Top 10 Albums of 2012 - 7 & 6

7. Jake Bugg - Jake Bugg

Billy Bragg recently made Bugg the fulcrum point of his John Peel Lecture; something we at TT consider apt due to Bugg’s similarities with Uncle Bill, albeit not in style but definitely in approach to song writing. They both share a social awareness which their generation can rally behind and an ingenious ability to write a love song.

Former single ‘Lightning Bolt’ gets the ball rolling on the social observation front and attacks the apathetic nature of Britain’s karaoke-game-show-loving millions by saying:

“They say you gotta tow the line/ They want the water and not the wine / But when I see the signs I jump on the lightning bolt”

With the album reaching Number 1 in its first week of release, the tide may just be about to start turning back in the favour of people like Bugg and produce a  world where artists and musicians refuse the shortcuts and express themselves. In the words of Damon ‘It really really really could happen’.

Backing up ‘Lightning Bolt’ is a fine group of songs whose common denominator is escapism. In ‘Two Fingers’ he has the single of the year in our view. Every era of youth should have a song like ‘Two Fingers’ to unite behind. Many Arctic Monkeys comparisons have been made and far too many of the negative. This is not a rip off or rehash of an Alex Turner song but simply inspired by him, along with the Kinks, early Weller and early Townshend records.

‘Seen It All’ is another one of those songs which sees Bugg in an escapist mood. The intro fades in like Oasis b-side ‘Rockin’ Chair’ and shares similar narrative themes of looking back at a town which bears little relevance to the journey the writer wishes to be on. What separates the two is the perspective they were written from. Noel was writing in his late twenties about a life which seemed to be passing him by (he soon caught up, all back to Supernova Heights anyone?) whereas Bugg clearly has life by the scruff of the neck already and is reviewing the brutal nature of what stands in his way.

Then there is the other side to Bugg. The sweet sensitive side which will make the women fall in love with him and the men wish they could express themselves like him. ‘Simple As This’ will have Ryan Adams losing sleep for weeks wondering how he never wrote this song. On the surface, it is a beautiful Dylan-esque lullaby but scratch a little deeper and you realise Bugg is on the verge of discovering the key to happiness in this world. How the hell can someone so young be so wise? We recommend you don’t dwell on this question and just marvel at a young man who has the world at his feet.

Billy Bragg’s use of Bugg in his BBC6 lecture signifies a glorious handing of the baton (albeit an overdue one) from one generation to another. Bugg’s debut has TT bringing Bragg’s debut album ‘Life’s A Riot With Spy vs. Spy’ to mind with its triumphant displays of social observation and tales of love, often unrequited. The growth of Bugg as a songwriter has TT salivating but for now he is not looking for a new England, just looking for another girl. 

6. Moon Duo - Circles

Many of you may recognise Moon Duo’s vocals, and you would be right to as they are Ripley Johnson’s, the terrific singer from Wooden Shjips. He has teamed up Sanae Yamada to make Moon Duo’s second album ‘Circles’. If ‘Circles’ is as good as Moon Duo get they can grow old knowing they have created something magical.

The notion of a concept album often makes TT wince and cross the street immediately.  The Who’s ‘Tommy’ can still produce bile and a month of nightmares with just 3seconds of airtime. So, imagine our surprise at falling in love with an album which is based on a 19^th century essay. Thankfully though, the essay ‘Circles’ by Ralph Waldo Emmerson tackles the transcendental nature of the human condition and how many strive for greatness. As concepts go, attempting to become immortal via music is alright by TT.

Musically, ‘Circles’ is not a million miles away from their debut ‘Mazes’ but the production is a lot sharper and in sections Yamada’s guitar playing makes ‘Mazes’ look like he just wasn’t arsed . The closing guitar solo on ‘Dance Pt. 3’ is a prime example. If you imagine Black Rebel Motorcycle Club ditching their leathers and dropping acid then your half way there to knowing how mystical his guitar sound is.

