Feature: The Echo and The Sound

The Echo and The Sound

The Echo and The Sound

Here’s something you wont hear many music journalists say…everything that’s to be said about The Echo and The Sound has been said before.

Boom! There it is…out the barrel folks. But you know what? It’s not even about that. It’s about getting this LA duos music out there for the world to see…or at least those of you who read this.

Citing influences such as Flat Duo Jets and The White Stripes, it’s easy to see why these ballsy, no-holds barred rockers are giving it stacks. Through the 6 tracks on their debut self-titled EP they’re giving more than enough proof that they have what it takes to shift a room full of hard-drinkin’, no bullshit dudes and dudettes.

The last track on the EP – Grave Act – a truly grim affair of gritty guitars and slow, weathered vocals – keeps the listener peeled until the very end. If nothing else, a warning…don’t get too close, or this pair’s razor sharp sound will cut you in ways you never knew existed.

Best described in their bio as having the sound to match a fist fight between Bob Dylan and Sam Shepard, The Echo and The Sound provide the soundtrack to a 21st century post-apocalypse – nuclear warfare in sound form for sure.

Check out their EP here…you won’t be disappointed!

and on their Facebook page here...

Also, for more updates and posts, check us out on Facebook here

– Luke Bartlett


Interview: Mansions



We here at The Two-Way Radio had the pleasure of speaking to Christopher Browder, one half of Seattle-based indie band Mansions. He was kind enough to talk about their new record, as well as being on the verge of giving up and muscial inspirations. Have a read of the interview below and be sure to check out Mansions on their website www.thisismansions.com, and have a listen to their 2011 album ‘Dig Up The Dead’  in anticipation of their next release!
TTWR – First of all, would you like to introduce Mansions? Who is involved, where are you from and what sort of sound can people expect to hear from you?
Christopher Browder – We are Christopher Browder and Robin Dove, an indie-fuzz-pop band currently located in Seattle, Washington.
TTWR – What inspired you to make music? Was it always something you wanted to do, or did something spark it?
Christopher Browder – Whenever I get into consuming something, I immediately want to be able to make it myself, whether its music, movies, a certain type of food, or whatever. So in middle school when I really got into listening to music, right away I had to learn bass and guitar and started writing songs. Nowadays it’s something so ingrained in me that I get antsy and irritable if I haven’t been playing guitar or working on songs for a little while.
TTWR – What is your songwriting process? Do you have a sort of ritual when it comes to writing songs?
Christopher Browder – Most ideas come out pretty half-formed with basic chords, melody, and words. Sometimes it’s on guitar, sometimes on keys, sometimes with bass, it just depends. Then usually the songs that somehow make it past that first stage go through an intense editing, rewriting, and demoing process to where eventually it’s probably unrecognizable from that original idea. There’s a certain amount of “magic” involved, but a lot of it is just hard work and banging my head against the wall until something good happens.
TTWR – You released Dig Up The Dead back in 2011, how do you feel about the success of that album and where it has taken you?
Christopher Browder – It was really amazing that people seemed to notice that record and responded to it. We made it when we were at a pretty low point and the band was right on the brink of destruction. Nobody cared about us, we didn’t have a label, manager or booking agent, and it just seemed like “why bother?” But we made the record anyways and put it out, so to get that affirmation that it was worth it was really incredible. We still have a long way to go but that definitely gave us the drive to keep going.
TTWR – What have you been up to recently?
Christopher Browder – Making a new record, rehearsing, living the non-tour life for a minute. Enjoying being people and staying in one place for a little while. I’ve been DJ’ing at parties, Robin’s been restoring vintage furniture.
TTWR – Do you have some sort of estimated release date for your new record?
Christopher Browder – Stay tuned…
TTWR – Are there any details you would be willing to part with? Album name or song titles, themes or other general information?
Christopher Browder – I think in general the new record is a lot more fun than the last one. It’s more uptempo, less of a bummer, but still based on genuine emotion and honestly. It’s less “woe is me” and more “fuck you whatever”. We have been getting more confident sonically, so the sounds are definitely better and stronger and weirder. There’s a song called “Two Suits” that we’ve been playing live that will be on it.
TTWR – What can fans expect from your new album? Will it be a departure from your previous work, or can we expect a refinement of the sound you have established thus far?
Christopher Browder – I think it’s a logical next step. It’s different enough to not be boring, but it’s still us. Over the last few years we’ve been discovering what we sound like, and I think we finally know how to sound like us. And this album really really sounds like us.
TTWR – Are there any standout tour experiences that you can tell us about?
Christopher Browder – Playing two weeks with Taking Back Sunday last fall was probably the most fun I’ve had on tour and was an inspiration every night. But even the bad tours with stupid bands and no attendance can be fun because they’re so laughably bad, at least in retrospect. I prefer tours when we ride along with another band, that’s the best way to really get to know somebody.
TTWR – Finally, is there a chance of you playing any UK shows at some point this year?
Christopher Browder – God I hope so. We’ve been wanting to do that for 6 years. Lets all keep our fingers crossed…
I’ll leave you with my favourite Mansions song ‘Call Me When It’s Over’. We would like to say a big thank you to Christopher Browder for taking the time to answer a few questions. Be sure to like the Two-Way Radio Facebook page for updates on future posts!
– Robbie Jadowski

