The direction for ‘Sting’ is clear: dreamy, hazy, sun-kissed and seductive, and there’s no lack of funky west coast synth melodies here. ‘Cinnamon’ in particular cranks the smoke machine and laser shows up to 11 for what is a solid introduction to the vision Emarosa have for the record, while ‘Forgiveness’ and its bass makes it an afterparty drive home anthem. Production-wise White’s instrumentation layers nicely with Walden’s vocals, which especially feel at home in the club night vibe of some of these tracks. There’s some issues with flow to the record, at only 34 minutes long tracks never really have the space to properly develop, and the sharp turns between some of these tracks can at times make it feel like a collection of aesthetic experiments rather than one cohesive piece.

What dramatically undercuts the success of ‘Sting’ is how much of the duo’s strengths have been shed in order to properly attain that 80’s sound. Emarosa are all in on this particular vision for the band and the confidence is apparent in so much of the crafting of the album, yet it feels like vital elements to the band’s sound have been dropped. Guitars just don’t have the punch that Emarosa are famous for, even on lighter tracks from ‘Peach Club’ that excelled at blending heavy guitars with more indie pop tracks. This may have been done to lean into the retro aesthetic (ironic, considering how many incredible guitar pieces we take from the 80’s), but when you neuter one of your biggest strengths for the sake of form, there’s a lot of ground to make up for, and often the electronic elements to these tracks don’t have the punch to go the distance. ‘Stay’, the lead single feels like a Weeknd b-side, a track from another artist covered to less success, while the instrumentation and vocals to ‘Again’ just don’t gel well, the electronic elements sounding especially uninspired and flat. So many of these tracks have promise but there isn’t much exploration of the sounds of the decade, no desire to push boundaries, and in removing so much of what made ‘Peach Club’ or ‘Relativity’ exciting there’s a sense of tedium to some of the songs of ‘Sting’.

There are still high points though. The soaring, almost gospel-like chorus from the soul infused ‘Attention’, or the thumping drum line and much needed wailing guitar solo of ‘INLA’, all of it feels more like home territory for the duo and actually compliments the glitter-drenched 80’s aesthetic. When they fully commit to the throwback nature of their understanding of synthpop, like in the explosive Tears for Fears-esque opening to ‘Woman’, there’s some real magic to be had here. Emarosa are not a band emulating a decade for the sake of pastiche or mainstream success, it’s clear there’s a passion for the sound and a lot of love pressed into each song. It’s just a shame nothing really gets ‘going’, the energy of each track petering out before they have a chance to really hit their peak.

Ultimately, the biggest upset of ‘Sting’ is that it’s simply unclear who this record is for. Like with ‘Peach Club’, ‘Sting’ is a bold new direction for the band, perhaps an even sharper turn than its predecessor was, but while a brave attempt to flip the script and create something new that features some well crafted rhythms and throwbacks to 80’s pop, it will fail to win over fans of the indie-pop style of ‘Peach Club’ the original hard rock of old. Neither sadly does Emarosa’s take on retro pop do anything new enough to perk the interest of fans of the genre, leaving it somewhat stuck between three worlds. ‘Sting’ is a fun listen, but unfortunately does not live up to the previous highs the duo have been capable of.

FIACHRA JOHNSTON

When it came to the release of the first single from ‘Peach Club’, Emarosa wasted no time in revealing their new direction with ‘Givin’ Up’. Perilously catchy synth-pop replaced their previous alt-rock tones, representing a significant change even for a band who’ve already been gradually evolving for more than ten years.

The first thing that’s clear from the rest of ‘Peach Club’ is that it wasn’t a one off toe-dip into shiny, pop flavoured waters. Opening with ‘Givin’ Up’ and its follow-up singles ‘Don’t Cry’ and ‘Cautious’, this is an album that is drenched in 80s vibes – but despite the retro style, it never feels out of date. Blending just enough electronic elements to keep it fresh without going overboard, songs like the anthemic, uplifting ‘Get Back Up’ and groove-laden ‘So Bad’ are about as close to pure, infectious ear candy as you’re likely to hear this year.

