Well Hung Heart
Throw It All Away
Throw It All Away is available at:
1st June, 2015
Alt-Rock; Punk-Blues; Garage-Rock; Proto-Punk
Orange, C.A. via New Orleans, L.A. + Devizes, U.K.
The E.P., Well Hung Heart is available from:
Throw It All Away– 9.4
Touch the Sky– 9.3
Play Me a Song– 9.3
Lights Out– 9.4
Killing Time– 9.4
Throw It All Away; Lights Out; Killing Time
Throw It All Away
WELL HUNG HEART (Self-Titled) E.P.
RELEASED SEPTEMBER 2015 to Digital Retailers and 500 Limited Edition Custom Tin Deluxe Packaging.
Released 01 September 2015
Lyrics and Melodies by GRETA VALENTI.
Vocals & Percussion by GRETA VALENTI.
Guitar & Bass by ROBIN DAVEY.
Drums by KEVIN CONROY.
Mixed & Mastered by WILL MOTT at 73 PRODUCTIONS.
Recorded by ROBIN DAVEY & WILL MOTT at GROW VISION STUDIOS in Orange, C.A.
Assistant Recording Engineering by BRANDON RAMIREZ.
(c) WELL HUNG HEART
FRESH from reviewing the always-mind-blowing-and-beautiful ADI…
I am crossing continents and oceans; across the genres- to a completely different proposition. Before I reach my featured act, I have been thinking about the band market; the composition of bands- and those that will ascend to the mainstream. At the moment, I am keeping an eye on the mainstream bands: those that are well-established and leading the way- seeing what they are coming up with. This year has been defined by some underwhelming efforts; unexpected bands coming through- and stealing top honours. I have banged-on about the merits and virtues of Royal Headache: Australia’s finest have nailed the short and concise Punk-Rock song; mixing heart and heartfelt vocals- plenty of gritty riffs and colourful compositions. Nobody expected them to record a new album- since they split following their debut- and fewer expected such a unified and flawless album. If you have not heard of the band, make sure you check them out- High is an album that should not pass by. Away from the out-of-leftfield gems, the bigger boys have not fared wholly well: from the likes of The Libertines and The Vaccines; The Strypes and Mumford and Sons. The Libertines had a world of expectation on their shoulders: critics were looking for an Up the Bracket sound-alike; something that harked-back to their young days- that same freewheelin’ spirit and under-produced chaos. What we got (on their album Anthems for Doomed Youth) was something developed and matured: gone were the fireworks and scuzzy riffs; replaced by something more controlled and grown-up- perhaps you can’t relive the past; just have to accept the future. The album has some classic ‘Libertines moments- about 4 or 5 solid efforts- but the rest is a little lackluster and distilled. The Vaccines and The Styrpes are duo that had fairly impressive debuts: this year’s efforts have been somewhat underwhelming and stale; by their own standards really not up to the task. Throw into the mix Mumford and Sons- to be fair all of their albums are gutless and completely banal- but they hardly reinvented the wheel- choosing to bore in a whole new way. It seems the mainstream’s finest can’t always produce reliability and consistency; we have to look to lesser-known acts- and discover something different and new. That is good, I guess: if the music industry were predictable and formulaic; then people would be turned-off- the pleasure comes from unearthing a terrific new band. My concern is that the band market is starting to wane and crumble: the solo artists of the land are producing more innovative and spectacular music; again, the underground acts have to salvage respect. I am thankful there are so many great under-the-radar bands; the new generation coming through- it leads me to believe there can be an overhaul and renewal; replace the old guard with some fresh and pioneering artists. My featured artists are a transatlantic group; one of the most exciting groups out of the traps- that are renowned for their stunning live performances. Before I raise a couple of new points- compositions of bands and the styles/sounds they make, let me introduce Well Hung Heart:
“Well Hung Heart is a part American, part English Alt-Rock Trio band residing in Southern California and founded by Greta Valenti and Robin Davey. Well Hung Heart’s reckless and raw live performances earned the band a reputation as well as numerous awards including the Best Live Band & Best Music Video OC Music Awards 2014. The rock trio has have spent their first couple years in existence focusing on touring and songwriting; self-releasing a series of sold out Limited Edition Albums and EPs and booking tours across the US, UK & Europe. Appearing at the prestigious venues such as London’s O2 Academy, the Paradiso in Amsterdam and many festivals including SXSW 2015, Warped Tour, Rocklahoma, Center of the Universe Festival, Sturgis Buffalo Chip, Ink N’ Iron, Make Music Festival, Denton35, and more. Their high-energy performance and new rock sound, derving from a classic rock/blues foundation with a blistering edge and a front woman that the rock world has never seen, has earned them a diverse collection of shows ranging from Indie/Alternative to Hard Rock, playing alongside names as Linkin Park, Fitz & The Tantrums, ZZ Top, Motley Crue, Awolnation, Alice Cooper, Panic! at the Disco, Kongos, Grimes, Young The Giant, Grouplove, The Pretty Reckless, Halestorm, Social Distortion, John Fogerty, and Mohave Lords (members from QOTSA, Eagles of Death Metal, Kyuss). Well Hung Heart are touring worldwide in spring/summer 2015 in support of their forthcoming self-titled EP and summer single releases.
