Discovering Shakespears Sister

‘It was acceptable in the 80s’ is a common phrase coined to excuse the unconventional-ness of the decade. However, it also allowed for many spouts of artistic expression especially in the music industry. The flow of inspiration poured uncontrollably but every so often flooded into something genre defying. Enter Shakespears Sister, a pop-rock project of beautiful weirdness dressed in a gothic elegance.

Initially, I came across the band after watching an old re run of Top of the Pops that featured British 80s pop group, Bananarama, a girl group featuring Dublin born Siobhan Fahey. It was whilst watching their performance that my mother asked me if I had ever heard of Shakespears Sister and the look of almost betrayal that crossed her face when I told her I hadn’t is an image I wish I could share with all of you. Unfortunately, that is not the case however I can share with you my discovery into the music she introduced me to.

The name alone piqued my interest and set high expectations for unusual lyrics and dramatic flair, both things the band did not fail to deliver on. Shakespears sister was originally formed as a solo act by Fahey in 1988 when she left Bananarama after feeling her musical needs were not being fulfilled. Embarking on her own project allowed the punk turned pop artist to explore her roots once again, this time staying true to herself as a music artist. The name originated from The Smiths song of the same name, the apostrophe being left out after a misspelling that Fahey liked because she felt that it made it her own. Fahey worked alongside many other personalities in the music industry during the process of writing and recording including friend and college Marcy Levy. An accomplished multi-instrumentalist, Levy contributed both musically and artistically by providing vocals and instrumentals. After some time as a ‘hired hand’, Fahey convinced Levy to give herself a new professional name and Levy decided upon Marcella Detroit – the name she would become most known for during her work with Shakespears Sister and thereafter.

Just before the solo act became a duo, Shakespears Sister released the debut single ‘Break My Heart (You Really’), a song that unfortunately did not achieve the success Fahey sought. However it did achieve it’s goal in separating her from her persona in Bananarama and revealing her new darker look to the world. As well as this it made it apparent the chemistry Fahey and Detroit shared in the recording studio. Neither woman was thrilled about the idea initially, wanting to maintain their independence as artists but after agreeing on a 50/50 split, the two united as equal band members. The reluctance in the beginning of their musical relationship would manifest over the course of their time together until it inevitably lead to the band’s break up in 1993.

With Detroit now on board, Shakespears Sister released their second single (but debut as a duo) ‘You’re History’. The song proved to be the breakthrough both woman wanted, showcasing how Fahey and Detroit complemented each other in both artistic creativity and talented vocals. Whilst the music video is a compilation of quirky 80s nonsense, the song itself is a catchy tune introducing Fahey’s and Detroit’s blending of styles. ‘You’re History’ reached number 10 in the UK charts in 1989 and was followed by the band’s debut album, Sacred Heart, that proved just as successful.

Whilst Sacred Heart also featured the popular singles ‘Run Silent’ and ‘Dirty Mind’, it is the band’s second album, Hormonally Yours, that produced the song Shakespears Sister are most known for and the one that captured my heart. The album was introduced with the first single ‘Goodbye Cruel World’ but it was the second single ‘Stay’ that gave the band their first and only number one as well as the win of Best British Video at the BRIT Awards in 1993.

The narrative music video to ‘Stay’ is truly heart breaking as it depicts Detroit singing to a man presumably on his deathbed. Detroit’s distaught and desperate performance pours into her high vocals and violently tugs on every heart string you possess. The song begins as something soft and full of lost love before Fahey’s entrance a as a malevolent force representing death. Both women fight physically and vocally with their unique voices engaging in a battle for possession. ‘Stay’ is like a dark mixture of two songs, the concoction an appealing elixir of music styles.

Unfortunately, Shakespears Sister fell into the pit that is ‘musical differences’ and went their separate ways after many years together and a brief revival. Although some may find the music to be dated by it’s era and therefore an acquired taste, Shakespears Sister offer something to take you away from modern day and are worth the indulgence.