The first half of the album is given over to these largely upbeat numbers, so it comes as a bit of a surprise when the pace – and style – is abruptly dropped for acoustic track ‘xo’. It’s a nice enough song that allows Bradley Walden’s soulful vocals to take centre stage, but ultimately feels like it belongs to another album entirely and doesn’t quite manage to capture the same level of imagination as the tracks that surround it.

Fortunately, it’s not long before things are picked back up again with album highlight ‘Hell Of It’. A dark, dramatic track, it tackles destructive relationships from an unapologetic angle with gorgeous layered vocals and an insistent beat, whilst the repeated middle-eight refrains evoke feelings of the spiralling nature of these relationships. It’s a song that demands repeated listens, and only gets better with each replay.

Things begin to slow down towards the end of the album, with the atmospheric ‘Comfortable’ being appropriately, well, comfortable – the kind of song that’s the aural equivalent of sinking into a deep sofa at the end of a long, tiring day. Lyrically, there’s a lot to love about ‘Peach Club’ – whether it’s the positivity and keep-going message of ‘Get Back Up’, or the emotive ‘Don’t Cry’, Emarosa are able to approach life’s struggles with messages of hope and solidarity (and a healthy dose of singalong-inducing joy). ‘IW2DWY’ is especially poignant; though in some ways sombre, it’s also deeply comforting as Walden weaves a tale of the desperation of life and clinging on for a loved one, whilst being somewhat juxtaposed with sparkling instrumentation reminiscent of Taylor Swift’s ‘Welcome To New York’. It’s a special moment in the album, and clear evidence of how this change in direction has unleashed something altogether more beautiful and fresh in the band.

Wrapping up with the understated, sweet melodies of ‘Wait, Stay’, there’s a strong feeling of thematic consistency across the album. With only a brief exception for the slightly misplaced ‘xo’, it’s well paced and varied enough to be interesting right to the very end.

Emarosa have always been a good band, with a strong back catalogue of albums to prove it – but their wholehearted embrace of this new direction sees them find what feels like their true identity, elevating them to a whole other level. ‘Peach Club’ is earworm pop at its very best; bright, joyful, meaningful, and utterly impossible to ignore. This is a club you’ll want to join.

GEM ROGERS

The track is taken from the EP ‘131’, a short collection of reworked songs from the album of the same name. It was released earlier this year via Hopeless Records.

The track itself is taken from their fourth album, ‘131’, which was released last year on Hopeless Records.

photo: Ashley Osborne

On record, Grumble Bee is the product of multi instrumentalist songwriter Jack Bennett, but on stage he enlists a couple of friends to provide the full band experience. Over the course of a busy summer, including appearances at Slam Dunk, 2000 Trees and Fort Fest, the trio have been growing in confidence and refining their performance, and the hard work is starting to pay dividends. Despite Bennett suffering with an illness, his vocals are faultless throughout and now the band have had time to gel, the instrumentals are as tight as they’ve ever been. With another EP promised before the end of the year, we’re excited to see this project develop.

Sykes may not be the closest neighbours geographically or stylistically to Emarosa, but the latter were so impressed by the British three-piece at this year’s Warped Tour they hand-picked them as their opening act. Sykes’ synth-driven pop is full of high-energy, toe-tapping rhythms that get even the most stubborn of heads bobbing and with vocalist/synth player Julia Sykes’ undeniable ability to write infectious hooks, they warm the crowd with feel-good vibes before Emarosa’s long-awaited return.

It would’ve been safe to assume that Emarosa’s older material would be off limits for these shows; it’s been five years since iconic frontman Jonny Craig left the band and current vocalist Bradley Waldon has enough material now to fill a set, with two records under his belt. Quick the disprove this assumption, the band launch headstrong into choice cuts from the Craig-era, declaring that after so long apart, their UK fans deserve the full experience. Although only two fifths of the band created this material, the new line-up replicate it perfectly and with Waldon’s technique accommodating Craig’s parts so effortlessly, it’s a shame this may be the last tour  we get to hear these songs.

