed to own up for that, regardless of circumstance.”

One of the most intimate songs that really addresses Autumnboy’s faith is ‘Lose You,’ a song that features Hands & Feet and discusses the troubles he faces being a man of God and a victim of his own mental health. “I’m an extremely expressive person, so I began to write more and more as Autumnboy to express my emotions which eventually collated into the album that is out now.” The music, though, is more than just music for the songwriter, “I think through a lot of it I felt excitement though, despite how I was feeling, it brings me an immense joy to manifest my feelings in sound, and performing them on the record just backed up that joy because I was able to articulate that in a way that I saw fit,” he says, “it’s always incredibly helpful for me to express myself through song and it’s something I’ve wanted to do since I was very young and I am ecstatic now that I have the skill set to do so. It’s almost therapeutic, being able to express myself not only through lyrics but through the instrumentals I write too.” During the writing of Ghost Of A Broken Record, Autumnboy travelled to places such as New Jersey and Texas, and creating his ideas in various places. “I started writing for Autumnboy towards the end of summer. I spent just under a month in the USA overall, and during that time I worked on the demos for ‘Lose You’ and ‘Moonlight.’ I won’t go into too much detail, but if weren’t for that trip, I wouldn’t have written ‘Moonlight’ at all,” he says.

The fourth track of the album is certainly a different feeling to the previous tracks, being laced with optimism and giving a sense of overall euphoria, and a potential turning point in the Ghost Of A Broken Record story. Autumnboy has thrived in his creativity, taking influence from not only his emotions but his environments to create a very unique kind of masterpiece. “I wrote the majority of both of those songs [‘Moonlight’ & ‘Lose You’] on my friends’ bedroom floor while the people I was visiting were at work. That trip will always have a special place in my heart, so knowing that these songs were almost a bit of an outpouring of the trip is really cool for me.”


“In the final song, ‘Towers’, I begin to ask God to become the strength in all of my weaknesses, understanding that he fills in all the gaps and can fix all the issues that I’d previously been lamenting over throughout the album. The track itself wasn’t something I was incredibly excited about,” Autumnboy begins, discussing the final chapter of ­Ghost Of A Broken Record, “that was until Chris Bernstorf sent in the recording for his guest spot. It was actually at that point that I felt that God really confirmed that he was at work amongst this album. Every word that Chris spoke over the music I wrote not only related to me, but it shined a light to where I needed to be going next in my journey.” The song in question, ‘Towers’ has a cinematic and almost choreographed atmosphere surrounding it. It’s quite elegant in its presentation, as it moves gently and subtly into bass induced reminiscent. The guest vocals of Chris Bernstorf are passionate, adding that flourishing honesty to compliment the works of Autumnboy.


Being not only a debut, but a journey of experience for Autumnboy that has allowed him to express his emotions in a therapeutic way, looking to the future of the project is rather vague. “I’ve actually started the writing process for my second album, and at the moment it’s just jotting down ideas and recording rough guitar parts,” he says. “I don’t intend to release anything for a very long time though, because I want to be able to live and experience things that will truly inspire me. Not to mention the fact that I really want to relish and push the stuff I have out already – the album completely exceeded my expectations,” he starts. “A lot of it was written before I went into the studio, but some stuff worked and some stuff just flat out didn’t. I sincerely believe that every track turned out the way it was supposed to, and with the help of Realmskip, it sounds much better than I ever could have imagined, production wise. He’s truly made my music shine, and I would be doing myself a disservice to just let Ghost Of A Broken Record fall to the wayside.”

Follow Autumnboy on Facebook and Twitter to keep up to date with his music. 


Stand Atlantic release official video for ‘Sidewinder’

One of the things about Stand Atlantic is their massive tunes filled with power, energy and the overall catchiness of their tracks. Since formation, the band have been on the upward, gaining momentum and high praise for their hard work and dedication for their music. With the release of their music video for ultimate pop punk anthem, Sidewinder, Stand Atlantic show their passion for the emotionally driven track through visuals.

Be sure to like Stand Atlantic over on Stand Atlantic for more bangers.




Tomorrow marks the release of five piece ska punk band, Codename Colin’s second EP, Outgunned. The Hertfordshire band has some serious spirit, spending the last year and a half travelling around the UK to liven up crowds, bringing the band the notoriety of fun and energetic shows. Equipped with two saxophones and the means to combine head banging with skanking, Codename Colin sits in a ska punk line up next to Less Than Jake and Goldfinger.

The band was originally formed in 2012 by frontman Charlie Gabriel and after reuniting in 2016 with a solid line up, Codename Colin already has a few hits under their belts such as ‘Agent 23’ and ‘Match Dot Com.’ The band have truly grown as a band, and this time around Codename Colin has come on in leaps and bounds. Outgunned is a real contender to place them on the throne of one of UK’s rising ska punk bands.

