Travel Playlist

Travelling; it’s got to be done because nobody wants to stay at Point A forever. With the Easter Break over, people all over are returning home from holidays abroad or back from home towns to their lives at school/university/work. As great as the time away can be, the long hours of travelling can sometimes be unbearable even at the mere thought and take away precious time that could be used more productively. After my own Easter Break away I was unable to post on this blog as regularly as I usually do so have decided to make a return with a post about the very thing that hindered me. No matter where you will be off to next, here are some songs to fill those long hours and hopefully give you some enjoyment along the way!

Ray Charles ‘Hit the Road, Jack’

Willie Nelson ‘On the Road Again’ 

Tom Cochrane ‘Life is a Highway’ 

Bon Jovi ‘Wanted Dead or Alive’ 

Queen ‘Bohemian Rhapsody’ 

Queen ‘I Want To Break Free’ 

Fall Out Boy ’20 Doller Nose Bleed’ 

Fall Out Boy ‘Death Valley’ 

Panic! At the Disco ‘Mad as Rabbits’

Panic! At the Disco ‘Pas De Chavel’ 

Staind ‘So Far Away’ 

Metallic ‘The Unforgiven’ 

Shinedown ‘I’ll Follow You’ 

Stone Cherry ‘Blame It on the Boom Boom’ 

30 Seconds to Mars ‘Walk on Water’

Green Day ‘Holiday’ 

Bowling For Soup ‘1985’

Dommin ‘Dyin’ on the Radio’ 

Dommin ‘There You Are’ 

Five Finger Death Punch ‘Never Enough’ 

Fiver Finger Death Punch ‘M.I.N.E (End This Way)’

Guns ‘N’ Roses ‘Sweet Child of Mine’

My Chemical Romance ‘Bulletproof Heart’

My Chemical Romance ‘Summertime’

The Young Veins ‘Young Veins (Die Tonight)’ 

Audioslave ‘I Am the Highway’ 

Audioslave ‘Getaway Car’ 

Audioslave ‘Gasoline’ 

Red Hot Chilli Peppers ‘Can’t Stop’

Red Hot Chilli Peppers ‘Californication’ 

Red Hot Chilli Peppers ‘By the Way’ 

Counting Crows ‘Accidently in Love’

Travie McCoy ft. Bruno Mars ‘Billionaire’

AD/DC ‘Highway to Hell’ 

Deep Blue Something ‘Breakfast At Tiffany’s’


By Skye W. Winwood


Sugarspun are showing their softer side with B-side ‘Hide’

On Friday 6th April Suagrspun’s debut single ‘Spaceman Dreams’ was launched into orbit and is well on its way to completing its mission of boosting the band’s popularity. Since my first post about the band, ‘Spaceman Dreams’ has received a music video that contains all those soaring visuals the song evokes.

Give it a watch here:

With the release of the song, newcomers to the indie band might think they have Sugarspun all figured out. The arrival of B-side ballad ‘Hide’ has thrown us off and drawn us in all at once.

Listen to ‘Hide’ here:

If ‘Spaceman Dreams’ combines 60s song writing with 90s vibes, ‘Hide’ leans more towards the former style. Sugarspun have already proven how they can write fun and inspiring music but in contrast to their previous single, ‘Hide’ gives the band more depth. The B-side is more simplistic than ‘Spaceman Dreams’, striped down to a more acoustic sound that conveys feelings of isolation with sweet melancholy lyrics that have us all swaying in relation. The lyrics seem to be conveying a continuous search, highlighted in both the lyrics and unchanging sound throughout. The more romanticised sound transports you and makes you feel as if you are floating through some hypnotic dream.

Although ‘Hide’ may be a different mood to ‘Spaceman Dreams’ the song still has the very distinctive sound Sugarspun are creating for themselves.