Gig Review & Interview – Ulrich Schnauss

Ulrich Schnauss LIVE in Birmingham

It’s Sunday, 24th of March, 2013. The West Midlands finds itself under heavy snowfall, and so for many traveling is out of the question; the hopes of a cheeky day off work creep into more than a few conversations. I start my night by putting on perhaps more layers than necessary and heading outside to the car. I make the 40 something minute journey over to Birmingham, the whole way refusing to let the tickets from my solid yet sweaty grasp. The window provides nothing pretty to look at. I wonder about what he’ll play tonight, whether I’ll get to hear anything from Goodbye, or if the majority of material will be from his latest release A Long Way To Fall. I remember back to the first time I heard Ulrich-  a friends father played me the track Stars, which had me none short of stone cold stunned. I hadn’t heard anything like it, and yet it injected me with a wave of nostalgia so heavy I almost drowned within the ocean of my own mind.

We reach our destination, the Hare and Hounds, a small, warm looking boozer with a few quirkies stood outside smoking. I head on inside for a poke around and see that the gig is signposted for upstairs. I join the rest of the small gathering in the downstairs bar for a swift Jack Daniels to wake me up. At the bar a bald headed man, no taller than 5’7, slurs about how great his nights going, and proceeds to get a member of staff to call him a taxi. His deluded happiness makes me smile, yet never lets me forget how fucked up we as humans really are. We drink to forget, and so I wander long and hard about what he’s running from.

When the queue at the bar is practically non-existent, I take it as my cue to move upstairs. It’s dark, smoky, kind of like a school disco. The crowd sit around the edge of the room, some not even facing the stage, as if the show would be nothing more than a background inconvenience. I don’t understand. All I want to do is be at the front of the room, giving the music every ounce of attention I have.

The support acts made sense. Birmingham based Paul Wood, under moniker Arc Vel, showered the 30-something crowd with an electronic rain storm, displaying the best of his debut album Orrery, which is available for FREE on his facebook page. Warming the crowd and stage up a little more with their at times exhausting, yet consistent wave of energy were Birmingham based duo Free School, who played out the majority of their releases thus far.

The sound checks almost over, and Ulrich’s due on any minute. Of course I have a child’s bladder. Of course the whiskey is getting the better of me. So there I go, rushing my way down the stairs, and wham! – Possibly the weirdest half second of my life. In my way, staring directly into my eyes, half confused, half startled, is the man himself. For fuck sake man, get a grip and say something! Nothing. Nothing is coming from my mouth. My brains screaming, but my mouths dead still. Me and Ulrich awkwardly shift around each other, silent.

