Partisan formed in Manchester, UK, early 2013. As the name implies they are passionate about their cause, which is to inject some authentic rock into the limelight, as serious contenders to pick up the music scene with punchy, bold and unflinching rock anthems!
The band’s members are Stuart Armstrong (lead vocals and guitar), Dan Albon (bass guitar) and Leo Stanfield (drums). Founding member Stuart Armstrong (lead vocals and guitar) left his previous band Six10Repeater, that disbanded in 2012 but returned to the scene with Partisan working on new material with his rock edge and progression from Six10.
They have achieved numerous accolades including being awarded as ‘Best Unsigned Band’ by XFM in 2009, two tracks, Hearts and Nails and Today Somehow featured Pro Evolution Soccer, supported prominent bands such as Nine Black Alps, Baby Shambles, Status Quo and The Damned as well as being reviewed by influential peers within the industry, Mark Radcliffe, and BBC Introducing.
The band has recorded and released many rock anthems, including the very popular Two Lovers, Ashes, Today Somehow and Juggernaut in recent years. Now signed to GAS Music they are releasing Oxygen in 2018. They have had the pleasure of working with notable producers, Jim Spencer, Christophe – Oxygene Studios and Mike Bennett.
They have had an exciting year, playing gigs and festivals such as The British Sound Project, Victoria Warehouse, and Sonder Fest. They have plans of further gigs and hoping to return to the US next year, after a fantastic response when they played Pianos in New York and Whisky a Gogo in Los Angeles in late 2016.
SOURCE: Official Bio
LINKS:
https://www.wearepartisan.rocks
https://www.facebook.com/wearepartisan
https://twitter.com/wearepartisan
https://www.youtube.com/watch?v=JeA7ADB8ws4
https://soundcloud.com/partisan77
https://reverbnation.com/partisan3
-
Atmosphere – Stopwatch
Atmosphere has just released another new music video for “Stopwatch”, directed by Ryen McPherson and produced by activist art collective, INDECLINE, best known for their poignantly satirical murals and installations.
It’s a different place than it was two years ago when Atmosphere released their last record, Fishing Blues. Their seventh album, Mi Vida Local, reflects the ways in which the world–and their place in it–has changed. The idyllic domesticity of the past few records has morphed into anxiety over keeping loved ones safe during turbulent times. The easygoing collaboration between Ant and Slug has started to feel more like the life-or-death intimacy of two men trapped together on a lifeboat. At times, Mi Vida Local is a heavy album, (“I might be the last generation of grandparents,” goes a key line from “Virgo”), but it’s far from grim.
As the name implies, Mi Vida Local is intensely focused on the place it was created–the south side of Minneapolis–where Slug and Ant work tirelessly in their “beautiful basements”, refining their sound without interruption, save for a handful of Minneapolis friends that showed up to contribute. The album pairs complex subject matter with equally deep beats–ones that show a clear lineage back to the psychedelic funk landmarks from an earlier era where America was going through a post-utopian hangover, and prove that there won’t ever be a time where boom-bap beats don’t sound perfectly of the moment.
Mi Vida Local might be the best album Atmosphere’s ever made. It’s definitely the one they needed to make right now, and one listener’s need to hear just as urgently. If it’s sometimes an album about how the fight to find happiness never really ends–even after you get the house and the kids and the artistic freedom to make dad-rap records–it’s also about discovering that there’s happiness to be found just in fighting.
SOURCE: Official Bio
LINKS:
https://rse.lnk.to/MiVidaLocal
https://rhymesayers.com/artists/atmosphere
https://www.facebook.com/Atmosphere
https://twitter.com/atmosphere
https://www.instagram.com/atmosphere -
m1nk – The Far Side
m1nk (pronounced ’em one en kay’) is a duo based in the UK and Greece, comprised of Barry Snaith from Wakefield, UK, and Erika Bach – German-born, raised in Australia and currently living in Ithaca, Greece. Having met each other on Soundcloud, they collaborated on the track ‘Bleed Through’, hitting the alt-rock chart on that platform after the first day.
Erika Bach (a.k.a. Lola Demo) comes from a more garage rock background with some electronic influences. Her haunting voice and edgy trash ethic sometimes remind us of a less hopeful Patti Smith. Barry Snaith (a.k.a. The Inconsistent Jukebox) moves effortlessly between genres, his productions encompassing everything from acerbic alt-pop and industrial soundscapes to French cabaret and dubstep.
For these two, writing together was instantly a natural and organic process, each adding what they felt at the time of writing. Sometimes structured and sometimes completely abstract, vocally and sonically.
m1nk produce dark, gothic, electronic soundscapes for the passionately dispossessed and sexually charged absentees of the blank gender nation. Their songs are about lust, disappointment and dangerous encounters. They are very distinctive, yet hard to define.
