Skin Back Alley’s Top Albums of 2014

SBA Top Albums Of 2014-001

Anyone who says that 2014 hasn’t been a great year for music simply isn’t looking – or listening – hard enough. In fact, with each and every year that passes, the late broadcaster John Peel’s answer to the perennial question “What has been the best year for music?” seems more and more appropriate. When asked, he would reportedly answer simply and in that instantly recognisable voice each and every year, “Last year. And the year before that.”

As the debate about digital music distribution continues, and artists and labels argue about the best way to ensure that their music reaches our ears and still makes money, the most forward thinking bands, singers and songwriters are finding their audiences by ever more direct ways and means, and fans old and new are connecting with that music in new and myriad different ways. Putting the commercial aspects of the industry to one side for a moment however, the last 12 months have seen rich pickings for those prepared to seek them out.

So, without further ado, here are the Skin Back Alley picks of the vintage that was 2014. Feast your eyes and ears, and let us know what you think.

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servers_leave_with_us1. SERVERS – Leave With Us
Eschewing the philosophy of heavy for heavy’s sake, Barnsley based kings of cult SERVERS unveiled their remarkable debut album right back at the beginning of the year. Leave With Us arrived in February, indisputably well-crafted and undeniably fully formed, delivering densely layered arrangements that exist in an abrasive rock space, but that never sacrifice melody along the way. Debut single “Universes and Supernovas (The Ride)” set out the band’s stall in its up tempo blast of squally punk attitude, bolted on to a melodic hook that is, well, supernova in size.
Later in the year “Claustrophobia” proved that SERVERS were also capable of off-kilter alternative beauty in the vein of, say, Soundgarden’s cross-over smash “Black Hole Sun.” Collaborator Mark Latham served up an astonishing video to accompany it, too. But it was Leave With Us’ central epic “Dangerous Devotion” that lingered longest in the heart and mind, building in stature through its early verse and chorus until, in one fell swoop, it knocked us off our feet with its string laden coda, melting our faces along the way.
As if that wasn’t enough, the album was meaty of lyric, too. “[Leave With Us] took a dark lyrical context from conversations in the band and an interest in the subservient nature of people, and how cults or individuals can hold such a power over certain people, to the point of killing others or themselves for a cause. It’s both fascinating and terrifying,” said SERVERS in recent interview with Skin Back Alley. Well quite. Add in their post-millennial image of dark, hooded figures lurking in the murky shadows, and SERVERS proved that they were the real deal, here to stay. As Skin Back Alley was wont to say in our album review: “Both future vision AND past nightmare, Leave With Us is a stunning debut album, and in this time of crisis creation, SERVERS are surely the UK’s finest new rock and metal hope.”
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King 810 Memoirs Cover2. King 810 – Memoirs Of A Murderer
If one thing was certain during 2014, it was that everyone in the rock and metal community had an opinion about King 810’s debut, Memoirs Of A Murderer, most of them seemingly negative. It only took a few moments of searching the net to unearth vast swathes of rubbish written about the crew from Flint, Michigan, who made a heavy, groove-laden, monumental metal racket, spitting lyrics that concerned gun crime, death, the downtrodden and dispossessed, hard lives and even harder hearts.
But accusations of bravado and the glamorising of murder and guns were, to these ears, hugely wide of the mark. Memoirs… certainly does not exist to shout “Look at me! Aren’t I clever and cool with a gun in my pocket!” As Skin Back Alley noted in its piece on the LP, the album “…does not boast or beautify. No, this album is run through with dread, fear, regret, the hardening of hearts and the sure knowledge that to be prepared and carry a gun is to become something less than human at the same time as being the only way to survive.”
Frontman and chief songwriter David Gunn revealed himself to be a master poet and lyricist in his missives which were presented as if they were the recorded memoirs of the album’s title, and an expert in delivering them in shocking, vivid, venomous and brilliantly realised vignettes. If defined as something creative that gets under your skin and makes you reconsider your world view, then Memoirs Of A Murderer proved itself to be nothing short of art.
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Birds Of Satan3. The Birds Of Satan – The Birds Of Satan
By the time November of this year rolled around, the world of rock was all about one band. You couldn’t open a magazine, navigate to a website or switch on HBO without hearing mention of Sonic Highways, the new album (and documentary series) from Foo Fighters. But whilst Skin Back Alley remained ever so slightly underwhelmed by Grohl & Co’s eighth LP, it was his stick wielding colleague, drummer Taylor Hawkins, who delivered the real rock gold back in April.
Teaming up with guitarist Mick Murphy (of My Ruin, Neanderthal and Chevy Metal fame) and bassist Wiley Hodgden (also a Chevy Metal alumnus), The Birds Of Satan delivered a boundary-hopping, rule-breaking, category-defying rock n’ roll masterpiece.
The chemistry evident on the band’s eponymous debut was undeniable, the three men (with a little help from their friends) hopping, skipping and jumping through select styles with a vintage sound that was full of unabashed joy. Murphy’s guitar wrangling was particularly impressive, providing several of the LPs high points in the tones, textures, rhythms and solos that propel the album along.
Consistently talked about in the press as a Hawkins side-project, the album felt far more substantial than that. As Skin Back Alley noted at the time of release: “…Contrary to popular belief, the Devil doesn’t have all the best tunes. Take a stroll over to his aviary, however, and you might just find them there.”
The band remained fairly low-key for the rest of the year, with just fleeting live performances and a couple of TV spots on US talk show Last Call With Carson Daly. A new, non-album track “Be The Bird” slipped out with literally no warning in September, and all has been quiet on the Western front since. Nevertheless, even if this gem of a record proves to be a one-off, you make damn sure you acquaint yourself with it, and sooner rather than later.
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Matt Woods - Brushy Full Size4. Matt Woods – With Love From Brushy Mountain
In a post-modern world, notions of the ‘real’ and the ‘authentic’ fall by the wayside. Thank goodness then for Matt Woods and his album With Love From Brushy Mountain, released in the Spring. Woods’ second LP delivered a rich slab of ‘real’ Americana straight from the heart of Knoxville, Tennessee, mesmerising us in the process.
“I write what is ready to come out and try to be as honest as I can about it,” says Woods of his songs. “A lot of my songs are very much based in classic Country music while others are grounded in straight forward and greasy rock’n’roll.” Yes indeed, and they always seem to arrive with wonderful results.