That said, there’s no shortage of quality in the newer material. ‘American Déjà Vu’ and ‘Say Hello to the Bad Guy’ were some the band’s first attempts at their new alt-rock sound and still have the strength to be setlist favourites for many years to come. Emarosa’s alt-rock transformation hit new heights on ‘131’ and the record’s anthemic songs are even punchier and impactful live. This new Emarosa not only sounds good but appears to feel good too, the stage buzzing with energy from start to finish and Waldon regularly jumping into the crowd to enjoy the set from a different perspective.

It was a shame to see Emarosa fade from the spotlight during the four year period between Craig’s departure and ‘Verses’, Waldon’s first effort as vocalist, but with the excellent ‘131’ and the strength of Waldon’s vocals, the hype surrounding this band should start to grow again for all the right reasons. Hopefully the UK isn’t made to wait another five years to be reminded of how good they are.

MARK JOHNSON

“This song is about loss,” Bradley Scott Walden explained. “The realization of loss and the feeling of confusion and frustration that comes with it. We wanted the video to continue from Cloud 9 and creatively represent that confusion.”

Of the full-length, Walden says: “I’m so proud of this. It’s my favorite thing I’ve ever done. This is the record we wanted to make.”

SEPTEMBER
25 LONDON Borderline
26 CARDIFF Clwb Ifor Bach
27 MANCHESTER Sound Control
28 GLASGOW G2
29 BIRMINGHAM O2 Institute2

Deaf Havana (without lead vocalist Ryan) are the main support tonight and once you get over the fact that James is taking over from lead vocals and there will thus be little screaming it’s a highly enjoyable experience. The small pit that develops towards the very end showing they’ve also got the attention of the crowd. The epic ?in desperate need of adventure? goes down really well but ?nicotine and alcohol saved my life? was a clear highlight. I really enjoyed the vocal performance in particular tonight and despite the roadhouse not being known for superb sound I found it hard not to be impressed. Difficult to see their rise not continue further if this is the standard. (4/5)

Emarosa don’t hang around tonight getting on stage early by my watch as the 20th century fox theme introduces them. I know it’s superficial but if there’s one thing that has to be commented on first up, it’s the truly impressive ginger mullet of lead vocalist, Johnny Craig. There’s clearly a lot of love for him in the room tonight with the young audience chanting his name at various points. He also appears quite attached to the elevated platform, but whilst most use it for additional impact he barely moves off it. This benefits the people at the back but means his movement is restricted. The set is predictably ?Relativity? heavy with ?Set It Off Like Napalm? being a favourite but we’re also treated to a couple of new tracks, including ?A Toast To The Future Kids!?. Both well respected. Casablanca, as the encore, is comfortably their best song and finishes with plenty of crowd surfing, later enticing the band to stage dive at the very end.

Overall Emarosa were a little disappointing as I think they sound better on record than live but definitely still enjoyable. (3/5)

Jamie

– Hey, my name is Jonas and I am one of the guitarplayers of Emarosa!

How would you describe the Emarosa sound? Which bands did you grow up listening to?

– That’s such a hard question. People ask us that a bunch, and I’ve heard a million different descriptions. The standard one for the late night gas station attendant is “hard rock with pretty boy singing” haha! I know we’ve been compared to bands like Thursday, Saosin and Circa Survive, which I’m definitely okay with. I grew up listening to whatever my parents were listening to. It was a lot of 80’s, 90’s power pop/rock haha! My mom especially made me listen to George Michael a lot. And my whole family has always been very big on Queen.

Is there a story behind the band name?

– The band originally had a horribly cliche post hardcore / screamo name, so when Rise Records showed interest it was decided that a name change probably wasn’t a bad idea haha. From what I’ve heard “Emarosa” could possibly mean something like: “containing all things beautiful”, in some language. I don’t know if that’s true, and I’m not sure who came up with the name exactly, it was before my time, but I know that no one knew about the “meaning” of it when it was made up.