Still to this day I kick myself for it. It’s not something that I imagine will ever happen again. Meeting your hero, only to be the hopeless flop you’ve always feared you’d be in those situations. Still I didn’t let it ruin the night. Back in the room, beneath the purple fog and dense crowd, I managed my way to the very front. Ulrich messed frantically with wires and knobs, whilst his assistant, Nat Urazmetova, concentrated on setting up what was to be the best display of visuals I had ever encountered. The pair’s partnership made sense; as though Ulrich’s sounds had melted to forge the most pretty of pictures. The visuals moved with the mood, with the waves of melancholic release that Ulrich managed to conjure.

The set was contender for the most emotionally exhausting, visually inspiring, tense and pressuring thing I had ever seen; instantly landing itself spot in my top 5 gigs of all time. Locating exactly what tracks were being played, from what album seemed an imppossible task; the sounds, each magnificent in their own right, merged into one another, lucidly ambitious. Everything from the venue, to the awkward crowds clutching desperately to the sides of the room, to the small, unmistakable merch stand perched in the centre where the socially challenged, unkempt men gathered eager to cop some remix vinyl…it all made it.

Being a huge fan of Ulrich, and having been inspired by him for so long now, it’s more than a dream come true to have been able to witness him perform live, but also to get the chance to ask him some questions…

Why do you think people from all around the world connect with your music? 

 I don’t think this is something that’s specific to my music – but one of the most fascinating aspects of music in general: like no other form of creative expression it effortlessly transcends cultural and social boundaries and therefore enables people from a wide range of different backgrounds to enjoy it.

Can you enjoy your own music the same way in which the fans do? 

 No, I think it’s a very different experience. I love making music of course and enjoy that process very much – however, once a song is done and finished it somehow loses it’s fascination for me and I’d rather work on something new than going back to old stuff.

Personally, your music acts as a method of relaxation for me. It is my ‘go-to’ music for both inspiration and calm – What album or albums would you say were your ‘go-to’s? 

 Discovering tangerine dream has not only taught me that I’d be able to realize my musical ideas using electronic instrumentation but their catalogue (especially as it’s very diverse) also remains a constant source of inspiration and I find it an intensely uplifting experience to listen to one of their classic albums – even though I’ve done so many, many times. Andréa’s Vollenweider’s work does a similar thing for me.

I recently saw you play the Hare and Hounds in Birmingham, where you displayed the true importance of the partnership between visuals and music. Do you believe visuals are equally as important to the music? And if so why? 

 I think it’s very difficult to compare the two – ‘equivalent’ or not is a tricky question to answer therefore. It is an art form I have great respect for – and one that provides a very valuable element for a music event – especially when it comes to electronica as visually those type of performances can be a bit underwhelming.

Photo&Article – Luke Bartlett

Competition: Win a free ‘American Football’ Album Download

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American Football – Self-Titled

Today we have a small competition where we will be giving away a download code for American Football’s 1999 self-titled album. American Football was a project from Mike Kinsella, known for is involvement in multiple musical endeavors such as Cap’n Jazz, Joan Of Arc and Owen. This album is a must for all fans of indie-rock and emo, showcasing inventive and mesmerizing songs that have influenced many other musicians over the last 14 years.

If you want to get your hands on this essential album, then simply ‘like’ The-Two Way Radio on Facebook, and share the post on there that is related to the competition. Make sure you set the shared post to ‘public’ so that we can see that you have shared it. We will pick a winner at random and contact them through Facebook once the competition comes to a close on Sunday 31st March. Good Luck!