“If there’s a finer example of a musician bleeding on to record, we’ve yet to hear it,” we noted in our review, and whilst there is nothing brazen or flashy about Woods’ songwriting or musicianship, there is an astonishing amount of the highest quality. You may have guessed that at Skin Back Alley we very much fell in love with With Love From Brushy Mountain.
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Then Thickens - Death Cap at Anglezarke5. Then Thickens – Deathcap At Anglezarke
On the other side of the Pennines, alternative rock magic was hard at work in the Chorley borough of Anglezarke. A sparsely populated area of Lancashire dominated by open country and a reservoir, the parish proved to be fertile ground for the imagination of Then Thickens. Their resulting debut album as a six-piece was a masterful and atmospheric slice of hazy indie-rock.
Mixing the melodic grunge stylings of the likes of Weezer with a peculiarly British sensibility, Death Cap… delivers an existential Thoreau-esque treatise on growing up in the more rural confines of contemporary England. A heady brew that takes in fuzzed-up guitar, ethereal synth, pounding drums and spectral vocals, Then Thickens’ brand of melodic, mellifluous and yet rough-hewn rock and roll stayed long in the memory.
Chief architect Jon-Lee Martin said in interview with Skin Back Alley: “The songs were kind of put together at random for the record… There wasn’t really much lineage to the choices of the songs.” And yet, serendipitously or otherwise, that overarching sense of returning to the self remained. The group have been back in the studio recently, hard at work on the follow up. We can’t wait to hear the results.
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Miss Shevaughn - LITW6. Miss Shevaughn & Yuma Wray – Lean Into The Wind
A fine collection of beautifully crafted Cosmic American Music, husband and wife duo Miss Shevaughn & Yuma Wray’s album Lean Into The Wind seems to inhabit the very essence of the term coined by Americana pioneer Gram Parsons.
Both emotionally and politically charged, the music on display runs the gamut from Byrdsian psychedelic jangle, through Appalachian folk textures, past a raucous garage clatter and on to greasier, rockier ground.
“Don’t you cast your eyes down,” implores Miss Shevaughn in album closer “Brush The Dust Off (Lean Into The Wind)”, “Don’t you heed what they say…. Darlin’ you need somewhere to fly. Lean into the wind, we gotta’ keep movin’.”
“It might be natural to wonder who she is singing to following a diagnosis of cervical cancer in January 2013. Is it us, or herself?” we wondered in our review. In the end it didn’t really matter, for here are artists who know what it means to follow your dreams regardless of what may be around the corner.
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Marmozets Cover7. Marmozets – The Weird & Wonderful Marmozets
The sheer breadth and depth of talent bursting out of Yorkshire and rampaging across the globe this year was phenomenal. In at the heavier end of the vibrant spectrum were Marmozets. Weird & Wonderful? You can count on it. The band’s debut album, released via Roadrunner later in the year, was rightly seized upon by the major music press as a remarkable slab of molten maths metal, rife with huge, crackling stop-start riffs and the agile stylings of frontwoman Becca McIntyre, who proved perfectly capable of shifting between splenetic rage one moment and soaring melody the next.
If anyone had anything contrary to say about the LP it was that it seemed ever so slightly more tame than Marmozets’ legendary live shows that they had been laying on for years prior to being scooped up by a major. But to these ears that mattered not one jot, as it simply refined their sound and showed that the northern upstarts were capable of painting a broad and complex canvas that fired the imagination as much as the heart and hips.
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Cloud Atlas Beyond The Vale Cover8. Cloud Atlas – Beyond The Vale
Far from being a long extinct dinosaur from a forgotten age, progressive rock proved that in 2014 it is alive, well and still exploring music’s fantastic and expansive outer reaches in fine style. Proof of the fact came in the debut album from Cloud Atlas, the York based band that rose like the proverbial Phoenix from the ashes of previous outfit Stolen Earth.
Questing to realise her singular vision with her own band, head honcho Heidi Widdop set her controls for the heart of the sun, delivering an epic set of songs that tackled subjects metaphorical and philosophical, set against a backdrop of sublime instrumentation from guitarist Martin Ledger, Dave Randall on keys, Stuart Carver on bass and Neil Scott on percussion.
At the forefront of all this was Widdop herself, her astonishing vocals holding the whole thing together like a female version of Soundagarden’s Chris Cornell: all guttural and gritty power combined with exquisite and expert control. Elegantly simple in sound but achingly complex in scope, Beyond The Vale was a real highlight of the latter part of the year.
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Machine Head Bloodstone and Diamonds9. Machine Head – Bloodstone & Diamonds
Alarm bells began to ring earlier this year when Bay Area veterans Machine Head announced that they were cancelling tour dates in order to spend more time in the studio refining their new album. Mainman Robb Flynn talked in terms of knowing that the band had something special and wanting to ensure that it got the attention it deserved. Nevertheless, journos and public alike were wont to wonder.
As it transpired, doubters needn’t have worried. On its release, Bloodstone & Diamonds proved to be something of a mainstream metal instant classic, bringing together everything that Machine Head have done so well for over two decades.
Punishing riffs and gargantuan grooves abounded across the album’s running time, alongside more experimental touches and textures, combining to deliver an immensely satisfying whole that deserved every plaudit it received.
“This is the finest mainstream metal album of 2014 by a huge margin” wrote seasoned metal scribe Dom Lawson in his Guardian review. Agreed, Dominic. Agreed.
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Acrania-Totalitarian-Dystopia10. Acrania – Totalitarian Dystopia
“If you want a vision of the future, imagine a boot stamping on a human face – forever” wrote George Orwell in his literary classic, Nineteen Eighty-Four. And now, thanks to the UK’s extreme metal crew Acrania, you know what that future sounds like.
Not for the faint of heart, Totalitarian Dystopia does exactly what it says on the tin, tackling head-on the theme of a totalitarian state endlessly and needlessly crushing the individuality and freedom out of every human soul with unimpeded impunity.
As loud as an erupting volcano, as heavy as a planet and as dense as a black hole, anyone who listened was likely left a gibbering wreck, but the ride proved as thrilling as it did bruising. For those with a taste for the far reaching extremes of heavy music, there was no finer example released this year.
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Honourable mentions need to go to those albums that have been sitting just outside of our Top 10, but have nevertheless made a significant impression over the past 12 months and spent a great deal of time on the Skin Back Alley stereo:

