• James Booton

BOOT LOCAL VOL 1 w/ Dead Nature, Flechettes & Courting





Dead Nature


Dead Nature is the new solo project of Liverpool based Producer and Spring King's creative engine Tarek Musa. As huge fans of the American coastal upbeat energy that Spring King offered and the intrigue of the drummer (Tarek) taking on lead vocals, it was a blessing to see Tarek venture into his solo career as we are yet to be disappointed by any of his music. In terms of the project, Dead Nature doesn't sound too dissimilar to his old outfit, still packing a fierce energy bolstered by the primal, drum centered production that has become his trademark. His most recent release 'Hurricane' came alongside the announcement of his anticipated debut album 'Watch Me Break Apart' set for release on June 25th.





In traditional Tarek style, his new single is is a full throttle dance inducer from start to finish. The tongue in cheek track was written about the current climate crisis is led by the powerful chorus line "I don't wanna fight a nuclear war" and features the voice of Calva Louise's Jess Allanic for an added kick of ferocity. When paired with the previous single 'Red Clouds' that will also feature on the album, you get a good sense of what the debut record has in store. As I mentioned, the fact that Tarek would sing while drumming for Spring King was always intriguing yet it is much more than a quirky gimmick. His love for drums adds a complete extra layer of understanding for the rhythm behind his tracks and it is this raw sense of rhythm that makes his music so infectious. The second that 'Red Clouds' starts you feel entrapped by it's rolling groove, a symptom that is true of nearly all his music. Judging from the two album singles 'Watch Me Break Apart' is going to be packed full of fun, mosh worthy Indie bangers, blending chorus chants with a surf rock energy. With the album hitting at the end of June it will be landing just in time to be your post-lockdown summer soundtrack.


Flechettes


Although Tarek is becoming an increasingly crucial member of the Liverpool music scene, it would hard to be guess where he operates based on his sound. However, the same can't be said for Wigan's Indie-rock quartet Flechettes who have stormed onto the local scene, bursting with youthful energy and an unmistakably northern charm.





In terms of their songwriting, their style is in keeping with fellow Wigan residents and long time friends The Lathums; full of character and lyrical narratives that develop in a folk, story line fashion. Although the two bands do share a lot of similarities in their songwriting, with words of youthful escapades intertwined with though through lyricism, Flechettes create a distinctive sound with the tone they convey these stories in. Their tracks are delivered with a forceful grit and never more powerfully than in their latest single 'Man of The Hour'. The vocals are punchy, allowing the northern accent to drip through as the instrumentals create a perpetually energizing atmosphere. If you haven't heard them yet then get in early as you can be sure they've got an exciting year ahead.

Courting


Conversely, if you haven't heard of post-punk locals Courting then where have you been the past few weeks. They came racing out the blocks this month with their debut EP Grand National, a four track selection that perfectly encapsulates what they are all about.


The EP is a sarcastic slap around the face. From start to finish the tracks make you stand to attention with their raucous delivery and force your ears to open wide and hear their lyrical satire delivered with an unforgiving angst. The title track 'Grand National' opens the EP with a rolling beat that gets you off your beat in an instant. Meanwhile the ranging guitar tones sum up the band's personality; with a scratchy underside off set by a playful, messy covering.



The two previously unreleased tracks from the EP don't halter Courting's trajectory, landing just as heavily and just as impactful as 'Grand National' and 'Popshop!'. The final track 'Slowburner', on some levels is just that, yet it couldn't be further from a dying light. The song opens with a bass led rhythm, progressively getting thicker and more intense sonically. From the moment vocalist Sean Murphy-O'Neill opens his mouth you can feel the power that is about to hit you for the duration. This does not let up and by the end you are trapped in a wild frenzied energy; guitars messy yet intricately placed, drums unrelenting and the vocals packed with rage and ringing through your ears, pushing them to their limits. It is a statement ending that leaves us ready and waiting to see what is to come to perhaps Liverpool's most promising new act.

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