Well Hung Heart’s rise has been completely self-propelled and boosted by their inventive audio-visual output via their YouTube Channel. The duo direct and produce their own award-winning music videos and TV Shows; including the award-winning web series “Made in 48”, in which two artists collaborate to create a new song and video in only 48 Hours. (Photography by John Hampton & Aerovision.)”
Vocals, Keys, Percussion / Greta Valenti
Guitar + Bass / Robin Davey
Drums / Kevin Conroy
In terms of the most successful bands- when it comes to their sound and make-up- I find the all-male/all-female line-up creates limitations and issues. Not only are your vocal tones and possibilities reigned-in, the sound can be somewhat hampered. There are more all-male bands (than all-female); when groups mix gender- that is when the most exciting and varied music comes-about. I am seeing more female-fronted bands come through- which is pleasing and adds diversity to the scene- which has been long-overdue. The boys usually dominate bands and the band market: having the girls become more prominent is a very good thing. A lot of critics and sceptics think female leads have limited vocal potential (when compared with their male counterparts) which is not entirely true. Whilst most of Rock’s- and indeed music itself- biggest and most range-spanning voices are male; that is not to say the girls are lacking- they can cover ground and emotions the boys cannot. In my opinion, so long as the voice is strong and impressive, it should not matter the gender- diversity is much-needed in music; breaking the rigid structures currently imposed. Well Hung Heart not only has a boy-girl formation; their sounds are hard and heavy; they contain heart and composure- at its core is bags of riffs and plenty of rampancy. Based out of California, the band is one of the most impressive in the U.S.: their unique songs and stunning performances are just the start of things; they dig that bit deeper- create music that steps-away from the mainstream acts. Whilst the mainstream has some great acts- that are capable of seducing at every turn- Well Hung Heart are heading for the big leagues very soon. Having supported some wonderful acts, the band’s self-titled E.P. is out there: initial reaction has been positive and impassioned. It is always baffling seeing a great band like Well Hung Heart- who have produced a stunning E.P. – garner so few reviews and column inches. Maybe the U.S. press has been busy and productive, yet scanning Google- there seems to be little press dedicated to the release. The band have worked hard to get where they are- and have staved off the pitfalls of young bands (creative droughts and financial issues) – to establish themselves in the U.S.
If you want a complete picture of the band- where they come from and how they have progressed- you have to look back. When the band’s debut album was released- 2013’s Young Enough to Know it All– there was plenty of spunk and gravitas- right from the off. Devil was one of the album’s highlights: beginning with a sturdy and crunching riff- that put me in mind of Queens of the Stone Age- the song is a swaggering and Blues-Rock beauty. The song looks at Devil imagery and trips to Hell: our heroine’s voice crackles with urgency; she is being driven to the fiery depths- whether speaking of a relationship or something more oblique- you can sense that pain and anger come through. Inspired by Alison Mosshart- little flecks of her vocal style come through- the song swings and shakes its fists. With a pummeling and insistent percussive slam; a twisting and head-spinning set of riffs- the song implores you to get on your feet; throw your arms in the air- it is a huge anthem for the festival masses.
