Artist:

The Sweet Kill, a mesmerizing one-man post-punk project steered by the gifted Pete Mills, originally hailing from the lively city of Vancouver, has recently unveiled its latest sonic creation, “Forbidden,” signaling the release of the band’s second full-length album, titled Nowhere.  What sets this musical endeavor apart is not just its haunting melodies but also the captivating blend of influences: drawing inspiration from the likes of The Crüxshadows and the legendary David Bowie.  Mills, currently based in the artistic hub of Los Angeles, serves as the creative force behind The Sweet Kill, bringing his unique vision to life from the confines of his personal studio, fittingly named Shadow Zone Sound.

If you’re a fan of gothic music and darkwave, chances are you’ll find yourself immersed in this project.  In the single “Forbidden,” Mills’ resonant baritone takes center stage, crafting a darkwave masterpiece that echoes the sounds of iconic bands like The Cure, Joy Division, and Bauhaus.  What adds an intriguing twist are the pulsating bass lines and brisk percussion, infusing some contemporary vibes reminiscent of The Killers and Franz Ferdinand.  To enhance this musical journey, Mills has released a complementary video seamlessly blending the darkwave aesthetic with enigmatic visual storytelling, reminiscent of David Bowie’s iconic works.

Diving into the core of “Forbidden,” Mills shares his perspective on the song, inviting listeners to explore the allure of the forbidden.  His poetic description weaves a narrative resonating with the grand opera of life, where hearts seek solace in clandestine duets, away from the prying eyes of the world’s chorus.

As anticipation builds for the release of Nowhere, the full album.  Mills provides insight into his artistic vision.  Describing it as an exploration of embracing the fear of the unknown with a fantastical faith, he envisions a collision of elements that will open portals to fourth dimensions.  This thematic approach suggests a depth and complexity extending beyond the sonic landscape, promising an immersive journey for the audience.

What truly distinguishes The Sweet Kill is the seamless balance between deeply personal lyrics and accessible melodies and production.  Rooted firmly in the post-punk genre, Mills’s music possesses an openness that transcends boundaries, appealing to a diverse audience spanning both pop and rock enthusiasts.  With the release date for “Nowhere” looming, The Sweet Kill is poised to captivate audiences, offering a musical journey that is not only introspective but also exhilarating, solidifying their place as a unique and compelling force in the post-punk scene.

However, the notion of a new year starting has certainly made me think about a few things.  As I look back over the past few years, I’ve noticed, much like many of you I’m sure, the toll this fast-paced world and the constant pursuit of individual success have taken on my well-being.  The rat race toward constant improvement in studies or jobs has led me, and likely many others, to the brink of burnout.  It feels like striking a balance between our personal and professional selves in a society that constantly pushes us to do more can be a delicate art.

The ingrained notion of success often fixates heavily on professional achievements.  However, in recent years we have been hearing more and more about the interconnectedness of our personal and professional lives, with the phrase “work-life balance” becoming more prominent.  Success in our professional lives is intertwined with success in our personal lives, and vice versa.

With this in mind, setting clear boundaries has become a personal goal in the new year.  The digital era offers opportunities, but also challenges, to this balancing act.  While remote work provides flexibility, allowing us to align schedules with personal goals, the constant digital connectivity blurs the lines between work and personal time, especially when your workspace is within your living space.

For on-site employees, the rise in quiet hiring due to workforce shortages, a fallout from the challenges faced during the pandemic, has led to additional responsibilities.  While helping out occasionally is commendable, taking on an entirely new role shouldn’t come with all stress and no gain.  It can even impact the quality of your primary job, not to mention your motivation.

An essential aspect of this balancing act is effective time management and prioritization.  You must be able to understand what needs to be done, meet your deadlines, and communicate clearly about the resources you need for success.  This principle extends beyond the workplace.  As a student, especially if juggling additional work, recognizing your limits and seeking help when needed is crucial.  If sacrifices are made in personal time, ensure there’s time for recuperation.  Without proper rest and self-care, our capacities are limited.  Allocate specific time for work, family, and personal pursuits.