Distorted Harmony and their brilliant LP Chain Reaction have kept us in contemporary prog rapture for a large part of the year; Amaranthe delivered the best album of their career in Massive Addictive, which did exactly what it said on the tin; Sanctorum’s new full length Old Ghosts/New Wars served up a thrashtastic slice of metal that got its full roadtest on tour with My Ruin in August; Million Empire’s new EP The Lion Tamer proved to be a brilliant slice of alt-rock from Brum; Christina Rubino crafted a life-affirming work of singer-songwriter genius in her (A)Live From The Scrapheap LP which will be the subject of a future article here at SBA; Gandalf’s Fist created Jim Henson’s Labyrinth in prog-rock form with their woodland fantasy A Forest Of Fey; Matty Rockville harked back to prime-era 90’s REM with his gem of a record Chestnut Ave; Sister Sin’s fifth studio album Black Lotus had us pumping fists and playing air guitar like we were in Skid Row; Black Veil Brides’ self titled new release had us praising their songcraft and Bob Rock’s production to all who would listen; Nikki Lane’s All Or Nothin’, John Kilzer’s Hide Away and M.Lockwood Porter’s 27 had us drinking at the well of Americana that somehow never seems to dry up; and finally Panic Room’s new album Incarnate had us soaring on the wings of Anne Marie Helder’s wonderful voice and new guitarist Adam O’Sullivan’s extraordinary solos.