Outgunned is an eight track album including a cover version of ‘Just A Day’ by Welsh band, Feeder. The original in itself is a huge song known throughout the scene, but in true Codename Colin style, they’ve worked their magic to make it the ska punk version we all didn’t know we needed. It’s one thing, being able to take such a highly rated song and charmingly turning it into something else, but Codename Colin has a plethora of talents and originality bursting at the seams. Earlier this year, they released an official music video for ‘Losing Touch’ that’s frankly, one of the catchiest songs to come out of 2017. Not only is it a wet dream for the ska punks of this generation, but the music video in itself is a throwback to some of the most iconic fashion trends that every early 2000’s punks indulged in and almost immediately influencing you to break out the checked Vans with a shirt, tie and waistcoat.


One of the biggest appeals to Codename Colin’s Outgunned is the first track, ‘New Year’s Resolution.’ Armed with an alto and tenor sax, the fierce sound they supply really supports the pumped up attitude that Codename Colin possess. ‘Friday 19th’ is another example of their spirit, with quick instrumental verses complemented by the sound of sax’s doing what they do best. The entire album is compiled of anthem-like songs to get you pumped. If your library includes the likes of Reel Big Fish or Less Than Jake, this band is definitely for you.

Codename Colin has a multitude of avenues that they explore though, with ‘Pulling Teeth’ really taking on a reggae-like tone. A lot of the attitude of the album comes from the lead vocalist, who gives the songs that extra oompf with charmingly hoarse vocals, and showing off what the British have to offer the ska punk scene. The fifth track, ‘Declan’ really puts the focus on the other instruments, showing the effect that the bass does have on the music. It’s a short song, but the amplified sound of the drums and bass gives the listener a chance to experience the other side of the music, and overall, ‘Declan’ is musical proof that Codename Colin can explore their music in many of ways. But, they’ve truly mastered the arts of ska punk, and since their earlier releases, they’ve shown that the more that they make music, the more they continue to grow into something special. ‘Putting Up Walls’ is a personal favourite from Outgunned with it almost feeling like the kind of songs you’d listen to while in a warm villa somewhere off the coast of Cala Pi, as you look over to the sun-kissed beaches and perfectly blue ocean stretching for miles in front of you. With it coming up to winter now, I’m sure Codename Colin can send you into a nostalgia frenzy as you reminisce about the freedom of summer, and warm your heart in front of the fire.


Keep up to date with Codename Colin by following their FACEBOOK and TWITTER and be sure to check out Outgunned tomorrow, September 1st across all platforms. 


A HIGHER DEMISE – To Death Or Victory EP Review

AHD2012 brought the formation of Kent based metalcore band, A Higher Demise. Their previous release of The Doctor Will See You Now gained high praise, and brought the guys a horde of followers for their industrious work, filled with passion and energy. Taking inspiration from bands such as Bring Me The Horizon, Issues and Of Mice & Men, A Higher Demise has tirelessly been working towards their upcoming release of To Death Or Victory – their second EP, and a lot of work has gone into it.

With a total running time of over 25 minutes and compilation of seven songs, A Higher Demise has created a wonderful mixture of theatrics and metal. It’s beautifully produced, with crisp and clear instruments – particularly opening track ‘Looking In.’ The heavy bass and drums are massively influential for the overall attitude of the song and complimented with the ferocity of the guitar, it’s a real introduction to what the band has created this time around for To Death Or Victory. A Higher Demise have always had a knack for contrasting clean and aggressive throughout their music, and it was one of the massive appeals for their previous release, The Doctor Will See You Now, and this time around A Higher Demise have used their contrasting vocals to easily add a sense of pugnacity. The second track, ‘Entropy’ really shows this with its combative, pumped up attitude from the get go. It’s heavily brilliant, with anthem-like clean vocals to get you shouting back. It’s a real contender for the liveliest song with guaranteed fist pumping.

An admirable aspect of To Death or Victory is the display of melodic hardcore in songs such as ‘Tear It Down’ and ‘Entropy’. Not only does A Higher Demise possess the ability to really bring a hefty energetic atmosphere surrounding their music, the ease they display to switch between a softened riff is just a small fraction of the creativity and talent that they share between them. ‘The End Of Us’ is another song that shares this similarity, with aggressive instrumentals and vocals softened and complimented by astonishingly strong, clean segments. ‘In The First Place,’ and ‘The Obituary’ there’s a sense of nostalgia within the songs, where the band is showing their roots of heavy, loud music filled with energy. Even though A Higher Demise has always shown a sense of theatrics throughout their musical journey thus far, ‘In The First Place’ really shows off their skill for the heavier genre that they’ve mastered. They could be considered a hybrid of sorts, combining the arts dramaturgy with an oldskool metal such as Bullet For My Valentine’s 2005 release of The Poison. ‘The Obituary’ on the other hand, has that heavy passion but takes that display of combination further.