For those currently job searching, consider this.  Companies are increasingly valuing investments in employee well-being and development.  Perks like mentorship programs, wellness activities, and continuous learning opportunities not only contribute to professional success but also enhance personal fulfillment.  Before committing to a new role, evaluate whether the company aligns with these principles.

Another one of my own commitments is setting realistic and achievable goals.  It’s so easy to succumb to the pressure of unrealistic expectations, but I have found that focusing on incremental progress yields better results in the long run.  Whether advancing in your career or nurturing personal passions, small steps often lead to significant transformations over time.  If success isn’t immediate, that’s okay.  Reflect on what you truly desire and work toward it one day at a time.

Self-reflection is paramount in this journey.  Assessing values, priorities, and long-term objectives serves as a compass for navigating the delicate balance.  It empowers us to make informed decisions, aligning actions with personal and professional aspirations.

In essence, I believe that the new year isn’t about grand resolutions or life-altering commitments.  It’s an opportunity to persist in the pursuit of balance between professional and personal growth.  By setting boundaries, capitalizing on digital opportunities, fostering a mindset of continuous improvement, and focusing on what is most important to us, we can inch closer to fulfillment in both our endeavors and our personal lives.

This Hermosa Beach-based band, born in 2017, draws its name from the very city it calls home—a one-square-mile patch of land that has become the cradle of their musical journey.  Talk about local pride!  Their roots in Hermosa Beach’s punk and hardcore legacy are evident, yet One Square Mile boldly embraces evolution, as seen in their new EP.  Produced by the renowned Cameron Webb, Source of Suffering encapsulates the spirit of punk while pushing the boundaries of their sound.

Beyond the music, One Square Mile distinguishes itself by playing over 35 shows this year alone, a testament to their relentless energy on stage.

Here is what Vanessa shared with me about her experience as the lead vocalist for One Square Mile and their music!

Source of Suffering marks a bold sonic departure from your 2018 debut LP, The System.  Can you tell us about the creative process behind this new EP and what inspired the evolution in your sound?

Vanessa: The biggest influence in the evolution of our sound was I had never done a lot of aggressive signing.  I was in a punk band briefly in my 20s but had done more jazz/ blues stuff.  I had to learn the old songs and they eventually became a part of my muscle memory.  When John gave us new material, we (Todd and I) would work on lyrics together and separately.  We would get in the studio, play it over and over, record it, listen to it, come back, and work it over and over.  The stuff I was doing in the beginning they didn’t like at first, but they gave me homework, and I learned more and more from them of what I wanted but also kept to what I wanted to do vocally.

Having played over 35 shows this year, including opening for The C_nts and OFF!, how has the live performance experience shaped your identity as a band?  Are there any memorable moments from these shows that stand out?

Vanessa: The amount of shows we have played this year has absolutely shaped us as a band.  In order to go onstage and perform with a group, there has to be a level of trust.  We didn’t know each other at the start, with the exception of John and Todd, so each show, we built up our bond with one another.  Our live performance has become a powerful expression of raw, feral energy.  One memorable moment from a show recently is when John broke a string on stage and ran to his van in the parking lot to grab his other guitar he ran back on stage and finished the song with us.  It was rad!

Working with producer Cameron Webb at Maple Sound Studios must have been an exciting experience.  How did his collaboration impact the recording process, and what did you learn from working with someone with such an impressive track record in the punk scene?

Vanessa: Working with Cameron Webb gave us so much permission to do what we wanted.  He didn’t try to put us in a box.  He was very personable and treated you like you were his friend.  It made it very comfortable.  He would ask us questions like “Do we like it? how can we make it better?”  He wanted us to sit down and sit on the floor with him and sit in our mix; we were invited to explore where we could go without judgment or boundaries.  It can be very vulnerable opening yourself up creatively to someone on that level, but he cleared the playing field for us.  He is extremely down-to-earth and patient.  If we didn’t understand something, he would find a way to reach us.  That was my biggest takeaway: learning to meet people where they are and encouraging them to reach further.