How did you guys form? What’s the history of you getting together?

– Jordan, Lukas and ER all knew each other from High School, and had played in a couple of bands together before Emarosa was born. Will lived down the street from where they practiced, and was ER’s manager at the Hollister in their local Mall. So that’s how they got together Haha! That was actually the line-up for the EP “this is your way out”, including Chris Roetter on vocals. I had played shows with Emarosa while in my old band, and was always a fan of their live shows especially. So when they offered me to come play with them I couldn’t resist. Shortly after I Joined there was a change in vocalists, as most people know! Things weren’t working out for Jonny and DGD, and the relationship between Emarosa and our singer Chris was going downhill. Looking back it was pretty crazy how it all happened haha. One week Chris was out, the next we were playing our first show with Jonny at a YMCA in Lexington haha!

Are there any specific things that inspire you to write, whether it be people, things, events etc?

– hmm, I can only speak for myself; but I am very inspired by other creative people. Right now, I am very heavily into Radiohead and after listening to “Ok, Computer” or “in Rainbows” for the 117th time I still find things I never noticed before; and that to me is extremely inspiring. It’s something I’ve always wanted to be able to do myself, hopefully with this next CD, we’ll be able to keep the listerners listening with little details that go unnoticed at first.

How did you hook up Rise?

– During the recording process of “This is your way out” Craig, the owner of Rise, responded to a 30 second soundclip the band had posted on their myspace, wanting to know if that was the sound the EP was gonna have. After that it all went pretty fast, Rise snatched Emarosa from “Standby Records” and the EP was released shortly thereafter!

You just toured the UK…how did you find the UK kids? Did the tour exceed any expectations you may have had? When will you be back?

– That tour was absolutely insane! None of us had ever heard of YMAS, and had no clue what to expect! We showed up to the first show in Bristol, and within 5 minutes we were greeted by a guy who had “Relativity” tattoo’d across his chest. It was unreal! We didn’t know the shows were gonna be that huge, and we definitely didn’t expect any of the kids there to know us really. The London show especially was one of the most amazing nights of my life, not only were we playing one of my favorite cities in the world; but my parents had gotten a bunch of people together and flew over from Denmark, where I am from, to see us perfom infront of 3000+ people. It was absolutely unreal for them, and for us also. Nothing so far has topped the tour with YMAS! We still talk about it on a regular basis, and since we hired the crew we had in the UK to come with us on our current headliner, it’s almost like being back there again. We had plans to go back and do “Funeral For A Friends” greatest hits tour later this year. Unfortunately our recording schedule clashes with it, and as much as we love the Funeral guys and would love to tour with them again, especially in the UK, our next CD is a priority we can’t push aside. So hopefully we will be back early in the new year!

What’s the weirdest fan experience you’ve ever had?

– haha! I haven’t had too many weird fan experiences actually, i try doing my best not to make it awkward for fans because that’s when the weird experiences happen. And it usually helps if you start out by giving them a big sweaty hug, that way they don’t feel awkward and will be more relaxed. However, one time in florida, I was asked to sign a guy’s ass. Which I did, but it was pretty strange haha.

What can we expect from the new material and when can we expect a new album to hit the streets?

– that’s something we’ve tried to determine for ourselves, ever since we finished “relativity”. I remember during the recording process, ER and I talked a lot about wanting to do more folk/indie stuff for the next record. Really bare bones, mellow and raw. But that has changed a bit since then; we still wanna keep it very raw and not super produced. I know Jordan wants to mess around with organic and vintage keys, like more Rhodes, mellotron and more organs and such and there will be very little, if any programming at all on the next CD. we will save that stuff for our live show haha!
I see us going in a more straight-forward direction, with more choruses and more catchiness, utilizing Jonny’s vocals a bit more than we have in the past.
We are recording with Brian McTernin, who has done many amazing bands in the past, and when we met up with him it didn’t take long for everyone to realize that we are all on the same page regarding this next record. I think we are all gaining a lot of confidence and are all very excited to see what we can create next time. Expect something maybe a little darker, catchier and more Epic! Haha!
We are hoping to release the CD in the spring next year, in time to land a good summer tour to support it. Maybe even a sweet trip back to the UK!