Here’s a link to The Two-Way Radio Facebook page: http://www.facebook.com/TheTwoWayRadio

And a link to the post you need to share: http://goo.gl/itfZa

– Robbie Jadowski

Interview – Gothic Tropic

Gothic Tropic

Gothic Tropic

LA’s very own three-piece Gothic Tropic released debut EP ‘Awesome Problems’ in early September 2011. Taking inspiration from the likes of Sonic Youth, Magazine and The Talking Heads, there’s no task in seeing why this EP is such a sweet, hard-hitting trip. The four tracks are chocka-block full with bliss drenched, mellifluous riffs and sprinkled in an obscurity of cloudy vocals. It’s loud, it’s gutsy, its full with the kind of jams you’d have on at a beach party. Gothic Tropic’s ‘Awesome Problems’ is an exploration of rhythmic passion and bubble-gum pop.

TTWR: Could you start by telling us what Gothic Tropic are all about?

Gothic Tropic: We evolved from some of my solo loop station jams into a collaborative freeform project, and we just build off each others’ instincts. It’s a very pure project, everything we’ve done so far has all come naturally. We’re not trying to do anything except share our brains, whatever it ends up being.

TTWR: As pointed out by many others, the name Gothic Tropic is somewhat matched to the sounds delivered on ‘Awesome Problems’ – was this something you put thought into, or a chance happening?

Gothic Tropic: I think there’s a magic that occurs when everything is instinctually progressing, putting as little thought possible into conceptualizing a record or a sound always happens to yield a surprisingly well fitted product, so I think that’s what happened. The name Gothic Tropic kind of came as a joke because I love dark and twisty vibes and I love jolty bright party-happy vibes, so that’s just a sandwich of the two. I think the way I write (the EP came before we got to collaborate as a band) is just a natural combination of dark and light & that just kind of feels most right.

TTWR: You recently got to play alongside Unknown Mortal Orchestra, Foxygen and Wampire at The Echoplex, LA– how was that for you?

Gothic Tropic: Super fun! Those guys were great, and the bill really made a lot of sense to me. I think we all have a love for Krautrock & weirdness that doesn’t get acknowledged very often by bookers, so it was a really special show for us.

TTWR: How has the crowd reaction been at live shows for you so far?
Gothic Tropic: Our crowds have been insanely supportive, and enthusiastic. We have a really raw & inclusive vibe on stage and I think people are responding to how transparent we are, there’s a lot of bands right now with backing tracks and tons of ear candy, and I think what gets people going at our shows is the punk energy that exists for us on stage. There’s a lot that happens live that may not happen again too, so people go crazy when we improvise, I love seeing it. I’m totally with them too, I love laughing and shaking my head in disbelief any time Daniel or Lia shred some random part I’ve never heard them play before, and everyone’s in on it too.
TTWR: Was there any particular experience/s that influenced the end product of
this EP (Awesome Problems)?
Gothic Tropic: The name “Awesome Problems” was kind of a comment on the year I had, and how everyone has their own biorhythm that aligns with this idea. Which is; you reach a new low in order to reach a new high. Shitty things happen right before your situation improves ten fold, so just always remember that. It works like a fucking clock, it’s the most reliable life occurrence I’ve ever experienced, it happens like this approximately every 2 years, and I think a lot of people can identify with that as well.
TTWR: ‘Awesome Problems’ is a positively upbeat record; was this something you strived to achieve?
Gothic Tropic: I was feeling stoked on discovering the loop station which was when I wrote the tracks on Awesome Problems so maybe that’s why haha. But it was just a mood. The songs we’re about to record are tunes we all wrote together so there’s going to be a different vibe indeed, but still a mixture of that light and dark.
TTWR: What did the EP making process involve?

Gothic Tropic: 1 day on a loop station, I wrote Monkey Bars, Kitty Baby, and Flesh Dance. Then the next day I wrote Stigmata & Kill Lloyd Opus. The only song I put a little more thought into was Kill Lloyd Opus, I listened to some Bassekou Kouyate (West Africa) for inspiration.

TTWR: Could you reveal a little something about the new album and what we are to expect?