Sugarspun are launching their career with debut single ‘Spaceman Dreams’


Review by Skye W.Winwood

Own a part of Linkin Park history

Nostalgia, it has a place in all of our hearts. A simple smell, an image, a sound is enough to transport us from wherever we are to wherever we were when a connection was made. There are personal nostalgias that only one or a finite group of individuals will understand and then there are generational nostalgias that bring us together, especially during times of hardship and loss. A whole generation mourned the passing of Linkin Park’s lead singer Chester Bennington, a loss that is still being felt. Today the band are giving the fans who have supported them for years a chance to own a part of their history by donating over 200 items to be auctioned. and LA’s Techno Empire have gathered together a mass amount of Linkin Park gear and are putting it up for public sale with a portion of the proceeds being donated to Music For Relief, a charity set up by the band. Music For Relief was founded in 2005 in response to the Indian Ocean tsunami and is made up of a variety of musicians, music professionals and fans providing aid to survivors of natural disasters. Linkin Park have always expressed their overwhelming gratitude towards the support they receive from their fans in relation to their music but also for causes such as this and see this opportunity as a way of giving back. The items being auctioned consist of instruments used by the band, tour gear, stickers, mixing equipment and any and everything that could be considered a dream by a Linkin Park fan.

Follow this link to browse through and possibly own one of the many items up for grabs

Whilst the future of Linkin Park as a band is uncertain there is no doubt about the legacy of their past and the immense opportunity that is being given to own even just a part of that.


By Skye W. Winwood

Fall Out Boy Live!

With Fall Out Boy nearly finished with the UK part of their European tour, reviews of the shows are pouring in filled with praise, awe and the lingering buzz of an awesome show. Well, this blog post is full of all that but with a twist. I can guarantee you very few, if any, people experienced seeing Fall Out Boy quite like I did. I never thought the first time I would hear one of my favourite bands live would be from another room.

After buying tickets months ago, I had been on an ever-climbing hype until March 28th when Fall Out Boy would be playing at the Motorpoint Arena. Finally, the day arrived and with eyes and nails glittering purple and a day of drinking along to a FOB playlist, myself and two friends made our way to the arena. Unfortunately, we missed most of the opening support act, MAX, but were in time to catch the entirety of Against the Current’s set. The band had a musical captivation akin to Nightwish and an enthusiastic energy as if they were headlining and perfectly set the tone of anticipation. It was during this air of anticipation that things began to go a little awry among my trio.

Purposely buying standing tickets to be in the thick of the crowd meant we didn’t have the clearest view of the stage and people were only continuing to move in. Time ticked on and the crowd were growing more restless and anxiously began pushing closer until there was barely a breath of space left between any of us. The last breath was swept from my friend as she collapsed directly into my arms after expressing a worry of feeling like she was going to throw up. Despite the panic I felt for her, it was a moment that proved concert crowds are not the faceless, unruly mass some fear them to be. A handful of people were quick to help whilst everyone else made sure to clear a path for us to exit the crowd. One person even went so far as to practically scream for a medic loud enough for the entire arena to hear and I am grateful for their quick reaction because it meant a medic was soon with us and helping us manoeuvre my friend out of the crowd and toward a room where she could be seen to. The medics on hand were amazing and tended to my friend with an attentiveness that helped her recover from her moment of dizziness.

With worry for my friend almost causing me to forget where I was the thundering beat of ‘The Phoenix’ shook the room as Fall Out Boy took to the stage. Patrick Stump demanded the crowd ‘put on your war paint’ and that’s exactly what my friend did, assuring the medics she was fine and getting right back out there in time for the band’s second song ‘Irresistible.’ Our view from just outside the door of the medic’s room was perfect and provided the almost overwhelming experience I knew seeing Fall Out Boy would be. The show was a spectacular combination of bursting confetti, roaring pyrotechnics and a gravity defying performance – literally. During ‘Dance, Dance’ and ‘Wilson (Expensive Mistakes)’ Fall Out Boy moved from the main stage to two platforms that suspended them above the crowd, giving those up on the balconies the same personal performance those at the front of the crowd received.

Fall Out Boy took us all on a journey through their discoverography, playing songs from Take This to Your Grave through Infinity on High right up to MANIA. The show was transporting for a long-time fan like myself, giving timeless performances of ‘Hum Hallelujah’ and ‘Where Is Your Boy Tonight’ and hitting hard with the nostalgia through ‘Sugar, We’re Going Down’ and ‘This Ain’t a Scene, It’s An Arms Race.’ Patrick treated the crowd to his Elton John impersonation during ‘Save Rock and Roll’, only missing an ostentatious outfit and oversized glasses to complete the illusion. Pete Wentz even managed to have one of his own wishes granted by receiving a Tesco beanie from a fan in the crowd – something he had expressed a desire for via Twitter – and wore it during a few songs. The influence of the MANIA Tour Project was present through purple lights glowing in the crowd during a piano rendition of ‘Young and Menace’, unifying fans even further. The night was completed with ‘Saturday’, giving one last euphoric rush with Pete snatching a microphone and working those screamo vocals early Fall Out Boy albums would have been incomplete without.