 

By Skye W. Winwood

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Remembering Dolores O’Riordan

The world has lost yet another beloved star, but her light will keep shining among her family, friends and fans. The death of The Cranberries’ lead singer Dolores O’Riordan was announced on Monday the 15th of January 2018 and has left a dark cloud of devastation hanging over us all. At this time, the cause of her death is unknown and those closest to her have asked for people to respect their privacy and let them mourn in peace. A request that should be abided by all, but we can share in our grief through the beautiful music Dolores has left behind.

Dolores began her music career when she joined The Cranberries in 1990, an Irish rock band formed in Limerick a year prior. The band was initially formed by brothers Mike and Noel Hogan along with Fergal Lawler and Niall Quinn under the name The Cranberry Saw Us. However, the line up was simply not meant to be when Quinn left the band after only a year together. The remaining members began their search for a female singer to front their band and found all they were looking for in Dolores O’Riordan. Dolores came prepared to dazzle, writing her own lyrics and melodies but it was the early stages of the famous ‘Linger’ that got her the job. ‘Linger’ is a perfect summary of the band’s style and approach to music, as well as Dolores’s talent and uniqueness. Her sweet and soft voice still manages to project powerful emotions and capture the heart of anyone listening.

The band’s early EPs and demos caught the attention of many people in influential positions, putting them on the track for success from near day dot. In 1993, they released their debut single, ‘Dreams’, an upbeat song about new love laced with youthful innocence. The song entered the top 30 of the UK chart in 1994 and was one of the songs, alongside ‘Linger’, that featured on The Cranberries debut album, Everyone Else Is Doing It, So Why Can’t We?. Although mainstream success was achieved early on, both ‘Dreams’ and ‘Linger’ were re-released at later dates to prove even more popular and quickly sending The Cranberries soaring through the charts.

One year after the release of their first album, the band came back with No Need To Argue, an album that completely outsold it’s earlier counterpart. The album contained the iconic song ‘Zombie’ and went triple platinum within a year of it’s circulation at the top of the charts. Apart from ‘Linger’, ‘Zombie’ is arguably the band’s most popular song to date and is a heavy showcase of their placement in the rock genre. Dolores’s vocal performance is as phenomenal as previous recordings but this time laced with an anger made poetic by her angelic tones. The song contains a powerful message concerning the political conflict surrounding Ireland at the time, filled with turmoil and harrowing lyrics.

No Need To Argue has proven to be the band’s most successful album as popularity barely ceased. Later albums, such as To The Faithful Departed, did not reach the same peak of success but kept the band’s place in the heart of their fans. The Cranberries continued to make music together throughout the years, producing numerous music videos and embarking on one of the most successful tours of their career. Rumours circulated about Dolores leaving the band to follow a solo career and in 2004 the band entered a hiatus. In 2007, Dolores released her first solo album, Are You Listening?, and sold over 300,000 copies worldwide. 2009 saw the reunion of the band – although it was not described as such at the time – where they went on a tour of both North America and Europe. The band played their old songs as well as Dolores’s solo music before then going on to release a brand-new album in 2011. In 2017, an acoustic album titled Something Else was released alongside the promise of tour dates. Unfortunately, the tour dates had to be cancelled due to issues arising with Dolores’s health.

The tragic news of Dolores O’Riordan’s death has left many people in a state of shock and mourning for the young artist. Her fellow band members have paid tribute to the singer via social media and it is obvious she was an admired and well-loved woman who will be missed by both those she touched with her music and in her personal life.

 

By Skye W. Winwood

Fall Out Boy are breaking out the Easter eggs early in ‘Wilson (Expensive Mistakes)’

Fall Out Boy have always been known for their eccentric and obscure music videos. Rarely ever do they produce something that visually relates directly to a song’s narrative but still always has a firm base in the title or a particular lyric. We all remember the iconic deer love story from ‘Sugar, We’re Going Down’ and Patrick losing his hand in ‘The Phoenix’ but for anyone who needs a little reminder, ‘Wilson (Expensive Mistakes)’ is a comical look back on Fall Out Boy history.