The final song, ‘Endgame’ is the best song to end the EP with. It’s an emotionally driven song, with beautifully written lyrics that tug at the heart strings. Keeping that aggressive tone, they take the gentle segments further and really slow down the song in sections. Midway through the song, they subtly add a few chord changes, switching up the tone of the track instead of keeping repetition throughout the entirety. It’s a perfectly timed aspect that really makes this song what it is – and A Higher Demise has really taken their creativity and originality further with To Death or Victory.

To Death or Victory is set to release on September the 1st, so be sure to follow A Higher Demise on FACEBOOKTWITTER and check their official BANDCAMP for updates.



FTTTF3Northern English alternative band, Feed Them To The Forest have gained high praise since formation and initial release, and for good reason, too. The five-piece band have worked alongside names such as Mike Spink and Robin Schmidt – who’s seen the likes of Gaslight Anthem, Placebo and Mumford & Sons – to mix and master their digitally available tracks ‘Black Canary’ and ‘Six Seasons and a Movie.’ But now, in the coming weeks, Feed Them To The Forest are about to drop something more than just a little bit special – and it’s got some great vibes.

‘Black Canary,’ for those who haven’t heard, is an immediate introduction to the sound of FTTTF, and their headed direction in which they’ve already started to show proficiency for. It’s got huge vocal ranges, and a guitar complimenting every note on offer. It’s a song that really shows their energy as a band, much like their second song ‘Six Seasons and a Movie.’ The creativity and originality that oozes from their instruments for these songs are extraordinary. FTTTF have caught onto something largely unheard, bringing a refreshing sense of ingenuinity to the scene. And with the release of physical CD copy, ‘Double A Side,’ the two bonus tracks included show that they’re more than able and willing to continue exploring that creativity. Live session, ‘The Kids Need New Shoes’ is relatively melancholic, with the overall sound capturing genuine emotion that can make the hairs at the back of your neck stand up. In addition, the talent possessed by the leading guitar is powerful, holding the ability to speak as loud as the vocals. Behind both components, the cadenced drums and subtlety of the bass adds the depth. Overall, it’s a song driven by feeling, giving histrionics to the music in a very sincere way.

Stated on their official facebook page, FTTTF have advertised themselves under the genre’s of punk / emo and alternative, and bonus track ‘The Kids Need New Shoes’ is a real contender as to the best song to display each of the genre’s influences, proving that their modern take on these genre’s can really make it within the scene. The second bonus track – an acoustic version on their beautifully energetic ‘Six Seasons and a Movie’ – is more than just an acoustic. It’s a demonstration that their musical talents go far beyond the works of various instruments, but the display of euphonious vocals shows that they can master any kind of project in front of them with passion. For previous fans that has heard the material released for ‘Black Canary’ and ‘Six Seasons and a Movie,’ upcoming release of ‘Double A Side’ is a real treat that shows another side of FTTTF; it’s a remarkable collection of worked songs.

You can keep up to date with Feed Them To The Forest by visiting their official page, FEED THEM TO THE FOREST and following their FACEBOOK and TWITTER for updates. 


ONE STATE DRIVE Releases Official Music Video for “Ouchtown, Population You Bro!”

Pop-punk Oxfordshire boys, One State Drive recently released the official music video for their 2017 single ‘Ouchtown, Population You Bro!’ (WHICH YOU CAN CHECK OUT HERE!) Working alongside the likes of Bert and Eric from Chunk! No Captain Chunk! at Alias Studio, One State Drive are truly letting their talent and potential shine.

Within seconds of the opening frames, there’s a heavy punch of pop-punk attitude hitting you like that morning coffee – and it doesn’t reside for the duration of the track. They’ve 0008636003_10even got that punk rocker personality a match with a video filled with dick joke Easter eggs and an inflatable T-Rex getting up to all kinds of no good. It’s fair to say that One State Drive posses the right components to fit the ever expanding world of pop-punk and the like. The video in itself is comedy gold, with genuine moments of laugh-out-loud material, and no matter how much you see those giant inflatable T-Rex’s doing silly things on the internet, nothing is quite tickling as seeing one driving down an idyllic road of vibrant shrubbery and scenery with it’s head hanging out of a bright red Ford Fiesta.It’s actually quite heartbreaking watching Suit-and-Tie get bullied by a T-Rex in what’s probably the worst day of Suit-and-Tie’s life. We feel for him, we really do – even if T-Rex has tapped into our schadenfreude mentalities. One State Drive are more than just jokesters making entertainment music videos, though. They have some real potential and a hard-hitting sound of pop-punk that really feels like it resonates the old-school sounds of New Found Glory sprinkled with a pre-December Underground AFI, and all that aggression inside the late 90’s pop-punkers.