The concert was nothing like I could have expected for a variety of reasons but mainly because Fall Out Boy proved why they have been such a beloved band for so many years. Creating a supportive fanbase who are always willing to help each other when finding a fellow fan in distress.


Tour dates:

Previous Fall Out Boy posts:

Help support MANIA Tour Project!

MANIA Review

Frosty and the Nightmare Making Machine


Review by Skye W. Winwood

Welcome to the sound of Pretty. Odd…10 years on

Yesterday (March 25th) marked the day Panic! At the Disco’s second studio album, Pretty. Odd., reached a decade since it’s release. Whilst it can be argued that the punk rock band’s second album is either one you know all the songs from or three of them, it was a delve into a genre that provided something for everyone who listened. For me, it was the album that first sparked my interest with the band. I remember being in my room and listening to the radio play ‘Nine in the Afternoon’ from our living room and was instantly taken by it. Although I had listened to the band’s most iconic song, ‘I Write Sins Not Tragedies’, it was the kind of song I liked to listen to but wasn’t really aware of who the artist was. Pretty. Odd. was a weirdly wonderful album that was one of the first that had me more interested in the lyrics than I was in the music.

Pretty. Odd. was almost the album that never happened but only because the band wasn’t aware it existed when they began the process of creating their second album. During the writing process the band became growingly displeased with their current songs and ultimately scraped their previous effort to begin the whole process anew. Taking a new approach to the creation process, Panic! At the Disco had retreated to a cabin and quickly found better success writing what would become Pretty. Odd. Upon its release the album saw quick sales but also a quick decline in those sales when compared to its predecessor, A Fever You Can’t Sweat Out. Regardless of mixed reviews, critics still noted the drastic style change from techno-pop punk to more psychedelic-rock.

We’re so Starving 

Pretty. Odd. opens with a short and sweet apology to fans for the band taking the time they did to write the album. From the first guitar chord, it’s obvious Panic at the Disco dropped the exclamation point to reveal the more obscure and romanticised concept of the album.

Nine in the Afternoon

The first single to be released from the album, ‘Nine in the Afternoon’ was written as a song to never make sense. The abstract and impossible lyrics are a jumble of words artistically stitched together to create something fun and timeless. The first song to be written on the album, it reflects the new approach of creating music for music’s sake, something the band would enjoy just as much as their fans. Whilst the song does hold connections to the band’s creative state at the time, the idea of getting back to the enjoyment of music and losing track of time whilst doing this, the song is filled with ludicrous imagery that creates a bright and nostalgic aura.

Northern Downpour 

‘Northern Downpour’ is possibly Panic at the Disco’s biggest step away from the sound of A Fever You Can’t Sweat Out, by being something devoid of the noise that sometimes swallowed the words of the songs. The fourth single to be revealed from Pretty. Odd., it is an utterly moving track with lyrics hidden in metaphors that manage to find a connection with anyone who listens. The song is almost the centre piece to Pretty. Odd. containing the unique creativity of ‘Nine in the Afternoon’ but played against a beauty akin to later tracks on the album like ‘When the Day Met the Night.’

When the Day Met the Night

Pretty. Odd. can be described as a rock and roll, fairy tale romance and no song embodies this concept more than ‘When the Day Met the Night.’ Played out almost like a lullaby the song recants a completely romanticised story of the sun and the moon falling in love. The psychedelic sound compliments the lyrics in setting them in another reality.

She Had the World 

The orchestra infused piece of ‘She Had the World’ continues the dream like tone of Pretty. Odd., a song laced with melancholy reflection through use of poetic lyrics. Possibly not one to be picked out from the album by many, there is just something about this song that gives the need to draw attention to it. ‘She Had the World’ is a fanciful song of simple propositions that still holds the same fantastical element present throughout all of Pretty. Odd.