Watch the music video here: https://www.youtube.com/watch?v=wH-by1ydBTM

Set apart from their other music videos, ‘Wilson (Expensive Mistakes)’ depicts the boys both selling and being sold in a commercial style. The song itself is extremely catchy in typical boundary pushing Fall Out Boy fashion and has just further proven how Mania will be a plethora of genres. The song contains many relatable lyrics to the modern-day introvert but as a celebration more than a reflection. ‘Wilson (Expensive Mistakes)’ also offers more of Patrick’s voice with less moderation that has placated complaining fans on the new direction the band have taken with their forth-coming album.

Even before the music video was released, the song title offered a reference in the form of ‘Wilson’ to the movie Castaway and should really have been a warning of what to expect. Yet, there was only one visual within the music video that saw a possible explanation for the choice in title. Although, at this point, fans should probably stop trying to understand Fall Out Boy’s lyrical choices and just appreciate the creative genius.

Upon further inspection, it’s obvious ‘Wilson (Expensive Mistakes)’ is a collection of nostalgia for both the boys and fans with it’s Russian doll of reference to other songs. Before even dissecting each individual reference, the overall style of the music video seems to harken back to ‘The Take Over, The Break’s Over’ that saw Fall Out Boy holding up a middle finger to those calling them sell outs. Throughout their career, the band have come under criticism whenever they try to appeal to a mainstream audience, both fans and critics not understanding that some boxes needed to be ticked in the beginning to ensure success. This ticking of boxes led to many people forgetting the uniqueness and creativity Fall Out Boy have always offered but the band fought back against this and are proving they still are to this day. ‘Wilson (Expensive Mistakes)’ comments on Fall Out Boy as a product with the commercial style it has taken by selling relics from their history. However, the comedy laced into the video allows for a more light-hearted approach to something the band once really struggled against.

The music video is a mixture of in-your-face and blink-and-you’ll-miss it references for every era of Fall Out Boy’s career. Using props and costumes from other music videos like Patrick’s outfit from the music video for ‘Dance, Dance’ to imbedding lyrics from older songs like ‘This Ain’t A Scene, It’s An Arms Race’ and ‘Champagne For My Real Friends, Real Pain For My Sham Friends.’ Whole albums are even referenced like Franklin the Sheep from Infinity on High’s album art and the instrument weapons used in ‘The Young Blood Chronicles’ series from Save Rock ‘n’ Roll.

The lead up to Mania has offered many gifts and surprises along the way and ‘Wilson (Expensive Mistakes)’ only adds to this. Some fans will, of course, try calling the number shown continuously on screen but those who haven’t will be happy to know it’s completely worth it. Calling the number will be answered by a pre-recorded message by Patrick listing off a number of options the caller can choose depending on what they want.

The music video for ‘Wilson (Expensive Mistakes)’ has just further thrown us off the scent for what to expect from the rest of Mania but the music video has given us something to do whilst we impatiently wait for the album’s full release.

Links:

Website: https://falloutboy.com/

Youtube: https://www.youtube.com/user/FallOutBoyVEVO

Twitter: https://twitter.com/falloutboy

Facebook: https://www.facebook.com/falloutboy

‘HOLD ME TIGHT OR DON’T’ review

‘Champion’ review

 

Review by Skye W. Winwood

In Music We Trust

Music has deeply connected with so many people, helping us to understand ourselves even when we thought we couldn’t. No matter which genre is your favourite, who your music idol is, if you play or simply listen, we can all agree music is one of the greatest healers. My own personal connection with music is something I don’t think I could ever fully explain. Why certain songs or artists mean so much to me and help me through dark times. Yet Aiden Hatfield has come close by describing music as a ‘medicine’, one we can use to help us cope with some of life’s hardest struggles. One of these struggles becoming more and more apparent is depression. Something that has most likely affected us all in some way and in today’s society we are being encouraged to speak out and embrace who we are. Aiden has created In Music We Trust, a clothing brand with the aim of raising awareness for those suffering with depression and other mental health issues. Aiden is both a musician and someone who openly shares his experience with depression but is not ashamed to admit it and encourages other people to not be ashamed either.