This is Not Love is a more gentle and building introduction: our heroine comes in alluringly and deceitful. Speaking to her man/a friend she “will hurt you”- before taking it away. Whatever is being felt (“This is not love”) it is causing a lot of anxiety and confusion. When the chorus is delivered- that mantra that comes back again and again- you pick up English accentuation; northern vowels and a very charming Britishness- whether intentional or not. Contained within a song that is a distinctly U.S. offering- shades of Blues-Rock bands like The Dead Weather and The Black Keys- there is that bond with the U.K. The song builds on that repeated chorus; its central message is in focus: you cannot help but be sucked into that chant- wonder just what is behind it. Whether the relationship has broken up; or the couple is going through the motions- it is an unnatural and breaking bond. Valenti’s voice is more expansive on this number: from the teasing lows of the beginning it rises in the chorus- reaching an ecstatic scream towards the latter stages. Remaining authoritative and compelling, the track never becomes repetitive or predictable- keeping the listener guessing until the very end.
With their debut album being so commanding and instant; Go Forth and Multiply– the follow-up album released April, 2014- carries on that quality control. Big Plans is a racing and dizzying assault: beginning with a fast-paced riff, the song snaps and jumps into life. Hooks are in skin- of the song’s focal figure- and twisted and distorted imagery is brought in. Our heroine’s voice is at its most natural and assured- less reliance of Mosshart-esque delivery- whilst the song itself contains plenty of vividity and quotable lyrics. Since the debut cut, the band’s confidence had grown; the music on their sophomore effort seems more rounded and nuanced- with more dimensions and sides. Big Plans has a huge and arena-sized chorus; the music is less grizzled and raw- than on their debut- projecting a more Pop and Alt-Rock elements.
Sweet is one of the most straight-to-the-gut tracks. The introduction has some twanging and heavy strings- one of the most fascinating riffs the band has produced- whilst the lyrics look at hazy dreams and reality. The song sees a guy walk away; perhaps leave for good- our heroine seems wracked and lost. That passion and pain comes through in the vocal: never has Valenti sounded as fevered and compelling as on Sweet. The composition ties in more radio-friendly lines with a druggy and dingy undertow- the combination works superbly. Uplifting and hugely powerful, the song is a monster: the riffs build and ignite; the percussion and bass keep everything tight and focused. So much detail is thrown into the track: some loose and rambling notes; pummeling beats and electrifying riffs- all seamless and natural; working away to elicit the biggest emotional reaction. Go Forth and Multiply tops their debut album- which was pretty damn good and spectacular to begin- with no fault to the band. Their debut showed how assured and fully-formed they were from the start: there are no fillers on the eleven-track L.P.; plenty of anthemic moments and huge numbers. What the sophomore album did was to expand their sound: the sonic palette is richer and more vibrant; there are more Pop and Al-Rock sides; the songs are more wide-ranging. Not that the band gave into market forces: if anything, their sophomore work goes against the mainstream expectations. Their debut had a lot of sweaty and gritty riffs; more direct and gut-punching assaults. Here, they have plenty of those; yet there are softer moments- songs that rely more on lyrical resonance as opposed to the primacy and hardness of the composition.
Well Hung Heart ties the Blues-Rock smash with melodic considerations: the set of songs (on the E.P.) are the band’s finest. The overall sound/lyrical themes have not changed-up too much- the guys did not need to up-sell or radicalise their music. What you get is that additional confidence and assurance: with each new release the band sounds more solid and formed. The songs are still loose and live-sounding, yet there are fewer nerves; every note sounds completely compelling and confident- not many bands can offer you that. Their latest cut is abound with inspired tracks and wonderful performances- the band have hit their stride in terms of tightness- and everything sounds more authoritative and layered. The songs are more nuanced and uncompromising; the music has that extra edge- something indefinable but definitely true. This bodes well for the future- increasing and improving with age- so I would advise checking-out the entirety of the band’s work; but make sure Well Hung Heart is at the centre.