The review from Black Market Playlists describes your music as “furious wild punk rock in the best tradition.”  How would you describe your own sound, and what elements do you believe set One Square Mile apart in today’s punk scene?

Vanessa: I agree that our music is wild, furious punk rock in the best tradition because we allow each other to shine.  No one is the main character; everyone has their part that they contribute to the end result.  We enjoy what we are doing, and that comes across in the final product.  One activity that we do together that helps build our live show is we spend time together breaking bread before we perform.  This adds a level of community and fellowship, demonstrating our connection.

As a vocalist, you have been praised for your energy and intensity.  How does your approach contribute to the band’s overall dynamics, and how do you navigate the balance between the raw energy of punk and the metal-rooted elements in the band’s sound?

Vanessa: The contrast between the raw punk and metal roots makes the EP so dynamic.  It’s the yin and yang or the sweet and sour; you can’t enjoy one without the other.  At times it can be difficult to tame the energy that I’m exuding because it can be like opening a Kombucha bottle but that’s when I rely on the band to pull me back to the tempo and the message we are trying to demonstrate.

With a focus on writing music that speaks to your lives and experiences, can you share some of the themes and stories explored in the lyrics of Source of Suffering?  How does the EP reflect your personal and collective journey?

Vanessa: When you play in a band with others, at least for us, we practice a lot together, and there would be times that one of us was growing through something personal or difficult but would still show up for practice.  There is a healing that happens when you can both tell your story and listen to stories of others.  A bonding over imperfection is a common theme for us.  The Source of Suffering speaks to the fact that everyone has a vice or something they are grappling with in life, but when we can share that with one another, we can grow and move past our challenges together.  Furthermore, we have political, social, economic, and religious observations we like to discuss in our lyrics.  “Welcome to the terror dome” is a popular line that speaks to acts of congress or another well-liked lyric, “Who’s your savior now?” talks about drug use and religion.

Looking ahead, what are your aspirations and goals for the future of One Square Mile?  Are there any specific milestones or projects on the horizon that you’re particularly excited about?

Vanessa: What is next for us?

We want to tour the world!

We want to record!

We want to do vinyl!

We want to play everywhere.

We have played a lot of shows this year, and having the addictive personalities we have, we want more!

We are going to write more songs, meet more friends, keep growing, keep getting challenged, and help others do the same.

Thank you for your time!

And thank you Vanessa! I wish you continued success and many more shows and albums to come! 

Artist:

For fans of nostalgic synth-pop, there might be something interesting on the horizon.  On December 6, the dynamic duo and creative powerhouse of Benjamin Russell and Rob Stuart will be releasing their second collaborative piece.  This comes hot on the heels of their debut album, Something in F Minor, which was released just earlier this year.

Benjamin, a singer, songwriter, and graphic artist originally from Saskatoon, now residing in Montreal, has spent most of his life exploring and expressing himself through various musical styles.  Meanwhile, Rob, who immigrated to Toronto from London at the age of 15, has forged a musical career producing for talented artists in Canada, the United States, and Europe.

Finding a common language in electronic music, they joined forces to create this intriguing project, continuing their “musical conversation” with the upcoming EP, Brighter Light.  Their new EP will feature four songs, offering a departure from their debut album.

Brighter Light is primarily a dark, downtempo, and chill compilation of songs.  After an early listen, the standout for me is, hands down, the title track, which is also the first song on the album.  Drawing inspiration from the likes of Depeche Mode, Peter Gabriel, and David Bowie, the song exudes elements reminiscent of these influences.  Additionally, I was able to discern hints of Kraftwerk and Jean-Michel Jarre.  Furthermore, it brought up memories of my darkwave phase and artists like Clan of Xymox and The Frozen Autumn.  The lyrics also carry that darkwave feel.