Mad as Rabbits

The closer that brings everything together, ‘Mad as Rabbits’ sends the album out on a hyped up, classic rock fuelled end. Pretty. Odd. was different from A Fever You Can’t Sweat Out for a variety of reasons, but one most notable reason is because Pretty. Odd. had the entire band collectively adding creatively to the album. Not only this but at one point or another, the band all contributed vocals to the album with ‘Mad as Rabbits’ being one of these songs. A duet split between current Panic at the Disco member, Brendon Urie, and ex member, Ryan Ross whilst Spencer Smith and Jon Walker provided backing vocals.

Pretty. Odd. may possibly always remain the marmite among Panic! At the Disco fans but it holds a creative uniqueness and nostalgia to many fans who have followed the band thus far. Throughout the years, Panic! At the Disco has only managed to grow as a band and is still putting out awesome music today but Pretty. Odd. will always remain at the top of my list for favourite Panic albums because it was the one where it all began.

Previous Panic posts:

Say Amen for Panic! At the Disco

Panic! At the Disco has fans in a frenzy with cryptic messages


By Skye W. Winwood

Say Amen for Panic! At the Disco

Panic! At the Disco have come a long way from singing about a whor-…I mean, a beautiful woman in 2005 to putting out possibly the club anthem of 2018. This week has been filled with some well kept (and some not so well kept) surprises for fans of the punk rock band. Already being pushed to the edge of our patience with the relentless teasers, Panic! At the Disco have released not one but two singles from their upcoming sixth studio album, Pray for the Wicked, along with the album’s track list, a brand-new music video and summer tour dates.

Before digging into this blog post make sure you’re informed on all of Panic’s recent cryptic antics by clicking here

For every answer we received on March 19th Panic! At the Disco raised us another question using a similar strategy to get fans amped up for March 22nd in the form of flyers and posters reading ‘3:22, Worship Wednesday.’ Although we had all been eagerly awaiting a single drop for ‘3:19’, Panic blessed fans in and around Cleveland (along with some dedicated far away fans) with a surprise show at the Grog Shop. Only announcing the show the night before caused a flood of people to arrive in Cleveland and wait in line for hours just for a chance to be a part of the intimate crowd. Once the venue was filled to capacity, Panic! At the Disco took to the stage to perform the same setlist from their Death of a Bachelor Tour. Whilst fans may not have received the new music they wanted, we were introduced to Nicole Row, Panic! At the Disco’s new bassist. One of the lesser well-kept secrets, the crowd still went wild for the new member, giving her a warm and more than enthusiastic welcome. Nicole’s stage performance was brilliant and seamlessly blended with the rest of the band as if she had been performing with them for years. A performance made a little less surprising when knowing a bit about Nicole’s music history and finding out she has performed on stage with the likes of Miley Cyrus and Troye Sivan.

No questions were answered concerning ‘3:22’ other than the knowledge that Panic would be performing on The Tonight Show Starring Jimmy Fallon, and why would the band be performing if not to promote a new single? Well, before the show aired Panic gave fans more than what they bargained for by dropping both ‘(Fuck A) Silver Lining’ and ‘Say Amen (Saturday Night).’ Whilst ‘(Fuck A) Silver Lining’ is a dazzling, explosive and funky tune, it’s ‘Say Amen (Saturday Night)’ that has brought people to their knees and was the single the band performed on the show.

Watch the performance here:

Also watch Brendon’s quirky rendition of the DuckTales theme song here:

Carrying over a hint of the sound that influenced Death of a Bachelor, ‘Say Amen (Saturday Night)’ is an R ‘n’ B, pop punk track with an infectious beat and chorus that could be Brendon coming for RuPaul’s iconic ‘can I get an amen?’ Blurring the line between religion and a good night out, the song has been explained to be an exploration of Brendon’s connections to religion through his Mormon upbringing whilst still being a must add to any pre-drinks playlist. With a song using a variation of religious lexis and imagery, you probably wouldn’t expect the music video to be something of a Quentin Tarantino bloodbath.