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Interview: SERVERS leave with us


“We set out with the intention of releasing a solid album that would hopefully stand out from the crowd,” say SERVERS of their sonically stupendous debut album “Leave With Us”, released with little fanfare in February of this year.

The following 12 months saw the Barnsley based band hailed by the music press, play some fierce headline shows and support LA metal band My Ruin on their last ever tour of the UK in August. Add in charity singles, visually stunning videos, a sound like no other band around and an imminent final gig of the year, and we’ve got plenty to talk about.

So we sat down with the self-styled kings of cult to do just that…

SBA: 2014 has been an amazing year for SERVERS following the release of Leave With Us in February. What have your most memorable moments been?

SERVERS: Wow, tough one, there have been so many! Releasing the album on a rejuvenated Undgergroove Records, a label we all have so much respect for; seeing our band get such amazing reviews in the press and being featured in major magazines; playing festivals like Guilfest and gigging with My Ruin were all beyond expectations. But I think the stand out has to be making our live debut at our album release show in Barnsley and it selling out, so much so people were left standing in the room next to the venue to listen. The response and support we get from the local scene never fails to amaze us.

What has the reaction to Leave With Us been like over the last 12 months? It seems to have had a great reception from the gig-going public and some of the rock and metal music press?

We set out with the intention of releasing a solid album that would hopefully stand out from the crowd. The response has been phenomenal – people really seem to get it and relate to it. We did put ourselves out there a bit with the theatrics of the live show, and the concept of the band/album but thankfully it seems to have hit a chord and been bought into which is amazing.

How did SERVERS come together as a group?

Lee S and Lee W have known each other for several years now through our old bands. After Lee S left GU Medicine the intention was to quit music altogether, and he thought his days in music were done. The guitar was left gathering dust for a while, but eventually he couldn’t fight the urge to pick it up again and start putting some tunes together. At that point he asked Lee W if he’d be interested in putting a demo together with Pete at Flatwave Studios and see where it went. Those original demos lit a flame even though they have since become new songs or been forgotten. There was a moment in Flatwave that we remember well when we had a rough draft of “Universes…” – we were just buzzing off its sound and we could see the potential in these songs so it took a more serious turn.

We had been programming the drums up to that point and we knew we needed a real drummer, Ant had just finished with his old band (Disarm), and Lee S had been told about him. He came in to Flatwave for an audition and he knocked us sideways with his skills and his attitude, and we became “SERVERS”.