Interestingly enough, though I was expecting similar sound from the rest of the songs as well (especially with names such as Don’t Leave me Behind, Driving Hollow, and Elegant Mirage), that was not at all the direction the album was about to take.  The following song, Don’t Leave me Behind, had a much lighter sound, incorporating acoustic guitar and a less specific stylistic arrangement.  Driving Hollow, the third title on the EP, is very similar and yet different, blending some slap bass with futuristic synths and samplers.

The last song, Elegant Mirage, is probably my second favourite one, and the fact that I really like two out of four songs is a pretty good indicator for me that there is something to these guys.  Musically, it’s a blend of all songs, creating an ambiance filled with dread.  Lyrically, it tackles themes of reality versus illusion, and there is this cacophonic quality to it that makes it feel almost transcendental.  There is also something cinematic about it; I’m thinking, if Dune and Moulin Rouge had a baby, this would be it.

Overall, this project is one of the most creative I’ve come across lately, though at times it does come off a bit pretentious.  While not an everyday listening experience, I can really appreciate its experimental approach.  If you’re seeking light, catchy tunes, this may not be your cup of tea.  However, if you appreciate a bit of artistic weirdness and enjoy the mentioned artists, you might want to preorder the album and give these guys a go.

Band:

Originating from Southern California, Bristol to Memory is an indie/rock/alt band that seamlessly weaves together alternative rock, emo rock, pop, and punk influences.  Their music not only taps into the nostalgia of the early 2000s but also injects a contemporary indie spirit.  The band, who formed back in 2005, took inspiration for their name from the cross streets in Santa Ana, the shared hometown of frontman Rory O’Connell, his brother/bassist Kealan O’Connell, and childhood friend/drummer Alex Buster.  The addition of Daniel Wonacott, former guitarist for Finch, completed the lineup, propelling the band into a musical journey aimed at crafting melodies infused with nostalgic excitement, dynamic guitar progressions, thrilling choruses, and poetic lyrics.

While I haven’t heard of these guys until very recently, I found myself immediately intrigued upon learning that their newest single, Watch Out, carries a sound reminiscent of Fall Out Boy, My Chemical Romance, and Panic! At The Disco.  Given my recently renewed interest in emo music, I was eager to check them out and hear what they’re all about.

Watch Out serves as the lead single for the band’s second full-length album, Hello Anxious, set for release on Wiretap Records in early 2024.  Accompanying the song’s debut, the band also released a pretty cool video for it, which listeners can view on YouTube.

The song itself is pretty solid.  Admittedly, it took me a few listens to fully figure out whether the sound and vocals were up my alley, but eventually, it all clicked.  While comparing the band to Fall Out Boy may not be entirely fair, considering the notable difference in production levels, the vocal style does carry a My Chemical Romance flavour that my inner teenage girl can appreciate.

Now, while I’m generally not the biggest fan of the type of screaming vocal techniques Bristol to Memory utilizes, I think Rory pulls of the screams quite well.  Having said that, I am a bit confused as to the vocal effects he seems to be using; he seems to have such good control over both his clean vocals and screams that, at times, those distortive effects seem almost too much and maybe even unnecessary.  However, I will admit they work well in Watch Out, where they contribute to creating an angsty, tortured sound that complements the lyrics and the chaotic ambiance of the music video.

The lyrics themselves serve as a homage to the classic tale of a love-lost Frankenstein, whose destiny appears bound to suffering.  The figurative language mirrors that of Mary Shelley’s novel, portraying the singer as Frankenstein, ruined by the monster he created.  Watch Out deviates from typical love songs, taking listeners on a profound literary journey filled with emotional language and raw melodies.

While I’m still a bit on the fence when it comes to Rory’s singing style and his unique grit, I am absolutely adding their new album to my to-listen list.  You’ve got my attention, Bristol to Memory!

Why do we procrastinate?