Watch Aiden give an important message here: https://twitter.com/AidenHatfield/status/952087821799407617

In Music We Trust offers a range of clothing and accessories all promoting the important message of trusting in something that can never let us down. The brand was established three years ago when Aiden bought a box of t-shirts and began selling them online. The brand quickly grew as more and more people stepped forward to show their support and thanks for something that has brought many people comfort. The Twitter page is flooded with grinning, happy people all sporting In Music We Trust items from wristbands, to vests, to jumpers and even goody bags!

Aiden’s own personal Twitter page is full of inspiring and encouraging messages every day to spur people on. After speaking to Aiden myself, he comes across as a genuine guy with a real passion for what he believes in. He said music is something that has always helped him cope with his own depression and he felt the need to shed light on that fact. Even more amazing than raising awareness is that 50% of profits from sales are donated to the Mind charity – a charity with the goal of never giving up until everyone experiencing a mental health problem gets both support and respect. In Music We Trust is based in the United Kingdom with free UK shipping however they do also ship worldwide.

I’ve already put my order in and I encourage everyone who reads this to do the same. By reading this blog, you must have an interest in music and what better way to support something you love by helping out people with a shared love?

Links:

Website: http://www.inmusicwetrust.co.uk/

‘In Music We Trust’ Twitter: https://twitter.com/imwtclothing/media

Aiden’s Twitter: https://twitter.com/AidenHatfield

 

By Skye W. Winwood

Oceans of Noise’s new E.P is like a siren’s call

Oceans of Noise are not about half measures and are proving it with their self-titled E.P. Even though it is yet to be released, Oceans of Noise has a polished and perfected sound belonging deep in the depths of dark rock. Even more astonishing is that the band was only formed three years ago but come across as a band with at least a decade’s worth of experience. Although, this may come as less of a surprise when learning each member of the band brings their own extensive background of experience.

At just the tip of the iceberg is soprano, Sertab Erener, a hugely successful and award-winning artist in her native country of Turkey as well as across Europe. She also holds the immensely impressive title of the 2003 Eurovision Song Contest winner and featured on the soundtracks to various films such as Masked and Anonymous and the Japanese-Korean film, A Tale of Two Sisters. Completing the band are guitarist Emre Kula (from the prog rock band, Kes), bassist Eser Unsalan, keyboardist Ozan Yilmaz and drummer Alpar Lu. The band also extends to Joel Hamilton, a multi Grammy Awared nominated producer who has seen success with the likes of Bonobo, Highly Suspect, Tom Waits and Unsane.

The band have managed to develop a truly hypnotising and engaging sound that is a combination of effortless skill and Poseidon like energy that will drown you in a sound of synths and riffs. Just from the E.P’s lead track, ‘The Age of Ghouls’, it’s obvious the anticipation the band are building is rightly deserved. ‘The Age of Ghouls’ is directly from any 80s dark love/lust occult film, with a sensual, swaying beat and seductive riffs. With a voice crafted for rock, Sertab provides spine tingling vocals to a background of heavy, crashing guitars and drums. The pure emotional and raw talent of the band bleeds through the track with a promise of a future rock anthem.

With this well-established sound, it’s almost hard to believe the band came together over something as simple as a jam session. After playing a few times together performing covers of other songs, Oceans of Noise quickly realised the potential they had together could lead to their own original songs. Whilst ‘The Age of Ghouls’ is the lead song, the E.P also features the beautiful ‘Frozen Love’, an aching ballad that will have you shedding a tear as you reach for the lighter. The track is bittersweet, offering slow moments of harmonic melody before hitting hard at the chorus with irrevocable passion. The E.P also offers ‘Finding White in Black’, an English translated version of the track ‘Ayla’ from the film Ayla: The Daughter of War. Even more radio friendly ‘Miracle’ is a showcase of the band’s talent to appeal to both devoted and mainstream fans.

Oceans of Noise will be releasing their self-titled E.P on January 27th with the chosen launch destination of London’s Omeara.