Barry’s influences include Bernard Herrmann, David Lynch, Francis Bacon, Robert Fripp, Captain Beefheart and Dali. Erika is inspired by stormy days, a little pain and ugliness, human kindness and bewilderment.
For the Single ‘The Far Side’, Bach wrote the lyrics and melody first. “This is a song of yearning, waiting and disappointment,” says Erika Bach. With no particular sonic or musical structure, Snaith added the soundscape to fit the plaintive mood.
‘The Far Side’ released on August 1 across online music stores and streaming platforms, as well as Bandcamp. Find this and their previous single ‘Fuck You Up’ on Spotify and everywhere.
“Hauntingly ethereal… the imagery cloaked in a thickening black atmospheric is all at once petrified, desolate and withered yet strangely seductive in a darkening way”
– The Sunday Experience“A dark edgy sonic trip… like David Lynch armed with a fuzz box”
– The Spill Magazine“A stunning slab of gritty, grimy industrial electro reminiscent of the KLF at their idiosyncratic best. From the distorted, glitchy guitars to the impassive rapped vocals”
– Paul Kerr (The Devil Has The Best Tuna, BBC6 Music Selector)“A genre-defying collage of electro beats, distorted guitar… surreal lyrics and spooky chanted vocals”
– Essentially Pop“Apart from Lynch, this music brings to mind Portishead, The Bad Seeds, Nico, the softer underbelly of Lydia Lunch, and Siouxsie Sioux, and even the darkest side of Mylene Farmer. The lyrics take you to a noir place and, surprisingly enough, it’s not an uncomfortable one”
– Big Takeover MagazineLINKS:
http://www.m1nk.com
https://www.facebook.com/m1nk.official
https://twitter.com/m1nk_official
https://sejarecords.bandcamp.com
https://www.instagram.com/m1nk_band
https://m1nk.teemill.com -
We Are Parasols – Dim
A throbbing beat. Machines on a march. Guitars can be a drill or sing like an angel. A voice like a computer caught in a human throat. A whisper. A howl. Synthesizers are sometimes smooth and glassy, sometimes jagged and bloody. A walk on the shore can easily turn into an apocalyptic landscape, depending on your perception.
Influenced by Curve, Wire, Cocteau Twins, Depeche Mode, Gazelle Twin, Skinny Puppy, Nine Inch Nails and Bloody Knives, their new offerings on ‘Inertia’ features tracks ranging from the analogue postpunk near-industrial enigma of projects like Clan of Xymox and The Tear Garden to electronic dark reverie similar to Delerium and Gazelle Twin classics to the stripped back melancholy served up by This Mortal Coil.
Dubbing their own music as ‘industrialgaze’ and ‘darkwave’, We Are Parasols is comprised of D (vocals and bass), Jerman (guitars, piano, synthesizers, programming, and samples), and Alec Eye (drums, programming, and synthesizers).
“I have a stronger desire — or, really, a need — to continue to make and perform music. So that deep need often overrides the fears I have about creating and sharing our art, and performing live,” says D.
We Are Parasols began as a shoegaze-electronic hybrid band. Their debut full-length ‘Infrastructure’ was followed by their ‘bite_your_tongue’ EP, a more minimal ambient release. The song ‘No Movement’ off the band’s debut album, which was about an android sex worker, ultimately spawned the musical world of their new album ‘Inertia’.
‘Inertia’ combines industrial, shoegaze, dream pop and darkwave with sci-fi in order to tell a dystopian, possibly humanist, probably anti-human, story about violence, technology, politics, control, and an android feminist anti-hero known only as a synthetic sexual tasked android body.
There are 13 tracks on the cassette version of the EP, which comes with a full-color 4-panel J-Card featuring all the lyrics, as well as a digital download (a poster is also available). While these same 13 tracks are available through online stores and streaming platforms everywhere, the Bandcamp edition includes a special bonus track – ‘hush (Piano Version)’ – especially for lovers of early 4AD output.
LINKS:
http://nomovementrecords.com/weareparasols
http://www.facebook.com/weareparasols
http://twitter.com/WeAreParasols
http://soundcloud.com/weareparasols
http://www.youtube.com/user/PredatorFriendly/videos
http://www.instagram.com/weareparasols
http://weareparasols.bandcamp.com
http://open.spotify.com/artist/7dmvcoPsZ4Vy4Fy4WALQMP
http://itunes.apple.com/us/artist/we-are-parasols/id1044013285