Procrastination is often misunderstood, as common advice tends to focus on improving time management and self-control without addressing the underlying emotional triggers.  Some psychologists argue that procrastination is primarily linked to our avoidance of tasks that stir up negative emotions, which can range from boredom to anxiety.  It’s not the tasks themselves that people are dodging but rather the unpleasant feelings they associate with these tasks.  Procrastination becomes a way to handle these emotions, particularly for those who struggle with managing their emotions or are dealing with other life stressors.  This behaviour provides immediate relief from these negative emotions, reinforcing the habit of procrastination due to its quick mood-altering effects.  In essence, it’s the emotions tied to tasks, not the tasks’ inherent unpleasantness, that drive procrastination, making it a short-term solution to ease emotional discomfort.

Dealing with long-term impacts

While procrastination might offer short-term relief from negative emotions, it has several harmful long-term consequences.  Habitual procrastination can hinder your ability to achieve academic, career, financial, social, and well-being goals.  In academics, it results in lower exam scores, grades, and increased failures.  In employment, it’s associated with lower salaries, shorter job tenures, and being in jobs that don’t match your skills.

Furthermore, procrastination can also harm your mental and physical health.  Mentally, it can lead to increased stress, anxiety, and guilt, potentially contributing to conditions like depression.  Physically, procrastination often leads to poor time management and unhealthy habits, like irregular sleep patterns, lack of exercise, and an unhealthy diet, which can lead to health issues such as obesity and cardiovascular problems.

Moreover, procrastination can delay seeking help for these health issues.  People who put off addressing their mental or physical health concerns may wait until their conditions worsen, making treatment less effective and potentially leading to more severe health problems.

Challenges of distance learning

We all know that distance learning comes with its fair share of hurdles, and some of these can make procrastination more tempting and hurt your academic progress.  We’re talking about things like not having that traditional classroom structure, the countless distractions at home, the struggle to manage your time effectively, feeling a bit isolated from your teachers and classmates, needing to really motivate yourself, dealing with accountability problems, and having all those tempting online distractions while trying to study.

To tackle these challenges head-on, here are some steps you can take.  First, try setting up a daily schedule that follows the routine of a regular school day.  It helps keep you on track.  Then, create a study space that’s free from distractions, so you can focus better.  Use time management tools like calendars and to-do lists to stay organized and make the most of your time.

Don’t forget to actively participate in online discussions and join study groups to stay engaged with your classmates.  It’s also crucial to set clear goals for yourself and give yourself a pat on the back when you achieve them.  Breaking down your tasks into smaller, more manageable bits can help make progress feel doable.

Lastly, if you’re easily distracted by websites and apps, consider using blockers and productivity apps to keep your attention on your work.  Plus, make good use of educational apps and platforms to enhance your learning experience.  These steps can make distance learning a whole lot smoother.

It can get better

No matter how deep you’ve fallen into the procrastination pit, keep this in mind: procrastination is something you decide to do.  Taking that initial leap into productivity can be a game-changer for your future.

If you’re a student, give some of the above-mentioned strategies a go.  Just taking that first step can significantly improve your ability to tackle the hurdles of distance learning.  Achieving your academic and personal goals and looking after your well-being become well within reach.  It’s a journey of self-growth and exploration, and every step is absolutely worth it.

With the unveiling of his debut book and the launch of his latest album, I seized the chance to ask the multitalented artist a few questions.  Christopher shared with me some insights into the inspiration behind his collection of short stories and the life experiences that have shaped his artistic journey.

The Inspiration Behind “The Horses in Montana”

Offering my congratulations on the release of his very first book, “The Horses in Montana,” I start our conversation asking Christopher about the origins of this collection of short stories, and what are the life experiences that have influenced his journey as an artist.

He offers a contemplative response, “Paper tombstone, or a will, or a note on a napkin to a beautiful waitress—I have an unwavering and almost maddening desire to carve my name into the giant tree,” suggesting his profound connection between his artistic creations and the ever-present yearning to leave a mark on the world.