Gothic Tropic: We’ve been writing together for the past year, and this album represents 3 minds who happen to think very similarly, and we all have a special style and language we’re contributing. It’s more mature, and we’re putting a little more thought into the compositions and tones. It’s going to have the ‘shreddy’ party tracks, some fun punk tracks, and some dark intense thoughtful tracks, but they all have the same balance so we’re stoked to start revealing.

 TTWR: Are there any plans, once the new album is out, to tour it over in the UK?

Gothic Tropic: We’d love to, we’ve already been asked to tour out there & play a couple festivals in the summer, so if the resources allow we’d love to. If any UK folks out there feel inspired to help us out, we’d love to play!

We here at The Two Way Radio would like to take this opportunity to thank Gothic Tropic for their time!

You can download ‘Awesome Problems’ on their Bandcamp or buy a physical copy here!

-Luke Bartlett

Feature: New ‘The Wonder Years’ Album


The Wonder Years – The Greatest Generation

So after a whole lot of touring following the release of ‘Suburbia I’ve Given You All And Now I’m Nothing’, Philadelphia-based pop-punk stalwarts The Wonder Years have announced their fourth studio album, ‘The Greatest Generation’, looking to be released on May 14th via Hopeless Records. After the critical and commercial success of Suburbia, the band will be looking to live up to the expectations that are undoubtedly stacked upon them. After the comparable style and interplay between the two previous albums, will The Wonder Years move away from their current sound, or will they stay true to what has worked for them so far? Will their brand of pop-punk grow stale, or will they improve upon it?

I remember just when Suburbia was first announced, and there was a an air of anticipation surrounding that record, one of those rare records that lives up to its hype. I hate looking forward to an album release because I usually end up disappointed  most of my favourite albums were not anticipated, so I didn’t form a preconceived expectation of the album before I listened to it.  Most of the records that I watch up until release, end up being a little lackluster in comparison to my imagining of that same record. ‘Suburbia’ was not one of those records. I really do hope that ‘The Greatest Generation’ is not one either. If anything, I hope to hear an evolution in The Wonder Years sound and song structure. Lyrically, I don’t expect Campbell to disappoint, as he has proven that his combination of literature and life inspired lyrics have both versatility and prominence in their songs. The question is, can The Wonder Years enhance their sound? With Steve Evetts, who produced their previous effort, working on the new album, and Mark Trombino (Jimmy Eat World, Blink 182, Motion City Soundtrack) mixing it, I believe they can.

Look out for ‘The Greatest Generation, which will be released on May 14th, let’s hope The Wonder Years can keep up the good work. If you are unfamiliar with The Wonder Years, here’s my favourite song of theirs, ”And Now I’m Nothing’.

– Robbie Jadowski


Swap Shop: Hum – You’d Prefer an Atsronaut

Hum - You'd Prefer an Astronaut

Hum – You’d Prefer an Astronaut

A wastey, wild record which conjures up relations to the likes of The Posies Frosting on the Beater and Pavement’s Crooked Rain, Crooked Rain. A nutty ride for sure.

As always, I was introduced to this via my co-writing partner in crime Robbie Jadowski, and assured this would be a ‘new found love’ of mine. I approached this 9 track album with caution – so often many of us fall into the ever deceiving first listen love trap – and that’s because its new, it’s a taste of something varied, and the idea of the unknown is one that captures our definite curiosity without fail. Second run-throughs have always taught us different. Ever gone back to an album and wondered what the hell ever made you buy it? I think that’s what kept me on my toes. However, Hum seemingly crammed 9 anthems onto one beautiful blend of dusty guitars and cold vocal work.