Watch the music video here:

The music video is a visually stunning, cinematic, stunt packed experience that gives a clever and hilarious explanation to the insane high note Brendon delivers near the end of the song. Although it might take a second watch, the video ends with the sound of a faint heartbeat and has since been confirmed to be a prequel to ‘This is Gospel’ and subsequently also a prequel to ‘Emperor’s New Clothes.’ Possibly hinting at a more narrative based story line for subsequent videos from the album, maybe even a continuation to ‘Emperor’s New Clothes’ where we can finally see the kind of mischief Demon Brendon could embark on. I mean, we already know he likes to drive his fans insane with cryptic numbers and surprise shows.

Below is the confirmed track list for Pray for the Wicked, which differs slightly from the few hinted at via earlier in the week. Although, I’m disappointed to not see ‘Cult Cobain’ in the mix, maybe we can expect some bonus tracks once the album has been released on June 22nd.

Pray for the Wicked track list:

(Fuck A) Silver Lining
Say Amen (Saturday Night)
Hey Look Ma, I Made It
High Hopes
Roaring 20s
Dancing’s Not a Crime
One of the Drunks
The Overpass
King of the Clouds
Old Fashioned
Dying in LA




Review by Skye W. Winwood

RedFaces’ new single ‘Messed Up Feeling’

Since seeing RedFaces live last month, I haven’t been able to stop listening to them. Replaying song after song, which is kind of difficult (and probably a nuisance to housemates) when they only had three tracks available. Don’t get me wrong, it’s hard to complain when the tracks are nothing short of brilliant indie noise, but they always leave you wanting more. Fortunately, this want has been met in the form of the band’s new single ‘Messed Up Feeling.’

Listen to ‘Messed Up Feeling’ here: 

After teasing the release of the single via social media, ‘Messed Up Feeling’ was finally made available for fan’s listening pleasure on March 16th and has no doubt broken a few replay buttons since. The track stands out from their other singles ‘Wise Up’, ‘Kerosene’ and ‘Take It or Leave It’ by having a more modern indie vibe. Whilst the band’s sound has thus far been notably more old school indie rock inspired, ‘Messed Up Feeling’ hints towards a slightly different approach to the genre but is still undeniably a RedFaces original. The slight change in sound could come from the fact that the track uses a combination of the band’s indie and R ‘n’ B influences, fusing to create something more simplistic than their other songs with more of a focus put on bass and drums, but that is not to say it’s not worth a listen. On the contrary, ‘Messed Up Feeling’ is a creative, catchy tune compressed to under three minutes and is just another reason to keep supporting the band on their rise to the top of the charts.

‘Messed Up Feeling’ has arrived just in time to begin that all important festival prep on the lead up to the summer and RedFaces are one of the bands joining 2018’s summer festival scene. With shows planned for Liverpool Sound City and Y Not Festival – among others – make sure you don’t miss the opportunity to see the band perform live!

RedFaces Live!




Review by Skye W. Winwood

Come and see the opening band, I Don’t Know How But They Found Me

A song, music video and tour dates announcement all in one day? You can’t say I Don’t Know How But They Found Me (IDKHow) never gives us anything. On March 14th, Dallon Weekes and Ryan Seaman’s 80s pop punk project had a few things to say after months of seeming inactivity. Of course, IDKHow have probably not been inactive since both members began working on the band full time but fans have received little to no news on the progress being made. Whilst there is still no news of when we could expect a full-fledged album to take flight, IDKHow has something to say about supporting unknown, up and coming acts in their song ‘Nobody Likes the Opening Band.’

Although neither Dallon nor Ryan could be described as ‘unknown’, IDKHow is still a project finding it’s footing in the music world, even if it is receiving an overwhelming amount of helping hands from their fanbase. For anyone who has not yet extended their hand, IDKHow is a combination of movie references, glitter, glamour, vintage, thought provoking and poetic lyrics split into vocalist/bassist Dallon Weekes and drummer Ryan Seaman.

For more on the band’s beginning and their previous singles ‘Modern Day Cain’ and ‘Choke’ click here

Taking on the persona of an 80s cassette style tune, the band’s latest release, ‘Nobody Likes the Opening Band’ is a quick, quirky nod to band origins. Every band has been the support at some point in their career, and whether you have experienced this first hand or as a fan, you cannot deny the hilarious honesty of the lyrics. Sounding like a bonus track from Grease that never quite made it onto the soundtrack, ‘Nobody Likes the Opening Band’ is a theatrical comedy just shy of jazz hands. Adding even more to the comedy is the almost metatheatre knowledge that IDKHow will be the opening band for The Aquabats.