What “The Horses in Montana” Offers

Christopher further shares his insights on his writing, commenting on the mix of dark and hopeful elements in the collection and addressing my comment on how impactful the shorter pieces feel.  “It seems to me the younger I am in the book, the longer the narrative thought is.  The older I am, they become, as you said, ‘impactful in brevity.’  Probably because as we edge closer to death, we have an urgency,” he muses.  “At best, we maintain grace within this urgency.  With this said, the book is the prettiest way I could describe my life.  I hope my daughter reads it.”

The Evolution of “Bright Soil” and the Influence of Fatherhood on its Creation

Wanting to learn a bit more about the new album and the impact his personal life has had on its creation, I shift our conversation to his music.  Since Bright Soil has been praised for its cohesion, I ask Christopher how the process differed from his previous work.  His response was straightforward but filled with unwavering confidence: “Jeremiah Green.”  Jeremiah Green is the founding member and drummer from the indie rock band, Modest Mouse, who died on New Year’s Eve Day last year.

There was, however, another important person in Christopher’s life that made a big impact; during the making of this album Christopher welcomed his daughter, Moody, into the world.  The artist reflects on this life-altering experience, “The impact of that impacts everything.  It would be interesting to ask her what she thought when she is much older.  The short answer is ‘life.’  The album wasn’t there, and now it is.  Moody wasn’t there, and now she is.”

The Concept Behind “Werewolf Palm”

The artist’s new music video for his song “Werewolf Palm” has garnered attention for its unique and captivating visuals, so I ask about the concept behind the video and what he hoped viewers would take away from it.  In his characteristic style, he replies, “I don’t have a specific message in mind.  I just appreciate when people engage with my work, whether they love it or critique it.”

Crafting Meaningful Songs

Curious about his song writing process, I ask how he creates emotionally impactful and introspective songs like those on Bright Soil.  Being unapologetically himself, he advises: “Be as sad as fucking possible, then move your hands and mouth.”  This raw and unapologetic approach to song writing speaks volumes about his creative process, and it’s also a good reminder that, in the realm of music, authenticity often arises from embracing the full spectrum of one’s feelings.

Personal Growth and Collaboration

Approaching the culmination of our conversation, I ask Christopher about the most significant artistic or personal growth in his journey and how it has shaped his creative path.  Succinctly, he shares: “Working with Bonnie Prince Billy.”

Words of Advice for Aspiring Artists

As a conclusion to our conversation, I ask Christopher if he has any wisdom to offer aspiring artists navigating their creative journeys.  His response, distilled to its core with the words of Vic Chesnutt, “Don’t suck, don’t die,” draws a direct line to the importance of tenacity and commitment along the artistic path.  It’s a concise reminder that enduring resilience and unwavering dedication are the foundation of success in the world of art.

Artist:

The Jellybricks, hailing from the heart of Harrisburg, Pennsylvania, are a seasoned rock band with a legacy spanning well over two decades.  They catapulted into the limelight with their 2019 release, “Some Kind of Lucky.”  The quartet comprises Larry Kennedy on guitar, Garrick Chow handling the bass guitar, Bryce Connor on guitar as well, and Tom Kristich holding down the rhythm on drums.  All of them also contribute their vocal talents to the band.

If you’ve had a chance to listen to their music, you’ll know the multifaceted nature of their sound.  It’s no wonder, given their extensive repertoire of musical influences that span across several decades.  The Jellybricks draw inspiration from the melodic strains of Rock ‘n’ Roll, weaving together the British Invasion of the ’60s, the raw energy of ’70s Punk, the introspective melodies of ’80s College Rock, and the rebellious spirit of ’90s Alternative music.

As they diligently craft their upcoming full-length album, still shrouded in an air of mystery without a title, with the renowned Grammy-winning producer Geoff Sanoff masterminding the sonic tapestry, we were granted a sneak peek into the exciting direction this project might take, and this is what to expect!