What do you think of bands such as Brokencyde and Millionaires who are polarising crowds on warped Tour this summer? Is there room for bands who use backing tapes and mime?

– honestly, and this is my personal opinion, I really don’t enjoy that kind of music at all. When I first heard of the millionaires, I didn’t pay attention to them, and I haven’t ever since. Much less Brokencyde. But I wasnt surprised when I heard about the lip syncing on warped tour. It annoys me a little bit, that anyone these days seem to be able to sky-rocket to the top of the charts without any form of musical talent. Especially having toured with a band like A Day To Remember who’s been doing this for a long time and worked extremely hard to get to where they are at, which I have a lot of respect for, it bugs me that a techno-pop group can take over the same scene in less than a year. Maybe I’m bitter, or maybe I just don’t understand what it’s all about haha, but I still can’t take it seriously. And that’s just my personal opinion, I don’t like the “music”, and my respect for it, and the people behind it, is very limited. A lot of bands, including Emarosa, use samples, back-tracks etc during live sets; but there is a huge difference between having sub-drops and sound effects or whatever in your back-track, and to basically putting on a CD and dancing around without actually playing or singing anything. It’s been proven time and time again that if you try and fake it, it will eventually turn on you and you will look like a fool!

What’s better/worse – someone who downloads your music illegally but takes an active interest in the band and comes to shows or someone who
buys the CD, listens to it once and then puts it on a shelf never to play it again? Are you worried about how the industry appears to be going with the death of the CD?

– I think the majority of the people at our shows probably downloaded our CD ilegally at one point or another. Which is fine with me, I would rather them get the music somehow, see if they dig it, come to shows and have a good time and potentially buy an actual CD from us, instead of them buying a CD they haven’t heard, only to find out they hate it. But I guess that’s why myspace is there, so you can listen to the songs before you buy the CD. I if knew were to download music online I probably would, but I don’t have an interest in finding out how haha. I buy all my music on iTunes straight from my phone; it’s faster and easier than going out and finding the hardcopy, putting it on my computer and then onto my phone. CD’s are being replaced by the digital copies and I’m fine with that. Vinyls were replaced years ago, yet right before this tour I went out and bought 5 brand new vinyls. Digital is way more convenient, but I think CD’s still have a couple of years in ’em ! Haha

What music are you guys currently listening to? Any bands/records you would recommend we check out?

– Like I said earlier, I am heavily into Radiohead right now, but I dont think that’s shared by more than maybe one other person in this band.
We all listen to the new “as cities burn” record, definitely check that out. Also the new “a day to remember” cd “homesick” has been a pretty frequent selection while driving our RV. Another band we are all really into is “PM Today”, a recent Rise Records signing. They are 4 young and extremely talented dudes, that put out and awesome CD, even before they were signed!

If you could tour with any bands, past or present, who would it be and why?

– We would all love to tour with Glassjaw i know that, they are a big influence to a lot of us, and sharing a stage with them would be unreal.
If I could chose any band it would have to be Queen. Freddie Mercury is in my opinion the best singer that has ever lived, and well, that whole band is incredible. Muse would be another dream tour of mine, Im not sure how well we would fit on a tour with them, but I would still love it haha.

If you could have any super power, what would it be? Why?

– that’s easy, I would wanna be able to fly! Superman was awesome, I wouldn’t mind being compared to Superman. And flying home every night after a show to sleep in my own bed, with my girlfriend, would be very nice too.

Katy Perry or Lady GaGa?

– Lady GaGa hands down. I know some of the guys would disagree with me, but she had one song that got stuck in my head the whole time I was in Denmark, visiting my parents before the UK tour in march. That doesn’t happen a lot, so props to her haha.