‘Nobody Likes the Opening Band’ is set apart from both ‘Modern Day Cain’ and ‘Choke’ by more than its cleverly comedic lyrics, but by Dallon ditching his signature bass and Ryan taking up the tambourine and bells and neglecting the perfectly good drum kit in view throughout the music video. These two changes give the song a simplicity and vulnerability appropriate when the lyrics are singing for just a chance to prove themselves as musicians. The minimalistic approach of ‘Nobody Likes the Opening Band’ is a testament to IDKHow’s talent to create something so complicated from so little.

Watch the music video for ‘Nobody Likes the Opening Band’ here:

Don’t be put off by Ryan’s menacing stare and give IDKHow a chance by continuing to support them on the endless lead up to what is becoming one of the most anticipated albums of any year.

And for those of you lucky enough to live in the US here are IDKHow’s upcoming tour dates:

April 7 (Los Angeles, CA)
April 8 (Santa Ana, CA)
April 9 (Tucson, AZ)
April 11 (Las Vegas, NV)
April 13 (San Francisco, CA)
April 14 (Sacramento, CA)
April 16 (Seattle, WA)
April 17 (Portland, OR)


Dallon’s Twitter:
Ryan’s Twitter:

Dallon Weekes’ departure from Panic! At the Disco


Review by Skye W. Winwood

Slim Loris as you’ve never heard them before in new EP, Wild & Untamed

Music is evolution in the form of sound. Just because a band or artist may begin as one particular genre or style does not mean they should be pigeonholed, their wings clipped before they have even begun to soar. Instead we should encourage their musical creativity and welcome any change they go through with open arms. Back in 2009, indie/rock band Slim Loris was born and bathed the music scene in melancholy tears with their first three full length releases. Now, after overcoming a couple years of personal setbacks, the band are back with a new sound but the same outstanding talent.

The Swedish bred band was formed by singer/bassist Mattias Cederstam and guitarist Robert Barrefelt but were soon joined by singer/guitarist Leon Lindström and drummer Jonas Ellenberg. Together the guys created a collection of demos now known as Amateur Night at The Asylum, which should just say it all for the style approach Slim Loris took in the beginning. These demos, as well as their subsequent EPs (Future Echoes and Past Replays, Down to Earth and Love and Fear), took the moments in life that sit heavy in our hearts and turned them into a beautiful country/indie/rock fusion. Exploring the confusion of heartache in songs like ‘Insane’, through the refusal to accept unfavourable situations in the violin singing, heartfelt ‘Ain’t nothing like it used to be’ to the slow sorrow of ‘Once.’ Through their career, Slim Loris have already received rightly deserved outstanding reviews from the likes of Huffington Post, and have produced enough tranquil and captivating music to prove their worth as professional musicians. However, after a few years of silence, Slim Loris have returned even more capable than before.

Wild & Untamed has left behind the sombre sound and taken on a lighter, more optimistic style both musically and lyrically. Instantly, this EP is noticeably different from the band’s previous works by the opening track ‘Mindghosts’, setting the euphoric tone for the entirety of the album. The track reflects Slim Loris’ journey from their last EP to Wild & Untamed by soaring through a journey that begins at rock bottom but reaches the possibilities of a promising future. ‘California’ demonstrates Slim Loris’ country-rock influences whilst jaunty tune ‘Before the Show’ leaves no doubt this is not the same band we left in 2015. Lead track ‘Burning Elephant’ is a self-aware, edgy, rock track backed by a thudding bass and perfectly topped off by an awesome guitar solo. The song is one of things finally becoming aligned, being ‘finally set free’ and letting go of the past. Even closing ballad ‘Hideaway’ manages to build into something that leaves you feeling revived instead of hollow.

Listen to ‘Burning Elephant’ here:

Produced by Pecka Hammarstedt and cover art designed by acclaimed Swedish artist Emil Grönholm Wild & Untamed will be available on May 2nd with the promise of a video for ‘Hideaway’ also in the mix, Jonas Hong Soo Eriksson being attached as director.




Review by Skye W. Winwood

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