Boston Manor, Trash Boat, Drug Church
Music and emotion share a timeless physiological, psychological, and spiritual bond. A chord, a melody, or a lyric can lift spirits and inspire. Movements achieve that sort of reaction on their full-length debut, Feel Something [Fearless Records]. Threading together spacey guitars, evocative and introspective lyricism, ponderous spoken word, and tight songcraft, the Southern California quartet—Patrick Miranda [vocals], Ira George [guitar], Spencer York [drums], and Austin Cressey [bass]—immediately connect by opening up. That musical empathy quietly launched Movements on an upward trajectory in 2015. Formed by longtime friends, the group landed a deal with Fearless Records after just one local gig. Produced by Will Yip [Tigers Jaw, Title Fight, Turnover, Citizen], their debut EP, Outgrown Things, became a fan favorite. Acclaimed by the likes of Alternative Press and New Noise Magazine, songs like “Nineteen” and “Kept” each respectively amassed over 800K Spotify streams and counting as they have toured nonstop. Along the way, the boys started working on what would become Feel Something before returning to the studio with Yip in February 2017. In the sessions, their signature style crystallized and coalesced. Ultimately, Movements bring emotion to life in each note.
Blackpool’s Boston Manor formed in 2013 and, in two short years, worked their way to signing with renowned US indie label Pure Noise Records, worldwide. In that period, they’ve successfully built a name for themselves with their modern day emotive rock anthems and DIY work ethic. A band with expert songwriting and craftsmanship, they are also heavily involved in the production of their own videos and visual content, and as a result are now a mainstay with the likes of Kerrang TV & Scuzz. The band has also been in constant circulation across major radio stations in the UK such as BBC Radio 1 & Kerrang, with significant coverage also coming from Rock Sound, Upset & Discovered to name a few. The band were even nominated for ‘Best British Breakthrough’ at the 2018 Kerrang awards.
They released their debut album ‘Be Nothing’ in 2016 to widespread acclaim and the band have continued to tour the world since then. Now veterans across the US, UK & European circuits, the band have toured with the likes of Moose Blood, Knuckle Puck, Have Mercy, Lower Than Atlantis, & Four Year Strong, and also completed a Summer on Vans Warped Tour 2017. Topping their 2017 off with high profile slots at Slam Dunk Festival, Reading & Leeds, and the Kerrang Tour, Boston Manor have stormed into 2018 fully charged, ready to unleash their next offering onto the world.
Produced by Mike Sapone (Taking Back Sunday, Mayday Parade, Public Enemy), ‘Welcome To The Neighbourhood’ is a soundtrack to disenfranchisement set in a fictionalised version of the band’s hometown. In support of it’s release, the band will be heading out on their largest UK headline tour to date (including a London show at Electric Ballroom) before heading back to the US for a main support slot on the Real Friends tour to cap off an action packed 2018.
In nature, crown shyness is a phenomenon in which the crowns of neighboring trees refuse to touch one another, instead creating a canopy-like cover for the sun’s rays to peek through. From the ground, it’s a stunning image, and it paints a striking contrast between the trees’ interconnectedness at their roots and their complete detachment at their tallest points.
On their second full-length album, CROWN SHYNESS (out July 20), the UK-based TRASH BOAT push toward the light as they explore similarly disparate emotions, juxtaposing hard-fought introspection against external strife to create a propulsive, captivating blend of punk and melodic hardcore.
The album, produced by Andrew Wade (A Day To Remember, Neck Deep) follows 2016’s Nothing I Write You Can Change What You’ve Been Through, their debut LP for Hopeless Records that launched the quintet—vocalist Tobi Duncan, guitarists Dann Bostock and Ryan Hyslop, bassist James Grayson and drummer Oakley Moffatt—into the pages of Alternative Press and Rock Sound and onto festivals like the prestigious Reading and Leeds.
Two years of nonstop worldwide touring with acts such as New Found Glory, Beartooth and The Wonder Years fine-tuned the band’s jagged, muscular songwriting—and helped imbue Crown Shyness with an overflowing sense of honesty and, above all, accountability.
“There’s a lot of things I’d like to keep secret: bad decisions, anxieties, thought processes,” Duncan explains. “It’s so easy to hide those things, but it can be a self-defeating process if you never address any of your issues. Through songwriting, I can’t cut myself any slack. I’ll call myself out on these things and put them in a song, then I have to sing it every day on tour and remind myself. It stops me from slipping.”
So the band look inward, mining themes of personal responsibility (the caustic “Controlled Burn”), betrayal (“Shade”) and the subconscious (“Inside Out”) to wrestle with the at-times uncomfortable facets of ourselves. But at the same time they’re staring down the ugliness, they’re finding the joy in celebrating unbreakable bonds (“Love, Hate, React, Relate”) and resolving to live up to familial legacy (“Old Soul”).
It’s this push and pull that makes for such a powerful statement from a still-young band, an emotional awareness wiser than their years. Ultimately, Crown Shyness is overflowing with acceptance and understanding. Because Trash Boat don’t shut the darkness out—they invite it in, knowing the only way to break through that canopy and into the sunlight above is to embrace life’s obstacles head-on and work every day to defeat them.
“Throughout my life, I’ve always found music as something that challenges me,” Duncan says. “Sometimes you hear a song that hits you so hard, it feels like it was exactly what you needed to hear at that moment. The spark could change your day and challenge you. That’s what this album did: It challenged my anxiety, my family, my responsibilities, my past, my future. I spent a lot of time looking inward, and now the album is ready to reach out.”
Drug Church are a glorious contradiction. They are an unabashedly aggressive band that writes hooks you can’t stop humming: too poppy for the heavy crowd, too heavy for the poppy crowd. Their frontman is a singer who rarely sings and delivers lyrics that revel in the darkest corners of the human condition, but are just as likely to make you laugh as they are to make you flinch. They loudly shout the uncomfortable truths we prefer to ignore but somehow make us want to shout along with them; they make serious music but don’t take themselves too seriously; they are completely adverse to planning but have accidentally built a loyal cult following. On Cheer, the band has doubled down on their Drug Church-iest impulses and emerged with an album that’s sure to please longtime fans and turn new heads. If there’s anything intentional about Drug Church, it’s knowing the value of being unintentional.