Throw It All Away begins with an insatiable clatter and rush. Before you can speculate and imagine what is coming; the band unleashes a feverish and racing introduction- mixing ‘70s Glam and modern-day Blues-Rock. The tight and compelling opening beckons-in our heroine: her early words are introspective and pained; looking at love and loss- there seems to be some anger and regret afoot. Cryptic and mysterious- “A black hole/isn’t what it seems to be”- things have come to an end. It seems her sweetheart has let her down; we are looking into the black hole of a dislocated love- something that has hit the rocks. As the verse continues- and that composition continues to strike and viper-attack- that anger and annoyance begins to grow. “I followed you somewhere in my mind/Oh lately, you’re such a waste of time” can leave no room for misinterpretation. The vocal is impassioned and determined- with little flecks of Gwen Stefani, oddly enough- as the song becomes looser and more swaggering. Although the composition is razor-sharp and disciplined; the riffs and percussion relax slightly; swing and jive- the bass keeps the song focused and directed. As is typical with the band- and what we have seen on previous releases- is their attention to detail. The sonic coda is not a lazy paint-by-number jam: there are clever little asides; a rich and nuanced centre- the performances throughout are stunning. The focal point is our heroine, who is in the quagmire of a break-up; the lyrics seem to look at dissatisfaction- also that ability to hold onto a fantasy; keep an image alive. As the next verse unfolds, the words are intriguing: “Chemicals/when we two combine/A power flows/through our body line”. It seems like there is still a passion and power there; the two have a history and legacy: when they get-together, there is electricity and magic. Maybe I am misreading or misinterpreting; it seems like there is a physicality and intensity: when things get beyond a molecular level; that is when the issues start to surface. When it comes to trust and faith- and relying on her man- that is when things start to slip. The lyrics have an obliqueness that could lend themselves to a different speculation. Maybe a friendship is being assessed; perhaps something less tangible and human- a general feeling or sensation. Keeping my mind within the realms of romance and break-down, you cannot deny the vocal commitment: our heroine’s performance is constantly electric and enflamed; her voice breaks through the composition- never coming across too raptured or insincere. A lot of singers tend to be overwrought and over-dramatic; many plainer anodyne and generic- no such issues here. The composition is such a details and snaking thing: from the hit-and-run smash, it mutates to a woozy and addled crawl- mixing elements of Garage, Desert-Rock and Blues-Rock. The riffs are particularly colourful and intense: always keeping the tension high, they change shape and consistency. Backed by that central vocal line- that becomes more seductive and breathless when looking at physical chemistry- and Throw It All Away keeps you guessing and alert. The chorus is one of the most catchy the band have produced in their career. Coming back to roost- the lyrics are economical and do not use too many different words- it becomes more gripping with every injection. Upon the second introduction, the composition swirls and spins; guitar is delirious and intoxicated; the percussion hissing and dangerous- the bass mixes melody and rhythm; passion and intensity. Before the song comes to its end- and the chorus is brought in for an encore- there are some intrigued words. “Unpredictable/well it changed night to day/And now I know/well there’s no other way”- so much curiosity and emotional possibility can be extrapolated. If we stick with romantic possibilities; it seems the game has been changed- the dynamic has shifted and there is no going back. Whatever has caused the ruction; whoever is to blame- it seems the two can never rekindle what they once had. Again, my mind is always looking elsewhere: the words are not clear-cut (they do not name a man or mention love) so you could consider friendships or other relationships. The vocal elongates and rises; really capturing that sense of distress and confusion- and taking the listener in. With the chorus being brought back in (twice in fact) the song ends its campaign; leaves it marks- ending with a mazzy and dramatic riff; some exceptional bass and percussive notes.
Having dug through the band’s annals; investigated their past work- Throw It All Away ranks as one of their key moments. Combining their heavy and melodic sensibilities; tying-in all their preexisting threads- it is a song that sees them at their most confident and assured. Since their debut-days, they have increased this confidence: the performance (here) seems completely intuitive and tight; never a moment of weakness or inattentiveness. This leads to a rich and passionate song that has plenty of nuance and depth- not just your run-of-the-mill Garage slammer. In the contemporary climate, similarly-themed bands (that play Garage and Blues-Rock) vary in quality- the very best of the breed stick in the mind. Well Hung Heart are a band that get better and better: their entire E.P. is alive with inspiration and commitment; they are clearly having a lot of fun making music. This ease and relax is reflected in the music, which does not sound stifled or forced: throughout Throw It All Away it is the sound of a band jamming with alacrity; in love with what they are doing. The song does have that great live-sounding quality- the production does not polish the track; it gives it an edgy undertone- which means the listener is transported into the mix. Greta Valenti shows herself to be one of the scene’s most assured and exciting vocalists. Most singers tend to stick too closely to someone else- you can easily detect the influences- yet Valenti has her own style and voice. Employing the hallmarks of great Punk and Garage singers- the rawness and power; some emotive and tender sides- everything comes to life throughout the track. Robin Davey lets guitar and bass run a gamut of emotions: striking and ballistic; spiraled and cool-edged- his strings perfectly soundtrack our heroine’s plight. Whilst the lyrics and vocals summon a huge amount of emotion and evocativeness; the guitar matches it note-for-note: the two works seamlessly with one another; supporting as they go. Using his bass to lead and guide the song; keep everything in-check; there is a huge amount of melody and rhythm- it also augments and propels the vocals and drum work. On that note, Kevin Conroy’s percussion is consistently assured and fantastic: creating such an atmosphere and sense of occasion, his sticks are ignited from start to finish. Reminding me of Dave Grohl’s most complex and committed performances, we get plenty of primal power; some nice fills and asides- one of the most talented and powerful drummers on the scene. The entire band is tight and together throughout: each player knows their role (and plays it superbly); they highlight and motivate each other- leading to a song that shows lesser bands how it should be done. The stand-out track from Well Hung Heart; make sure you check this track out!
