Release of the Vengeful Millennial

Electro Rock, INDIE, Indie Rock, Rock

Pop in your air-pods and grab your avo-toast, Hazza Making Noise’s Debut EP Vengeful Millenial is here, and it’s solving the housing crisis.

Harry Platt, the face behind Hazza Making Noise, has been releasing a string of singles since 2018. Each track takes a unique spin on re-imagining the grunge era through electronic music. Singles such as Do You Wish To Print A Receipt cracked the algorithm to break into a hallowed Spotify editorial playlist. Regular single release shows with backing band, The Ellice Road Boys, have helped build up a loyal fan base eager for the first debut EP.

NoMoreGaps is the opening track of the EP, and it starts tentatively. A mellow take on the lead riff begins to fade in with samples taken from the countdown self-checkout aisle, a subtle node to an earlier single. The track then swells in with its catchy synth lead and builds to a fast pasts chorus with off kilter rhythms and shouted vocals. “The duelling riffs in the verse is probably one of my favourite things I’ve stumbled into” says Harry, “The bass and guitar really groove out, and the beat just sews it together”. The track continues bouncing between ambient verses and bridges and its “bipolar punk rock chorus” which talks of liberating oneself to all sorts of vice to fill the gaps.

Boomers is Disguise is a punk rock football stadium chant that comes in hard straight out of NoMoreGaps. The track previously came out as a single with artwork showing ol’ Winnie Peters sporting a fantastic pair of Groucho glasses. The track goes hard with mellow verses teasing the reckless pace and chanted vocals of the chorus. The track came from an old flatmate who dared Harry to write a “rock-opera about baby boomers”. This becomes clear in the bridge where the chorus fade back for a chorus of Harry’s to slowly sing the mantra “Blame the Baby Boomers, Blame the Goverment, Blame the Baby Boomers, It’s all their fault”. Its a hard hitting tune, definitely slaps.

After the two fast paced singles, we’re lead into a reprieve with a slightly western guitar riff over some ambient instrumental loops. Harry starts with introspective lyrics with self doubt and wistful thinking of the past. This builds with a heavy kick groove then proclaims the track title, Rewind Time, Return Desire, in true stadium rock fashion. The instrumentation does a fantastic job of setting the tone of pining for a passion now lost.
“How can a treasure become a monotonous curse?
We follow each other’s lives like two satellites orbiting different Earths””

The ambient instrumental loops begin to speed up as a the bass guitar takes the lead in A Ship Came Into Harbour. The catchy riff is backed up by a soft guitar with a delay that almost makes it sound like a robotic cello. The track takes a twist on the drinking game, describing people as ships struggling to retain control in the ocean, holding the precious cargo of their hopes and dreams. The track builds into a big guitar solo distinctive with its heavy delay, which gives way to a strings led bridge with a final iteration of the chorus in a hard hitting half time.

The music suddenly drops into a menacing groove with the same guitar tone with heavy delay, electric drums and a soft piano line, reminiscent of Gorillaz. NoMoreCows is a scathing critique of people ignorant of their privilege and selfishness from a self proclaimed “Doctor Truth”.

“The diagnosis is not looking good,
with medium to high chance you’re an ignorant fool
Roaming around this stolen land,
All that bastard freedom, can you not give a helping hand?
But alas it’s the divine meritocracy,
a product of your own making that you foolishly believe”

The track also includes some self reflection considering Harry’s own privelege stating he is “Riding [his] bike in a tailwind”. After proclaiming that “this race must be rigged” the track drops, and lets anticipation build. This finally drops into a filthy heavy riff which takes the prize as THICCest groove on the EP.

Vengeful Millenial was a switch up from HMN’s usual exploratory singles to form a cohesive body of work. “I always wanted to do a project where each song blends into the next” says Haryy “I like the sense of journey that is created when the record doesn’t break between songs, and there is relationship between themI mean it’s probably a f*cking terrible idea in the age of streaming and the dominance of single tracks and playlists … but sh*t sometimes you gotta just do want you want first.”
Personally I’m a big fan of through album listening. It’s good to finally have a cohesive bit of HMN to delve into. Here’s to many more.

Listen in to Vengeful Millennial and Follow Hazza Making Noise on Spotify, Apple Music, Facebook, Instagram and Twitter.

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Angry Girl – Vikae

electro pop, Electro Rock, INDIE, indie pop

Dropping this Friday is the kind of song that makes you want to hire a security team. Vikae has outdone herself with her latest single Angry Girl, featuring killer production and lyrics that will cut you back like a weed.

Beat one is ominous and expanding. The track utilises sinister synths and percussion to set the tone: she. is. livid. Vikae’s theatrical vocal control creates the believable character of a girl who’s been wronged. I loved the use of octaved vocals in the pre chorus; it’s an effect that’s always satisfyingly unsettling.

The drop into the chorus is perfect. The rhythms are super interesting, and the harmonies are epic. Angry Girl uses silence expertly to build tension, and a sense of foreboding. You can experience Angry Girl in all its rebel glory at Vikae’s Casette Nine release this Friday. Come grab a beer!

Down Down – Screams From The Sun

Electro Rock, INDIE, Indie Rock, pop rock

Down Down from Screams From the Sun is one of the most fresh tracks we’ve reviewed at Kiwi’s Listen. Unable to be held back by the pandemic, they recorded this pop-rock banger in isolation. The duo blends “emo feels” and “80s Hollywood Blockbuster” into what we hear as a darker Twenty One Pilots. The soundscape is quite electronic and alt-pop reminiscent of groups such as Everything Everything and Linkin Park’s ‘A Thousand Suns’. However this group undeniably has the energy of 2000s emo rock groups driving it. A heavy distorted sliding synth unapologetically supports the chorus line “Down Down”, but really helps provide the key hook to the track making use of the empty space around it.

The Duo Mimi and Francis originally met in 2017 when busking, they paired their skills and spent a year writing and busking around London, getting established with venues and unsigned festivals. Screams From the Sun has successfully got themselves on Rolling Stone France and even played with Jared Leto during a performance outside the BBC Radio1 in 2018.

We’re excited to hear what new music comes from the dynamic duo! Make sure to follow them on Facebook, Instagram, Twitter and Spotify.