‘I Been Gone’ on the other hand lends itself to the current crop of noise-rock bands of this world. It is more direct than Deerhunter’s ‘Desire Lines’ and far more accessible than Autolux’s ‘Audience No.2’ and as a result establishes a sound which begins to define those perfect moments on ecstasy or MDMA where the music aligns with your emotions.

‘I Can See’ is one of those tunes which makes you feel like you’re on tip toes at a precipice wanting to take flight but you never quite jump off. It holds you in a suspension which will have you scratching and clawing your way back to the start of this song to relive this intense pleasure.

No noise-rock/krautrock album would be complete without an 8minute epic and in ‘Rolling Out’ they have just that. ‘Rolling Out’, from start to finish captures the greatness they have striven for beautifully. The drums and bassline provide a platform for Yamada to take his guitar for a little walk, and on occasion end up in 17^th dimension causing havoc. It really is that good! The guitar parts are similar in sound to Richard Hawley’s on ‘She Brings The Sunglight’ but with one notable difference. Hawley used classic song structure to get to a guitar solo and as incredible as it is when you listen to ‘Rolling Out’ you might not bother with it anymore.

’Circles’ is a gem and will undoubtedly have given Kevin Shields wet dreams about this album and give McGee the knowledge that a return to the music industry is indeed the right move. These guys are exactly what the music scene needs, two insane visionaries who couldn't give a fuck!

Top 10 Albums of 2012 - 10 to 8

10. The Moons - Fables Of History

The Moons return with their second album 'Fables of History' and what a return it is. Their debut ‘Life on Earth’ was littered with potential but, at times, could be accused of being a bit “mod by numbers”. However, the follow up sees guitarist James Bagshaw help frontman Andy Crofts with the song-writing duties and the benefits are everywhere. All the love and warmth from the debut is still here but now a tinge of 60s psyche has been added to give the album far more depth.

‘Forever Came Today’ opens the album and immediately displays the progression the band has made with its Toy inspired synth intro. TT imagines that working with a soul powerhouse like Weller as your part-time job (Crofts is his keyboard player, btw) will teach you a thing or two about singing, and Crofts vocals are sublime. Many believe the mod genre is boxed up and ready for the archives but he manages beautifully to find a seat at the table between his mentor, Weller and the Coral’s James Skelly.

Previous singles 'Double Vision Love' and 'Jennifer (Sits Alone)' will leave you bewildered as to how daytime radio cannot find time to c-list them at the very least. ‘Double Vision Love’ has all the spaced out splendour of the Coral's debut album but with the added pop splice of The Kinks’ 'Dedicated Follower of Fashion'. Meanwhile, 'Jennifer' is this album’s 'Wondering'. Crofts’ vocals are delightful and carry such high levels of cordiality that this could easily work acappella.

'Can You See Me' is yet another fantastic pop song, a joyous mod lullaby which lends itself to Simon Fowler and Steve Craddock's writing peak on ‘Mosely Shoals’. The lyrical content here is the band’s sharpest on ‘Fables of History’ as it brilliantly chronicles the human struggle for appreciation amongst their peers. Ironically, this is a feeling the band probably know only to well with their lack of exposure.

Then there is ‘Revolutionary Lovers’. Oh how we love ‘Revolutionary Lovers’. It is the standout track on the album and one of the finest tracks of the year. It gives Lennon’s ‘Instant Karma’ a virulent dose of Syd Barrett, giving life to a simple yet adorable tune.

So, The Moons open our top albums of the year at TT and we defy anyone not to find something they can’t fall in love with on this album. Why so little success? Having two members who are part of Weller’s renaissance has hindered their touring significantly this year. Maybe it’s time for The Moons to step out from Weller’s shadow and become the main players they deserve to be.

9. Dingus Khan - Support Mistley Swans




Vitriolic, passionate and aggressive: this is what all debuts should sound like right? The combination of ‘My Body’ and ‘Mad As Hell’ is the most exciting opening to a British band’s album for many a year. It is a full on noise assault, caused by their 8 members, 3 of which are drummers and 3 others are bassists. However, they have this amazing knack to maintain catchy melodies and leave us wondering are we witnessing the birth of another Blur-esque band. Dingus Khan are far more untamed compared to Blur so it’s probably safe to say ‘Tender’ and ‘Universal’ are off the menu, but heavier modern day versions of ‘For Tomorrow’ and ‘Song 2’ are all in the realms of possibility.