The Well Hung Heart clan are preparing for a U.S. tour: traveling around the country, they will be taking their E.P. to the masses. As I write, they have just played California; they move to Texas today- exciting new faces and ears. Throw It All Away is the centerpiece of a remarkable E.P.; one that bristles with inventiveness and life- I shall touch on the E.P. below. Coming into the music world can be a lottery: there is no guarantee your music will resonate with the public; longevity is never a guarantee- regardless of the quality and ambition. The Californian-based band has already stamped-out a reputation; are growing in stature- still to hit their absolute peak. Their brand of music will never go out of fashion: the public will always crave something hard and heavy; music that is meaty and filled with riffs- that has intelligence and originality too. The band does not remind you of anyone else; their personalities and directions override conceptions- their sounds are among the most fresh and fervent about. The confidence with which they play; the exhilarating live performances: these are just a couple of sides to an incredible act. I opened this review by looking at the band market; where they are based- and the mainstream in general. I have been a little disheartened by 2015’s supposed ‘best’ albums: this year has seen some great releases for sure; the big players have left me a little cold- seemingly their best days are starting to disappear from the rear-view mirror. It is the under-proffered acts like Royal Headache that are providing most excitement- it seems 2016 will see some potential big-hitters release some new material. For now, we must look elsewhere; see what is happening in new music: here there are some incredible bands emerging; providing unique sounds and some memorable jams. Well Hung Heart were new to me- having seen The Dutch Guy recommend them; had to investigate- and I am glad they are no longer strangers. That is the issue with the masses of artists and social media: there are no real channels that can filter the good from the bad. I often come across some great acts- and wonder why the hell they remained a mystery- only to find they are established flourishing. This is the case with Well Hung Heart: a band that have been plying for a while; just wish I could have got in on the ground-level- and supported them from the off. I guess you can’t be aware of every great act that comes about: you just have to follow the words of the best music reviewers; steal from some groovy Dutch divining rod- and keep your ear to the ground. Regardless, Well Hung Heart are here, and well, it is not just the hearts that are hung- their music is among the most febrile and head-spinning around. Gritty and ballsy enough to mix-it with the pedigree bands- I can see them schlepping on the road with Royal Blood. With Throw It All Away wetting appetites and exciting fans; the band’s E.P. is seeing them in-demand. I love that fact the band market is becoming less homogenised: it is not just all-male bands out there; a great deal of all-girl groups are showing their stripes- and mixed-gender balances like Well Hung Heart. The dynamic works really well: with Valenti up-front; letting her powering and seductive voice own it- and the boys providing bass, guitar and percussive support- the blend is phenomenal. London is coming back to the fore; the city is overtaking cities like Manchester and Leeds- housing the most diverse and prosperous musicians in the U.K. In the U.S., I feel L.A. (and California) is overtaking New York and Nashville: there is that extra edge; that additional passion and direction- hard to put my finger on it. I love American music: from the busy communities of California and New York; to the traditional highs of Seattle and Nashville; the lesser-known cities and regions- the nation is certainly on a hot streak right now.