Links:

Apple Music: https://itunes.apple.com/us/artist/oceans-of-noise/1296282833

Spotify: https://open.spotify.com/artist/21HzqFortyEjD2yOdCZAPY

Youtube: https://www.youtube.com/oceansofnoise

Facebook: facebook.com/oceansofnoise

Twitter: twitter.com/oceansofnoise

Instagram: instagram.com/oceansofnoiseband

Website: oceansofnoiseband.com

 

Review by Skye W. Winwood

Survival Code are changing the game for rock bands in 2018

Stripped back, honest music is hard to find in the modern world. With everything coming out of the music industry of late being lost in glitz, glamour and shock value. Yet, the rock genre has seen a recent revival with bands like Greta Van Fleet in prog rock. Now Survival Code are returning to the roots of rock with their new single ‘Not Working.’ Already having gained quick support in the media world from radio stations like Planet Rock and Kerraning! Radio, Survival Code are a London based duo who have provided the most enticing introduction in the form of ‘Not Working.’

Listen to ‘Not Working’ here: https://www.youtube.com/watch?v=VejwI2ox_20&feature=youtu.be

The song is one that needs to be heard live and is accompanied with a music video that captures the energy and humour of the band, making them appealing beyond their music. Consisting only of Dublin born Gary McGuinness (on lead vocals and guitar) and London bred Tom Cook (on drums and backing vocals), the pair have rid themselves of anything that is not absolutely essential. Trimming the fat of surplus band members and unnecessary production has allowed Survival Code to race ahead on the road to success.

Laying the way for their debut album, Hopelessness of People, ‘Not Working’ is a rock track Biffy Clyro wish they wrote. Gary’s vocals are a soft accompaniment to the hard rock sound, providing something that can appeal to all fans of the rock genre. Whilst having elements of a classic rock sound, ‘Not Working’ is a single completely embracing the movement of rock and guarantees Survival Code will not be left behind. Standing strong against the issue of wayward band members, Survival Code have been helped along by none other than Matt Hyde (who has worked with Slipknot, Bullet for my Valentine and Ash). The duo has the power and passion of a band twice their size, their dedication and effort simply baffling when considering they are making it all on their own. Even without other band members, Survival Code manage to pull off professional riffs and melodies that will have you addicted in no time.

2018 sees Survival Code performing a few live shows in London and Dublin. Filling this new year with their music, ‘Not Working’ has the release date of February 1st with the full album, Hopelessness of People, being available in August.

Live Dates:
January 12th – Whelan’s, Dublin

Single Launch – Jan 27th: “The Lounge”, Archway, London (with Youth Killed It, Kid Kapichi and more!)

February 22nd – Hope & Anchor, London

 

Links:
Soundcloud: www.soundcloud.com/thesurvivalcode
Spotify: www.spotify.com/thesurvivalcode
Youtube: www.youtube.com/thesurvivalcode
Facebook: www.facebook.com/thesurvivalcode
Twitter: @thesurvivalcode
Instagram: www.instagram.com/thesurvivalcode
Website: www.thesurvivalcode.co.uk

 

Review by Skye W.Winwood

The Broken Islands’ new album Wars

Music gives us the tools that allow us to experience and create something new from combining what has past. The Broken Islands have taken full advantage of the freedom music gives us by resurrecting fallen genres. Genres like trip-hop and dark wave that are endangered and only see the light within niche markets. With a sound that could be the soundtrack to a futuristic dystopian film, The Broken Islands have released their brand-new album Wars and it breaks all the rules of convention.

Listen to the lead track ‘No-one Left to Kill’ here: https://www.youtube.com/watch?v=6U3vkfJA8NM

Consisting of alternating lead and rhythm guitarists Will MacDonald and Kurtis Sheldan, Stephan Cameron on bass, Ty Badali on drums, Rachel Ashmore on keyboards and Rachelle Boily providing the sensually hypnotic vocals, The Broken Islands have the sound of My Bloody Valentine and the un-conventionalism of Ladytron. After taking about a year to write and record the tracks, Wars is now complete and is a beautiful, distorted collection of songs. With the help of Dave ‘The Rave’ Ogilvie (most known for his work with Skinny Puppy, Trent Reznor and Killing Joke), The Broken Islands have really put in the work to achieve their dreams. Already having played for a sell-out crowd in a local venue, they are determined to be the next big band in the alternative genre.

