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lovely unexpected melodies and tempo shifts here, all wrapped up with some soothing guitar tones and vocals.  It's a tight squeeze as the crowd start to pile ... clear that this one's a favourite. Her voice has a really soulful, gravelly tone, which is wonderfully compelling and it would be a treat to hear her take front

hunk Breckin Meyer. A cover of Gorillaz' Clint Eastwood is a pretty tone-deaf addition to the set, as the band have to sit on the same riff

different layers of detail. The vocals sound very Beatles -esque in the tone and cadence, with  sir Was  showing off quite a bit of range and dynamics

feels more literal here than in the first track, where its darker tones felt a little more angelic. Here, it's like you're surrounded by shadows rather than

M.I.A. ', it all never fails to disappoint. Finally, there is a rather bleak tone that underpins this whole record and it's something that I also felt with Germany

which only needs a subtle, 30-second intro before the thick, low-end guitar tone announces the impending carnage. Duelling guitars battle for harmonic supremacy in the midsection, before frontman ... through the threshold, but standing at the precipice — reveals the sombre and reflective tone imbued amongst Xibalba’s otherwise crushing and cathartic music. Ultimately, ‘Diablo, Con Amor.. Adios’ delivers

early on. It doesn’t really sit right with Vera Blue’s naturally brooding tone in her vocals, as much as she tries to distance herself from this on Private

synth can display. Yet, with the soaring vocal line and the light, fragile tones that sit underneath the crippling drops, Enschway manages to pull it off perfectly