Their latest single, “Monday’s Never,” set for an official release on November 3rd, is an interesting piece of music.  Melodically, it pays homage to the alt-rock vibes of the late ’80s and early ’90s, infused with a punk rock flavor.

The song’s structure evokes echoes of The Cure’s chart-topping hit, “Friday I’m in Love.”   However, “Monday’s Never” diverges from The Cure’s song in its tone and mood.  While The Cure’s track exudes softness and hopefulness, “Monday’s Never” treads a somewhat darker path, counterbalanced, however, by a similar light and uplifting melody.

Bryce Connor, one of the band’s creative forces, reveals that the inspiration behind the song stems from the tale of a fictional TV patriarch.  While he withholds the name of the show, his not-so-subtle allusion hints at a character “devoid of all shame.”  This information sets the stage and offers a glimpse of what’s in store.  Connor adds, “The song is dedicated to those of us who may get a bit too carried away on the weekends and wind up paying for it the next day.”

Musically, while “Monday’s Never” is undeniably catchy, boasting intricate instrumentals laden with hooks and harmonies, some listeners (myself included) might have a bone to pick with the vocal delivery.  The singer’s exaggerated enunciation of lyrics, reminiscent of the likes of Blink 182, Simple Plan, and Sum 41 (though no one quite takes it to the extreme like Tom DeLonge), might not sit well with everyone.  It’s a subjective matter, and I must admit I feel a bit hypocritical saying this, given my penchant for DeLonge’s iconic performances.  Nevertheless, in “Monday’s Never,” this particular style of enunciation may come across as slightly out of place; as if they wanted to do it but didn’t want to fully commit to it.  If I had one complaint, that would be it.

That being said, I would still suggest giving “Monday’s Never” a listen when it comes out.  If you’re interested, you can pre-save the single and be among the first to listen to it.  It’s the type of song you can enjoy during your study breaks, infusing some fun and lightness into the post-study moments of overwhelm.  I’ll absolutely be on the lookout for their new album when it’s released; I’m excited to see what else they have in store for us!

Listeners can expect to be carried away by the fast-paced, head-bobbing beats, and catchy choruses that define Dead Alright.  Whether you’re reminiscing about the anthems of your youth or discovering the genre for the first time, this musical project promises an exciting and enjoyable listening experience.

Dancing Through the End of Days marks Dead Alright’s debut album, and its release strategy was nothing short of clever.  Rather than dropping the entire album all at once, Louis-Charles chose to gradually unveil his songs to the audience, releasing one song per month.  This approach created an exciting and extended build-up to the album’s complete release, which finally happened on October 6th.

Recently, I got a super exciting opportunity to ask Louis-Charles himself a few questions about his band and music, and here’s what he shared with me!

Ana: Congratulations on your debut album, Dancing Through the End of Days.  Can you tell us about the inspiration behind the album and what listeners can expect from it? 

Louis-Charles: Thank you!  Well, the thing I am most proud of in the album is that it’s not a straight line; there are different moods and drives, but it manages to stay cohesive in its whole.  I hate when albums sound like one long song, and I’m trying to get away from that as much as possible.  There are some super aggressive skate punk songs as well as straight up pop punk songs out of the 90s in there, and I think it represents very well the music that I love most.

Ana: One of your latest singles from the album, Locker Room Mentality, has a powerful message about sexism in the punk scene.  What motivated you to address this issue through your music, and what kind of impact do you hope the song will have? 

Lois-Charles: Mostly, my daughter and my love for the punk scene.  It’s not a secret for anyone that our scene is getting old and, and for kids to want to play music (punk or not, who cares in the end) first they need to be able to identify with someone in a band they admire.  I remember looking at Green Day or Offspring when I was growing up, and it was easy to go the extra step and picture myself playing in a band.  They were white dudes, just like me.  I think it’s not that easy to get that itch to play music if you don’t get to look up to people that represent you, and I think our scene does a poor job of that right now.  It’s getting better though!