The enigma that is SERVER #00005 joined us on guitar when it became apparent that we needed a second guitar to make sure the huge sound we’d achieved in the studio translated to the stage. He does a cracking job.

SERVERS have a genuinely unique sound in amongst the current crop of hard rock and metal bands. Did you set out with a plan of what you wanted to sound like as a group when you began?

I don’t think we did. We all have rock/ metal roots so it was bound to have an impact on our overall sound. However with SERVERS our defining concept with the music has always been, if it sounds good to us and it gets us excited to record/play it then it’s OK to be a SERVERS song. I think that’s what helped with the reviews if I am honest. There isn’t a strict formula for SERVERS music; we don’t intentionally start a song with something like “this needs to be heavy or sound like this band”.

To be brutally honest sounding like another band or fitting into a genre/clique is not something we care about. If we have a melody or riff that we buzz off then we will work on it. If it turns out to be a ballad that won’t stop us playing or releasing it because SERVERS is there for everyone and anyone – if someone picks up on a song and loves it as much as us then great, if they don’t, so what?

Leave With Us has a full, layered sound and some incredible arrangements. What was the recording process like for you?

We are so very fortunate to work with Pete at Flatwave Studios for the pre-production on our albums. We loved the idea of being a 3 piece recording band but making something that sounded so much bigger, and the months spent on pre-production allow us to build on things and really focus on the tiniest detail when writing. We are really lucky in being able to work with so many talented people as well in the writing and live phase of the album. With an approach like ours to writing there are never any boundaries, so we can keep tweaking things, hit delete several hundred times, re-record, rearrange, add layers until we are 100% happy with what is there to be recorded.

One of the many things I like about the album is that it exists in an abrasive sounding rock space, but it is also chock full of really strong melodies, too. Is that a fair observation? Was that combination something that you consciously tried to achieve?

It’s a great observation and something we are very proud of. It’s easy to make an album that’s heavy for the sake of heavy and lose that riff or melody that changes the dynamic of an album. It wasn’t intentional – I think it’s more ingrained into what we want to hear in a band’s music, and so it comes out in our album, as at the end of the day all musicians are basically trying to write an album that is perfect for themselves and if others connect with it then it’s all good.

Do you have favourite tracks on the album and did you have a vision of what you wanted to achieve lyrically? “Dangerous Devotion” for me seems to encompass everything that Leave With Us is about: societal crisis, the murky underside of knowledge, power, questions, doubt and, yes, the dangerous side of blind devotion.

Picking a favourite track is hard; I know we all have a favourite track either from an album perspective or a playing live point of view. However, I think music is a personal thing. People connect with different songs for different reasons. They make their own story behind them, so for us to say which is our favourite song wouldn’t be right.


Where did the idea of SERVERS’ hooded, cultish image come from?

The album took a dark lyrical context from conversations in the band and an interest in the subservient nature of people, and how cults or individuals can hold such a power over certain people, to the point of killing others or themselves for a cause. It’s both fascinating and terrifying.

We thought it was important for the band to carry an image that gave an insight into the album. With the emergence of social media these days people are willing to write your band off from a photo without even listening to a single chord of your music, so that’s why we do what we do.

How does the music business now compare to what it was like in the days of GU Medicine? Is it very different?

It’s changed dramatically in my opinion. I suppose it depends on whether or not music is a career move as to whether it’s changed for the better or not, luckily for us it’s not, it’s a passion. So in that respect it’s easier to get your music out there on YouTube, Spotify etc. Downside is that people just float in and out without really buying into a band. People check bands out on social media and most of the time make a snap judgement whether they like them or not.

Music has become a bit like a drive-through… pull up, order and leave. There’s less tendency to linger on one band and become attached or devoted to a band the way it used to happen when listening options were more limited. Now the listener is bombarded with new music… they simply try some then move on. As a result, the majority of people have become detached from the artist because they don’t buy the album, opting to buy single tracks instead…. or maybe a quick view on YouTube.

