Yon Mon’s debut EP, Room 101, arrives, not simply as a collection of songs, but as an artist not afraid to speak his mind. Created in colloboration with Box of Trash guitarist Barry Fisher (aka Bazza Trash), the four-track release incldues two previously released songs with two-brand new songs to create something that feels urgent, fearless and impossible to ignore.
Across Room 101, Yon Mon turns his attention towards subjects many artists rarely dare to approach, questioning the government, challenging high-society and shining a light on the divide between those in power and the working classes. In a world where opinions are often watered down or carefully filtered, Yon Mon does the opposite. He writes from the heart, says it exactly as he sees it and refuses to soften the edges.
What follows is a compelling body of work, that doesnt simply ask questions, it demands answers.
Here’s the ThisIsTheMusic song by song review.
Don’t be fooled into thinking that the opening track on Room 101, King and Country is a patriotic tribute. Yon Mon instead delivers a damning criticism of the establishment and the systems designed to keep the working classes down. It’s very catchy and opens with driving drums and a chiming guitar hook that provides the backdrop for the passionate vocal. Lyrics like “you’re led to believe the government works for you, on your led to believe the media speaks the truth” cuts directly into what King and Country is trying to say. It reflects the growing mistrust many people feel towards institutions that are supposed to represent ordinary people, questioning whether governments and mainstream media genuinely serve the public or instead shape narratives to maintain power and control. Wah-wah fuelled guitars add a real punch to the song’s chorus just adding further depth to the chorus. It’s a bold way to open the EP and sets the tone for what’s to come.
One of the EPs biggest moments arrives through Still Worthy Of Being The Bad Man, a track that completely shifts the mood and shows how versatile this collaboration with Yon Mon and Bazza Trash is. Built around hypnotic dance-infused groove, the song immediately pulls you in. There’s an effortless swagger running through the song with the rhythm really locking into a flowing pulse that feels impossible to escape from. Sonically there are shades of Oasis’ psychedelic monster, Columbia, thanks in no part to Bazza’s guitar riffs and that irresistible rhythm section. This is genuinely like nothing else around right now.
The title alone tells you everything you need to know about The World’s A Lie. Direct and unapologetic, Yon Mon wears the song’s message firmly on his sleeve. Yet another surprise arrives through the haunting, soaring female vocal that weaves throughout the track, adding a completely different dimension to the EP’s sound.
Pounding drums drives the track throughout. The vocal is strong and punches through the instrumentals. The guitars riffs are subtle and soaring, but really provide an opportunity for the vocal to shine. The melody is hard hitting, pounding drums and a great vocal, that captures Yon Mon’s theme of discontent with governments and agencies perfectly.
Grey Skies the first release of the collaboration project with Bazza Trash, Grey Skies is one of the EP’s most compelling moments and really captures the EPs themes in all it’s glory. From the opening moments, Grey Skies creates an atmosphere thick with tension. Bazza’s guitar work feels rough around the edges in the best possible way, carrying a grity, hypnotic sound that twists and curls throughtout the track. Lyrically this song explores ideas of manipulation, hidden agendas and blurred truths. With references to cloud seeding and government influnce sit at the heart of the track, the real message runs much deeper. This is a song about mistrust and confusion and finding clarity in a world where reality feels shaped by those pulling the strings behind the curtain. The vocal delivery is perfect, allowing the message of the song to hit home.
With Room 101, Yon Mon hasnt delivered the sound of an artist playing it safe. He’s delivered the sound of an artist finding his voice and using it without compromise. Across four tracks, there’s frustration, honesty, social commentary and a willingness to tackle subjects that many avoid.
Whether you agree with every sentiment or not, almost becomes irrelevant because the power of the EP forces you to stop, listen and think. In a landscape often obsessed with trends and algorithms, Room 101 feels refreshing, direct and written with real conviction.
This isn’t an EP designed to comfortably sit in the background. Room 101 grabs you by the collar, forces you to confront uncomfortable questions and proves that Yon Mon is one of the few artists willing to say the things others are too afraid to touch.
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