Ana: Your music has been compared to bands like A Wilhelm Scream, Millencolin, and No Use for a Name.  How do these influences shape your sound, and what other bands or artists have inspired your music? 

Lois-Charles: They definitely influence the sound of my band.  The song writing, the song structures and the hooks, big choruses; it’s exactly what I love and exactly what I want to do.  I want to write songs that you could play on an acoustic guitar around a campfire and that would still be great, but that you would like to shout along with the singer in a live show.  And A Wilhelm Scream is a big influence because everything they do is always so full of energy.  I want to write songs that make you want to move, and they are so good at that.

Ana: You’ve been releasing songs from the album month by month, and they’ve received overwhelmingly positive reviews.  How does it feel to see such a positive response from fans and critics before the full album’s release? 

Louis-Charles: It really warms my heart!  It was sort of a passion project from the start, I wrote and recorded the songs all by myself so it’s super rewarding to see that people like the 100% unfiltered version of me that is in these songs.  I also hope people revisit the older songs when the album comes out and listen to the whole thing in order, because I think it’s an interesting trip.

Ana: And finally, can you tell us what’s next for Dead Alright after the release of Dancing Through the End of Days?  Any upcoming tour plans or new projects on the horizon?

Louis-Charles: Definitely!  Me and the live band are starting to rehearse the songs and we definitely want to do a bunch of shows off of this material, maybe go to places I never went with my older bands, live new experiences.  I already started writing new material, so some new songs are bound to happen eventually!

Artist:

Recently, I stumbled upon a new band that caught my attention.   Drunktank, a Dutch skatepunk group, and just last month they dropped a music video for their latest single, “Kindle the Flame.”  Around the same time, Canadians had the privilege of witnessing this cool band in action during their very first Eastern Canada tour, where Drunktank featured some of their Canada-themed artwork crafted specifically for the occasion (unfortunately, as I was doing my research, I realized I had missed it by just a few days).  I found the artwork truly exceptional, so even if you’re not particularly drawn to alternative music but have an affinity for imaginative art or perhaps enjoy comic novels, I would strongly recommend you check it out; it’s quite creative.

Before I dive into my thoughts on their new single, let me preface it by saying it wasn’t quite what I expected.  Having heard some of their earlier music, I was anticipating a more punk-oriented sound; you know, distorted riffs and gruff, raw vocals.  For reference, they cite influences like Satanic Surfers, Pennywise, and No Fun at All on their website.

While this single does indeed incorporate some of those punk elements, there are also unmistakable traces of their other influences, such as Iron Maiden, Metallica, and 3 Inches of Blood.  I get it; it might seem odd to see Pennywise and Iron Maiden on the same list, but it really works.  Hear me out.

“Kindle the Flame” marks the debut of the band’s new vocalist, Sarah Ockhuysen.  And while she’s not your typical punk vocalist, Sarah is an absolute powerhouse behind the microphone.  She channels the vibes of classic heavy/power metal vocalists, like Dave Mustaine of Megadeth, Dio, the legendary Bruce Dickinson of Iron Maiden, and she even slightly reminded me of Kimberly Goss, formerly of Sinergy.

I also couldn’t help but notice the lyrics in this single.  They deftly blend some punk themes with the lyricism you’d associate with power metal.  They maintain their raw, honest essence while adding a touch of mystique, which I found rather enjoyable.

As much as I love the sound and themes of punk, I have to admit that heavy metal music and its power riffs hold a special place in my heart, especially when they’re executed with finesse, melody, and flow.  There’s something about the energy and atmosphere of metal, especially in a live setting.

Now, here’s the kicker: the music video doesn’t quite align with the vibe I’m describing here.  Instead of something “epic,” it was shot in a wrestling ring!  Go figure.  It might not fit neatly into the confines of either a metal or punk category, but it’s an absolute banger in its own right.  Highly recommended!