Lastly the sheer amount of different genres of rock seems to have affected things. There’s no such thing as a straight rock and roll band anymore, but on the other hand the dilution has meant exposure for a larger number of bands. Think what I’m trying to say is that it’s swings and roundabouts. But the underlying thing is don’t ever rely on music to put a roof over your head… just enjoy the ride and try appreciate wherever your musical journey takes you!

As a band you’ve alluded to different messages and meanings hidden in the cover art of your album. Care to enlighten us, or does the mystery remain?

The mystery very much remains. There is a meaning to each and every one of the symbols on the album and there are clues spread across our album booklet and website so the code is breakable, but its over to the SERVERS to work that one out.

Who designed the album cover and how did the collaboration come about?

As I mentioned earlier we are very lucky to have the people around us and supporting us that we do. The album artwork was designed and produced by Pete Thompson at Flatwave. We gave him a concept and idea for a logo and booklet, and let him run free with it. We were really happy with the outcome. It was his idea to hide the message in the logo… (maybe that’s a clue to the question above?)

You released a couple of brilliant videos during the year too, for “Universes & Supernovas (The Ride)” and “Claustrophobia”. How did those come about and who did you work with on them?

Mark Latham produced both our videos. He is such a talented guy and he’s known Lee S for several years from GU Medicine. We sent him early demos of the album and asked if he would like to be involved and luckily he said yes. He storyboarded the videos after discussions at our album photo shoot (which he also did). In “Universes…” we also worked with Lisha Blackhurst who agreed to play the poor girl who unknowingly stumbles into the world of SERVERS in the video.

And how did your cover of the Madness song “Lovestruck” for the Mad Not Cancer charity happen? It must have been quite a challenge to take the iconic sound of Madness and Server-ise it?

We were approached by the Specialized organisation to do the recording as they like to have a lot of different genres involved in their projects. It’s a great cause and we’re honoured to be a part of it. “Lovestruck” was a bit of a mountain to climb in converting it to a SERVERS song, but it had an underlying riff that we knew we could use and make it heavier. We wanted to try keeping the melody but add some “epicness” to it. I hope we achieved that.

You played in support of LA metal veterans My Ruin in August as part of their The Sacred Mood tour. What was that like for you guys?

Unbelievable! Lee S had a relationship with My Ruin from his days in GU Med, so when they asked us to be part of their final tour we jumped at it. We saw them a few times on that tour and loved every minute of the show we did in Bristol. Great venue, Great crowd and hanging with Sanctorum and My Ruin was brilliant.

SERVERS with Tairrie Murphy of My Ruin
SERVERS with Tairrie B. Murphy of My Ruin, August 2014

I’ve heard rumours that a collaboration with Tairrie Murphy from My Ruin is in the works? Can you share anything or is it just rumour at the moment?

Tairrie and Lee S are long time friends. His old band GU Medicine toured with My Ruin on two tours in the UK back in 2006 and he often joined Tairrie on stage to sing the Mudhoney classic “Touch Me I’m Sick” which they covered on their album at the time. They reunited for a 3rd time on stage when SERVERS supported My Ruin in Bristol this past August and had a blast. She really digs the band and suggested it might be fun to write and record an original together, which we agreed and have been working on at the moment via Skype and Dropbox. We’re recording the music and Lee’s vocals here in the UK and Tairrie is recording her parts in the States. We have a cool idea for a video as well to accompany the song once it’s done.

You’ve got an awesome Christmas gig lined up on the 13th December at the Rock & Blues Venue in your hometown of Barnsley. Are you looking forward to it and can we expect any new material at the show?

We are really excited about this show and want to make it a celebration of this past year. It’s a great line up, and it’s the place where it all started for us back in February. The Rock & Blues venue is great, the sound, the people and the stage are all top notch – it will be an awesome night. We are hard at work at the moment on the set and as of right now I can tell you that we will be giving “Bodies In The Ground” its live debut!

It strikes me that there is a massive amount of amazing rock talent in Yorkshire at the moment. SERVERS, Marmozets, Bring Me The Horizon, Allusondrugs, Eureka Machines, The Scaramanga Six, Steel Trees to name but a few. Do you think the breadth and depth of talent has always been here, or do you think something has changed that has allowed these acts to break out and in to the wider consciousness of the music loving public?