The rest of the E.P. contains the same amount of verve and oomph: there is not a weak spot on the record to be found. Touch the Sky is a head-banging and violent beginning: the song spares no time in getting underneath the skin. There is a mixture of juvenile delinquency and rebellion; a little naivety and vulnerability- our heroine is singing into her best microphone; forgetting her relationship dramas. The entire track never relents its fast pace and endeavours: the composition mutates and changes course- going from a straight-laced attack to something winding and contorted. Images of our heroine- high and forgetting about her guy- she is the master of her destiny; fully in control of things- touching the sky through narcotics, alcohol, and music, it seems. You picture the heroine losing herself inside various illicit things; there is some cockiness and wit- the lyrics are some of the band’s most interesting and quote-worthy. An incredibly tight and passionate performance, the song is economical and memorable- it is exactly three minutes long and does not waste any moments or notes. Full-bodied and blood-lusting, the vocal is charged and determined- you can practically smell the sweat bouncing off the microphone. Less gritty and raw than previous numbers, it provides a perfect balance of their debut and sophomore work: those low-down and grumbling riffs; the more sky-scarping and multi-dimensional sounds.
Play Me a Song starts with a teasing and catchy lick: the song begins with composure and calm. Our heroine is looking at the wreckage of a relationship; how they fought and quarreled- if they had thought things through they could have grown. Not surviving the fall-out you think everything is beyond repair- if a certain song were played; things would be okay. Mixing in child-like and school-time images (a scrapbook filled with memories for example) you can sense that vulnerability and emotion- the vocal is tinged with tears and sadness throughout. A potent and lustful vocal, the entire number is both radio-friendly and deeply personal. You can imagine this touching and uniting crowds: there is universality to the words; the sentiments can be appreciated by everyone- it is likely to gain quite a following.
The E.P. started with a bracing swagger (Throw it All Away); then followed it with two ‘softer’ numbers- that took the mood down and projected beauty rather than concrete. Lights Out returns to the opening-song projection: beginning with a racing and spinning riff, the band are on fire. Back in the groove and alive, the song is a rampant and furious thing. The vocal is Punk-edged and visceral; the song mixes sexual innuendo and innocence. With every utterance and thought- our heroine on her knees in front of her man- that is that knowing wink. Perhaps not as sexualised as intended, the lyrics have a wonderful edge to them- half your mind is in dirty and late-night rendez vous; the other half is somewhere more sanitary and clean. At its heart, the song’s chorus takes a hold: wordless vocals/coos mingle with that subject title- elicited and repeated with aplomb, it is endlessly catchy. It is a song that will spark-up the crowds and get them singing. In addition to the catchy lyrics and chunky riffs, the song lasts 138 seconds: like older Punk songs- think of The Ramones for instance- it says all it needs in a short space. Concise and tight, the track is one of the E.P.s best; one of the band’s best- a stunning gem.
The final number is no real slouch: Killing Time is the album’s most feral and hard-nailed track. The gutsy and primal riff beckons in a vocal (that at the beginning) is quite tempered and controlled. Our heroine has attack on her mind: a girl is in her thought; she will give her a piece of mind- put her in her place. Political and social messages come into the song- the realities of living in the U.S. – a new era dawning- reminding me of Rage Against the Machine’s early works. Certainly that innovative guitar work is comparable: the riffs swing between gut-punching to intergalactic; twisted to sensual- taking the song to strange new places. The lead vocal is endlessly determined and urgent: our heroine is pulling the trigger and letting Hell reign.
The entire E.P. benefits from the unity of the band: each performance is close-knit and tight; each player supports the other. An insatiable and layered E.P.; songs that mix emotion and heartache with acidity and double-cross; it is an E.P. for the times. Showcasing the band’s most complete and assured set of numbers, there are no loose or weak moments. Well Hung Heart is sure to recruit new fans; seduce and enthrall new support- and please their existing fan-base. The production values allow the music to resonate truly- keeping it quite sparse and unfettered- whilst there is enough polish to allow each word and note to be understood. What impressed me most is the consideration that goes into the E.P. The track listing is spot-on; the running order is perfectly formed: it means the strongest tracks are not in a block; you get a nice balance- same goes with emotional and sonic contrast. From sweet-leaf vibes to hard-arsed mixology, the E.P. is flowing with emotion and grit; plenty of sensitivity and heart- meaning it makes a conscious effort to reach the masses. Showing just what California’s musicians can offer; Well Hung Heart is a brave testament from a band on the rise- with a big future mapped-out in front of them. If you require music to deliver the coolness and swagger of Queens of the Stone Age; vocals that run the gamut of emotions; a band that are completely in-step and compelling- then make sure you check-out these guys. With so many of the major players slipping-up; a lot of music mediocre and under-developed, bank on something…
THAT won’t let you down.
Follow Well Hung Heart: