Following their recent free livestream concert, critically acclaimed Southern soul and roots rock band Bywater Call, are pleased to announce that British vocalist and singer song writer Laura Evans will be special guest on their January and February 2027 UK tour. Tickets for Bywater Call’s UK tour are available from The Gig Cartel, Bywater Call, […]
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(Our writer DGR is still playing catch-up in reviewing albums released earlier this year, but now taking them one at a time instead of presenting collections. Today the subject is the fourth album from the Swedish post-black metal band Together To The Stars.) Much like actual interstellar travel (or interstellar travel as we would imagine […]
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If we’re going by endorsements alone, Like Roses are the new gold standard. Sleeping With Sirens have deemed the Bay Area pop-punkers to be the perfect tour mates for their next outing, and the New York Times have called them proof that “the dream of emo is alive”, a high claim given the rumours swirling that a new My Chemical Romance album is in the works. The odds are that Like Roses are following those claims too, because their debut, ‘After It Ends’, is the product of growing up on the unabashed drama and longing of the noughties emo scene, and a clear passion for that particular strain of despair has woven itself into their DNA.
“Is this all that’s left of me?” asks Amy Schmalkuche on opener ‘Roses’, and as a first taste of the neo-teenage regret and hope that we love about the modern emo take, it’s a stunner. Like Roses have taken their influences and run with them. As we’re flung into ‘Nowhere’, the realisation hits; ‘After It Ends’ is the female response to all the whiney pop-punk protagonists who have no idea why their girlfriends left them. Like Roses embody the girl who’s absolutely aware why these fictional losers are mooning over them, and they have an articulate, no-bullshit response to anyone living in romantic nostalgia. ‘Swallow’ is the ultimate kickback to that pointless reminiscence, the musical version of the moment of revelation that your ex really wasn’t all that. Of course, we’ve had loads of acts who can take on that role and use their experience to bring something original to the emo scene, but Like Roses feel like the flip side to the coin that we never looked at in detail. The strength that emanates from ‘Buried’, as well as their we’re-doing-Blink-But-Better energy brings that missing piece to the established sound.
Would we have a pop punk record without the pre-requisite semi-acoustic weepy number? Of course not. ‘Light’ is a real tear-jerker. Without a tender number to provide the other side of their ferocity, ‘After It Ends’ would be lacking that certain something, and ‘Light’s crashing finale feels so essential when it kicks in. While every broken love song is somewhat serious, advance single ‘Wrist’ has to be the conversation starter, somehow managing to discuss relationship abuse without resorting to cliche or maudlin triggering. Lyrically, focusing on how someone realises they’re “looking stupid” when they’re out of a bad relationship and dropping in a touch of warmth for the good times is a great move and adds a new dimension to a familiar theme.
Perhaps the biggest strength of Like Roses’ debut is their sense of moving forward. Sure, the majority of the record deals with loss and the breakdown of relationships, but there’s a tangible sense of compassion for all parties involved and a warmth towards the past selves embroiled in the remembered drama. “I hope one day you get everything you wanted, but for now could you stay a little longer?” Schmalkuche pleads on ‘Happier’, but there’s no one who’s cold and broken in the pictures she creates. We’re all adults here, and Like Roses have grown up to make music beyond the lovelorn stereotypes of their influences. Who they’ll become once ‘After It Ends’ is undoubtedly given the seal of approval by the fans who’ll immerse themselves in the Like Roses sound remains to be discovered, but we’ve got a corker of a freshman record to get to grips with before then.
KATE ALLVEY
Just got back from running my Sunday morning errands and Jesus Fucking Christ, $163.27 to fill up my Ford F150. Are you fucking kidding me?
According to my Facebook newsfeed, this is still Joe Biden’s fault, which I wholeheartedly believe even if I don’t entirely understand it. Goddamn, that worthless little shitbird has been out of office for going on two years now, and he’s still making life hell for us good and decent folks. I could go on for days here, but I’d better stop before I get too riled up.
Looks like I’ll be reviewing an album by some band called Insomnium today. I did a little digging and it looks like they’re from Finland. Is that a real country? Sounds made up to me, but I was too busy partying and getting laid to pay attention in Geography class in high school. Still managed to get a C- though, because I’m a fucking king. Anyway, here’s my review of Netherworlds.
Track 1: The Cold Song
Ugh, great title. Real inventive.
Track 2: Shadowlife
Gotta admit, I’m not hating the music here. Vocals eat so much shit, but that’s a given at this point.
Track 3: Remembrance
Is this what all music sounds like in Finland? What else has even come from there? It’s times like these I wish I hadn’t knocked up Doreen so young so I could’ve traveled the world. It’s not like my lib daughter Jessica ever thanked me for my loving and not-entirely-absent parenting, anyway.
Track 4: Gleam in the Black
What the hell am I doing? You didn’t click on this review so you could hear me bitch about my daughter. Time to bitch about this music.
Track 5: The Hour Grows Late (feat. Tomi Joutsen, Tomi Koivusaari, Santeri Kallio)
Ugh, typing out those names was fucking exhausting. I’m going to have to take a break from the next few songs to recover.
Track 6: Arch of the Sky
Still on break.
Track 7: Pathways of the Night
Yeah, gonna need one more, boss.
Track 8: Ethereal Sleep
OK, I’m back. I’m really enjoying these drums, as they enhance the dreamlike atmosphere evoked by the acoustic guitars in tandem with the keyboards, with both of which being beautifully complemented by the vocals.
Track 9: The Banished
Holy shit, did I really just write that? Looks like that little break did wonders for my reviewing skills. I don’t like it. I didn’t start this gig so I could start relating to you whiny goths.
Track 10: Journey’s End
I’m going to just say I hate this song without really listening to it. Not gonna lie, I really scared myself two tracks back. Good thing this is the closer.
There you have it. 2/5 stars. If any of you little shits say I was actually starting to legitimately review the album I’m going to deny it with every fiber of my being. Now, fuck off and leave me alone. Dave Mustcomplain out.
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