Taking a page out of Morcheeba’s book, Wars is something not belonging to current mainstream music but fighting against the current with a sound that is both electric and soothing depending on which track from the album you are listening to. ‘No-one left to Kill’ is a song consisting of a vibrating electric echo infused with 90s vibes. The low thumping bass blends perfectly with Rachelle’s haunting vocals to create something akin to The Cranberries. The raw emotion captured in the song is breath-taking and continues to resonate long after the song has reached its end. On the other side of the scale is ‘Crown’, a song that will leave you with a heavy devastation that can only be cured by listening to the song on repeat. ‘Crown’ takes you on a journey of both highs and lows, soaring and diving and never giving you a chance to catch your breath. The guitar solo within the song hits hard at the crescendo of the song before mellowing out once more to leave a feeling of needing more. ‘El Dorado’ offers something different again, with a slightly funky start that transforms into a trippy track of high reaching, chiming peaks. Each track belonging to Wars has been meticulously thought out and performed with an admirable precision to evoke the exact feelings intended by the band when creating the songs.

Wars is an ocean of crashing guitars and sweeping vocals that will bring you to the shore of The Broken Islands, a place where organic soundscapes meet with music gone by. Almost overflowing with deep emotion, vast tenderness and heart-breaking truth, The Broken Islands have released something that will no doubt be a milestone in rock music.

Links:

Soundcloud: https://soundcloud.com/user-475951978/sets/wars
Spotify: https: https://open.spotify.com/artist/5gpCj0xQj8BwdG3uXPUJRr
Youtube: https://www.youtube.com/channel/UCvEJQKLM-qaFjTvMXxUMkWg
Facebook: https://www.facebook.com/thebrokenislands/
Twitter: https://twitter.com/broken_islands
Instagram: https://www.instagram.com/_thebrokenislands_/
Website: http://www.thebrokenislands.com/

 

Review by Skye W. Winwood

Planet Rock: An Underdog Tale

The digital age of music is now fully upon us, with CDs being a thing of the past and vinyl a collector’s item. In this day and age, music has never been easier to access, allowing billions of people all around the world to bask in the enjoyment of sound. Yet, where would we be without the local radio stations of yonder? The, once upon a time, only platforms for people to attain their music fix. Radio stations are arguably a dying breed, with more and more shows being cancelled each year. However, there are radio stations that stand the test of time, kicking back with a ferocious passion for music that has ensured their survival. With pop music thriving, stations such as Radio One will most likely never come under threat. However, radio stations belonging to the alternative genre have been fighting an uphill battle since day dot. Yet, not all is lost, with stations like Planet Rock prevailing in the face of cancellation and laying the way for the continuation of iconic and classic tunes.

Planet Rock is a radio station close to my heart as it has always been the soundtrack to my family home but even I wasn’t aware of how close it came to being forgotten. The show promotes the slogan ‘where rock lives’ and truer words have never been spoken. The channel is a writhing mosh pit of classic rock thrashing to the beat of nostalgia. It embodies everything the old school rock genre brought into the music world and has proven in it’s history to be a station loved by many. However, as previously mentioned, all this nearly never was.

The classic rock radio station began back in 1999, under the company Global Radio (then known as GCap Media), and was to be the only classic rock station during this time. Despite the station performing well for a few years, it was announced in February 2008 that Planet Rock would see it’s final day on March 31st. It was since been cited by former presenter Derek William Dick (most known as Fish) that this was not due to the station itself but the financial state of Global Radio as a whole. Other radio stations such as theJazz began falling down around Planet Rock causing the station to reach out to listeners in a desperate effort to survive. It was made known to the public that the station would be cancelled if a buyer was not found, asking anyone who would listen to help support them in any way they could. Planet Rock was in the hands of the public, relying on listener loyalty to save them in their time of need. Just when all hope seemed lost, a plethora of support swept down upon the station in the form of a campaign that expressed an interest from a number of buyers. Helped along by a consortium headed by Queen guitarist, Brian May, later led to a swarm of star studded DJs and fans of the show.

