Matt Peach has released his new song titled ‘Cut Our Teeth’. Drenched in that classic rock swagger and steaming to the brim with anthemic power rock, ‘Cut Our Teeth’ cuts to the bone with a foot-stomper that 2021 so richly deserves to get back on our feet and raise our fists for something positive. This will get us all going.
About Matt Peach
Matt Peach blends powerful no-nonsense guitar riffology with infectious vocal lines, his aim is to bridge the ever-growing chasm between modern-pop and rock.
His new album ‘Epiphany’ is his best work to date. Packed with fan favorites such as “Cut Our Teeth”, “Dreaming” and “Paris”, this album sees Matt return to his musical roots, grounded in folk, punk, and rock.
In Matt’s words, “I’ve never made a record that is as true to myself as this, and I think it shows. It’s just me making a noise that I like. There’s no reinventing the wheel here. It’s rock n’ roll and I’ve realized that it doesn’t need fixing; it was never broken”
In late 2019, Matt donated stem-cell for a leukemia patient via the Love Hope Strength Foundation, the world’s leading music against cancer charity. This unlikely twist of fate came after Matt released a song called “Now” in support of LHS 2 years previously.
Now was produced by and featured Steve ‘Smiley’ Barnard on Drums (Lily Allen, Joe Strummer, Robbie Williams) and James Stevenson on guitar (The Cult, The Alarm, Kim Wilde, Generation X).
His live stage show is a folk-punk assault on the senses, brimming with passion, angst, and energy. “The most important thing is that everyone goes away from the show feeling a little better than when they walked in,” says Matt.
About ‘Cut Our Teeth’
‘Cut Our Teeth was written in protest against the constant closing of grassroots music venues, and crucially, in celebration of these vital places. Every venue I used to play at as a student in my home town has closed, and the same is happening all over the UK. The song was put together in the first Covid lockdown of 2020, a crisis that’s had an even greater destructive effect on small venues.’