There are so many great bands out there; I think the talent has always been lurking. With the internet, social media and digital radio bands are being given a greater platform to work upon and get themselves out there. If bands work hard enough these days there’s no need to rely on big record deals or mainstream press / media to get your name around. The music industry has changed so much these days that the time of DIY is upon us. If you have the quality it will find an audience.

What now for SERVERS? I understand you’ve been back in the studio and writing and recording new material?

We are indeed deep in the throes of writing at the moment. I don’t think we will get out and about much early on in the new year unless something really exciting presents itself as we want to focus on putting out a really strong second album that can better Leave With Us. Not an easy task, but we are confident and all signs so far suggest we can do it.

What would success look like for SERVERS in 2015? What would you like to achieve next year?

We plan to continue to build our profile as a band in 2015, release some great music and hopefully get a bit more exposure on the airwaves and media. It would be real nice to play a few of the big festivals and get a tour going. We’ll see what comes. Like anything in life things can be taken away real quick so it’s all a bonus. Just to be putting music out there that people enjoy and buy into is enough for us. Thanks for your support and giving us the interview!

‘SERVERS Xmas Party’ takes place at Barnsley Rock & Blues on Saturday 13th of December. Tickets are available now via SeeTickets priced at £4.50 each in advance.

Check out SERVERS’ videos for their tracks “Claustrophobia” and “Bodies In The Ground” below:

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SERVERS to release Claustrophobia EP in September

SERVERS band shot

UK rock band SERVERS are to release a new EP next month.

Claustrophobia is slated to come out on the 15th of September via Undergroove Records, and will feature the song “Claustrophobia”, lifted from the band’s debut album, Leave With Us.

In addition, it will feature the band’s cover of Madness’ song “Lovestruck”, recorded in aid of the Teenage Cancer Trust.

The full tracklist for the EP is as follows:

1. Claustrophobia
2. Bodies in the Ground
3. Lovestruck – (Madness Tribute Cover) in aid of Teenage Cancer Trust
4. Universes and Supernovas (The Ride) – Remix by Gez Walton (ex Ghost of a Thousand, current Earthtone9) & Mark Flannery.

Meanwhile, following a successful run of gigs in Scotland, SERVERS will play in support of LA metal band My Ruin on the 21st of August at their show at The Fleece, Bristol. My Ruin are about to embark on their UK-wide The Sacred Mood Tour, their final set of UK shows.

You can watch SERVERS’ official video for their track “Claustrophobia” below, and read Skin Back Alley’s 5/5 review of the band’s debut album, Leave With Us, here.

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Watch! SERVERS premiere new video “Claustrophobia”

Servers 640x360

Barnsley based metal band SERVERS have today premiered their new video via Metal Hammer.

“Claustrophobia” is lifted from the band’s debut LP, Leave With Us.

Said SERVERS frontman Lee Storrar: “The song for the video, “Claustrophobia”, is about Crisis Creation, basically how people employ tactics designed to create or deepen confusion, fear, guilt or doubt. i.e. ‘you aren’t serving God the way he intended.'”

You can watch the video below:

Continues Storrar: “For the video location we discovered this big derelict house and thought it was perfect. What we found there was disturbing. The video features a bunch of our fans, our ‘servers’. They signed up to our website, were allocated their server number and from there were invited to be included in the video, which was something we’ve been keen on right from the start, as we want people to feel involved and part of the band.”

Meanwhile, SERVERS recently announced that they will be playing in support of My Ruin during their upcoming The Sacred Mood Tour. The band will join the LA metal veterans, fronted by Tairrie B. Murphy and guitar-God husband Mick Murphy, at their show on the 21st of August at The Fleece, Bristol.

SERVERS debut LP, Leave With Us, is out now on Undergroove Records.

servers_leave_with_us1. “Save Me From Myself”
2. “Universes & Supernovas (The Ride)”
3. “Claustrophobia”
4. “Run With The Foxes”
5. “Dangerous Devotion”
6. “Mega High”
7. “Do Gooders”
8. “Once I Started”
9. “King Things”
10. “Mother’s Grave (Leave With Us)”

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