Since the show was saved on June 4th 2008 by being sold to another consortium, this time led by Malcom Bluemel as well as Black Sabbath’s Tommy Iommi and former presenter Fish. Guest DJs began to include Joe Elliott from Def Leopard since 2010, Alice Cooper since 2011 and blues rock guitarist and singer Joe Bonamassa until 2013. Even The Hairy Bikers have had their own place among the Planet Rock family since 2015 with The Hairy Rock Show every Sunday at 10am. The station has since won Digital Radio Station of the Year at the Sony Awards twice, released it’s own magazine and is available all across the UK from England through the Midlands all the way up to Scotland.

Planet Rock now stands as a reminder of the importance of fans as well as how listeners of music can have just as much influence as musicians or distributers of it. Although music can now be accessed across a growing variety of platforms, the connection and listener inclusion provided by radio stations is something that can only be experienced through one platform.

With this support from listeners, Planet Rock now sees over one million people tuning in each week however this does not always mean complete security in the future. So, this blog post acts as a reminder to keep supporting your local stations and not allow radio silence to ever beat music.

Links:

Website (including a ‘Listen Live’ button): https://planetradio.co.uk/planet-rock/consortium

Facebook: https://www.facebook.com/planetrockradio/

Twitter: https://twitter.com/PlanetRockRadio

Youtube: https://www.youtube.com/user/PlanetRockRadio

 

By Skye W. Winwood

Dallon Weekes’ departure from Panic! At The Disco

Out with the old and in with the new, is the mind set of many of the world’s population with New Year’s Eve rapidly approaching. A time for putting to bed the past and allowing us to wake up the new opportunities presented to us in the new year.

In a turn of events fans can argue we saw coming, Dallon Weekes has announced his official departure from punk/pop band, Panic! At The Disco. Through the medium of social media Dallon wrote, ‘For the last eight years I’ve had the incredible opportunity to perform in Panic! At The Disco…I’m grateful for the chance I’ve had to be part of [the band]…I will always consider myself indebted to those who made me feel welcome…you changed my life. Thank you all.’ A heartfelt farewell to those he will be leaving behind but also an encouragement for fans of both the band and himself to follow him on his new musical adventure.

Dallon joined Panic! back in 2009 after the departure of band members Ryan Ross and Jon Walker, on a temporary touring basis as the band’s bassist. However, in 2010, his ‘temporary’ status was upgraded to an official, contributing member. Panic! At The Disco greatly benefited from the decision to take Dallon on full time for he was able to contribute artistically to the band’s fourth studio album, Too Weird To Live! Too Rare To Die! The public were made aware of Dallon’s new status via Twitter half way through 2012. For Panic! At The Disco’s fifth album, Death of a Bachelor, Dallon took a step back once more, not contributing to the album and returning to be a touring member only. With the solo direction Panic! seems to be taking, it has not come as a shock to many fans that, on December 27th of this year, Dallon revealed he would be permanently leaving Panic! At The Disco.

The initial reaction of many fans has been disappointment and upset to see Dallon leaving but many people, amongst myself, are eager to see how this new creative freedom will develop in his own band, I Don’t Know How But They Found Me. IDKHow is a project Dallon has been working on with ex Falling In Reverse drummer Ryan Seamen. Already with two songs released (‘Modern Day Cain’ and ‘Choke’) the band are gaining quick traction with their songs preforming immensely well in the iTunes charts.

Having been given a brief taste into Dallon’s musical talent working with Panic!, and beginning to develop his individual style with IDKHow, I, along with many fans, encourage people to continue supporting Dallon in the future. The introduction into IDKHow has softened the blow of Dallon no longer being a part of Panic! and fans are eager to see the direction Dallon will take things in.

Links:

Website: https://www.idkhow.com/

Twitter: https://twitter.com/DallonWeekes

Youtube: https://www.youtube.com/channel/UCPeiIDYMwZQpL7aocblfqtQ

‘I Don’t Know How But They Found Me new single ‘Choke’’: https://musicnews2dayblog.wordpress.com/2017/11/01/i-dont-know-how-but-they-found-me-new-single-choke/

 

By Skye W. Winwood

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