Matt Talbott and Stephen Malkmus (Pavement) share a similarity somewhere within the attitude of it all – both possessing the singing voice of men who daren’t come across as either enjoying themselves or giving a shit about what they have to say – although both somehow managing to convey the strongest of passions through their music. Pavement’s Crooked Rain, Crooked Rain – a record released in 1994, approximately a year prior to You’d prefer an Astronaut – delivers similar vibes in many ways, yet certain tracks set the two mountains apart. ‘Why I Like The Robins’ is one of those that create a division – opening with an animated riff proving to have equal qualities to that of a tornado; jerking the listener from their every day mundane existence and throwing them about relentlessly until they begin to see life for what it truly is; a rollercoaster.

You’d prefer an Astronaut is a record with its very own spirit. It’s a dynamic, exuberant, and at times frenzied collection of passionate, thought-provoking musical journeys. Track number 2 ‘The Pod’ is a rare slice of 90’s attitude which represents something so genuine that efforts to re-create it would only end in failure. It’s a perfect homage to the time of its production, and acts as a time machine for those who are familiar with the era. At times the record sports a contradicting mixture of noises – the deadpan, cold-blooded vocal style of lead singer Matt Talbott combined with the furious, polluted guitar riffs.

Without a shadow of any doubt, You’d prefer an Astronaut is an album to get listeners amped; The tracks able to spark up the kind of legendary crowd every band dreams to perform for. The album, lasting an entirety of 45 minutes, managed to grip hold of me for the whole duration and leave me dry mouthed towards the end, anticipating the next time I would be able to hear the same electric winds roll by.

It’s a purposeful, angst-sodden and quite frankly potent piece of artwork. Check it out if you’re a 90’s nut, or if you just love music that gets you movin’.

– Luke Bartlett

Swap Shop: No Anchor – The Golden Bridge


No Anchor – The Golden Bridge

This time around, Luke has recommended me a totally different kind of beast in comparison to his previous offering. Let me introduce No Anchor, noise rock enthusiasts who definitely have the capability to destroy your ear drums. The Golden Bridge is erratic to say the least, even the song lengths are erratic, ranging from 1 minute to just over 7 minutes. Don’t expect to find a structure within this album, it comes at you from all sides, crunching bass guitars, and tinny drums make for one wonderfully messy ear-assault.

I will admit, I struggled with this album, it’s not what I would normally go for, and having listened to it all the way through, there are still other albums that I would turn to for my heavy fix. But having said that, I can definitely appreciate No Anchor’s music. Songs like Anna showcase the explosive quality that No Anchor possess, and the riffs on show throughout the album, most notably on Slack Sabbath and Woodman, are proper room-shakers. The dominance of bass guitars make The Golden Bridge an interesting album to say the least, each song is so dense in sound, which I imagine can turn some listeners away, but at the same time, it creates a wall of noise that slams over and over again to good effect.

It is hard for me to compare this band to anyone, considering this genre is relatively scarce, if non-existent in my library. I suppose fans of the Brand New song Vices will appreciate the level of noise on show here, and I know there are probably much more similar artists to compare No Anchor to, but as I said, I’m new to this stuff! One thing I really enjoyed about this album was the thought of hearing these songs live, the record has superb live potential and I would love to witness it at a show. A culmination of heavy noise that is sure to rock anyone’s socks off.

If you are willing to listen to No Anchor, which I would definitely urge you to, just as Luke urged me to, then you can listen to this album below and also purchase it from No Anchor’s bandcamp at a name-your-price rate! Be sure to check The Golden Bridge out, especially if you play your music loud!

– Robbie Jadowski

Spotlight: River Bones – Fuck

River Bones - Fuck

River Bones – Fuck

There’s not much to be found out about artist River Bones. No hometown, no up-coming tour dates – just a Bandcamp and Facebook.

It was through Bandcamp that I managed to stumble upon River Bones’s full length ‘Fuck’ – An album so appropriately entitled it’s almost amusing.

An enigmatic white-hot record which takes all the risks one should. Throughout the 50 minute album the listening audience is exposed to all kinds of varying noise – so much so that the urge to fight against it may seem overwhelming to some. But I’m here to tell you to stop. There’s no need to fight it, no need to try and stay afloat in River Bones’  sea of sound. Relax, ride the wave, let it take you where you want it to. Experience the album as you want it to be experienced – it’s your call.

That’s what I love about ‘Fuck’ – despite its heavy use of synthesizers, the album manages to avoid sounding bogged down and somewhat overproduced. A rarity considering how todays music-making landscape appears to have become. It’s a lot to take in, but it seems like a personal offering of sorts. River Bones delivers us the goods, yet it is up to us how we recieve them.

Maybe that’s the reason for a dead-end to my witch hunt. Perhaps there isn’t much information on River Bones because there doesn’t need to be. The music seems the most important factor, not the artist image or ‘package’.

The sterling amount of effort that’s been so obviously poured into the collection of tracks transcends through to the listener well – the end product a perfect example of how diligence pays off.

It’s a record drenched in obscurities and sprinkled with little gems of silence that one could only truly appreciate on such a piece of art. Its tailor-made for those with an open mind, and delivers you the belief that your mind can be unlocked. Tracks such as ‘Behemoth’ combining atmospheric soundscapes with gritty urban bass lines to ultimately provide the listener with their own personal brand of serenity.

‘Fuck’ does many things, but in the end it shows River Bones has what it takes to venture into the dark voids of synthetic atmospheres and shake it up a bit. Gutsy, time-destroying, soul-pleasing. Check the album out, as well as other releases by the artist, on Bandcamp.

– Luke Bartlett

Spotlight: Pity Sex – Dark World


Pity Sex – Dark World

“How did I get so depressed, I wasn’t born like this.” Well as a way to introduce your EP, this is a pretty bleak way to go about it. Pity Sex instantly set the tone for their EP ‘Dark World’, which may I note is appropriately named, with a mixture of moody vocals and buzzing lo-fi guitars. ‘Dark World’ is, once you scratch away at the surface, a surprisingly poppy record. If emo-pop is a genre nowadays, then this EP would probably fit into that category. The Ann Arbor-based band consists of Sean St. Charles, Brennan Greaves, Brittany Drake and Brandan Pierce, sharing a sound with the likes of Mineral and Sunny Day Real Estate mixed with pop elements that makes for a catchy, emotional experience. Each song sounds like it came straight out of the 90’s, an apathetic lo-fi affair that is reflected in both the instrumentation and the lyrics:

“Your sweet nothing
Ain’t  nothing but steam.
Like my suffering
Ain’t nothing but a scheme.”

The majority of Pity Sex’s music is made up of crunchy guitars with high-pitched guitars layered over the top, when things get a bit intense, crashing symbols take centre stage in a culmination of buzzing noise. Brennan Greaves’ hazy vocals are a big highlight of Pity Sex’s sound, perfectly suited to the nihilistic theme behind the lyrics. With Brittany also providing duo vocals on Dog Walk and Hole Away, to great effect. The swapping between Brennan and Brittany makes for a switch in sound so that the apathy doesn’t consume the listener.  The blend of clean guitars and heavy, grungy guitars give the songs a depth in the music that will keep you listening, each time I listened to one of the tracks, there was something new that I discovered in the sound of each song. Flower Girl, a racing song that features those crashing symbols I mentioned earlier, has an intense noise-dominated chorus that is very well juxtaposed with the clean, soft spoken verses.

If you’re a fan of 90’s emo, lo-fi guitars, depressing lyrics or just good music in general, you will be a fan of Dark World. Pity Sex possess a cohesiveness and depth of sound that you only find in the best artists, and I thoroughly believe that this group can go far, providing they continue to release music of similar quality to the songs featured on this EP. Each song is top notch, and I urge everyone to listen to Pity Sex, they deserve to be recognised for this masterpiece. You can find more information and also buy the EP for $5 on their bandcamp page, and also be sure to like The Two-Way Radio on Facebook and follow us on Twitter for constant updates on new posts!

– Robbie Jadowski