As major labels retreat further into conservative signings, a doff of the cap is in order to Fierce Panda. ‘Bag For Life’ is the kind of exciting and bedraggled genius the charts has been missing since the Libertines ‘Up The Bracket’. If someone ever asks you to describe how you felt at a Crowns or Pulled Apart By Horses gig then just play them this song. It gets across the drunken, penned in sweaty nature of those bands perfectly.

‘Knifey Spoony’ sums this album up with its compelling mix of raucous guitars and undeniable melodies. At the point when you think you can’t take any more of their 3 drummers smashing the skins to within an inch of their lives, their riffs will reel you in and the vocals will send you off into a state of bliss (albeit a slightly aggressive one).

Album closer ‘Ambulance’ has the kind of vocal brilliance we came to expect from Frank Black with The Pixies and has the youthful naivety of Frank Turner that we, at TT adore so much. However, what we really like about ‘Ambulance’ is something very tenuous indeed, its track placing. After the pasting Dingus Khan deliver to your senses in the previous 9 songs, medical attention will be required.

Then there is fierce uncontrollable beast ‘How Do You Like Me Now’. This is so intense that there are rumours (which we’re starting) that riot police sing this each other every morning as their national anthem. When Pulled Apart By Horses managed this level of viciousness with V.E.N.O.M in 2011, TT could envisage nothing as visceral emerging from the UK rock scene for a while but here we are, staring in awe once more.

Many argue that rock music has ceased to reinvent the wheel of late and they’d be within their rights to continue this argument when listening to ‘Support Mistley Swans’. Nevertheless, they cannot say it has not been reinvigorated by this release. The energy and passion on this debut can only be the start of great things.

8. Josephine Foster - Blood Rushing

Many may not know that Foster trained as an opera singer, but when you hear the diverse and unique delivery on ‘Blood Rushing’, you will not be surprised. Foster manages to create a chaotic sound that always seems to make sense. How? We’re not quite sure, and therein lies the beauty of this record. At times it will leave your brain frazzled but her ability to master classical US folk rock traditions always manages to keep the melody leading the narrative and as a result, enjoyment levels remain high.

Album opener ‘Waterfall’ is some of the most distinctive pop music heard in a long time. The combination of the long lost hippy tones of Linda Thompson with a 1930’s broadcast voice is inspiring and will hook you immediately. The accompanying guitars are reminiscent of Real Estate’s ‘Municipality’ but far more immediate, which adds to Foster’s unique intensity and oddness.

‘Panorama Wilde’ and ‘Sacred Is Star’ are two contrasting songs but both show the vastness of Foster’s songwriting ambition. PW will cart you off to the American wilderness, help you set up camp and leave you with the optimistic feeling that you can conquer it alone. Meanwhile ‘Sacred Is Star’ offers up a more twisted side to the image of the wilderness Foster previously created. The acoustic guitar plucking will leave you unsettled and wondering what lies beyond the darkness, as if the attempted conquering has gone horribly wrong and left you desolate and without hope. The orchestration which kicks in half way through has the feel of an evil Pagan ceremony, merely serving to heighten the sense of dereliction and isolation created in the opening verse. If Nick Cave had a time machine there is every chance he will be returning to 2005 to add these songs to ‘The Proposition’ official score.

After discussing the vast and the grand, it would be rude to not to mention the genius simplicity on ‘Child Of God’. ‘Child Of God’is a spectacular homage to Joni Mitchell, circa ‘Blue’. It is impossible not to visualise yourself in the summer sunshine of the Eastern Plains of Foster’s home state, Colorado, drinking a cold beer and watching the world go by.

‘Geyser’ is arguably the most interesting track on the album. As an opening 10 seconds go to a song, you’ll be hard pushed to find a more insane 10. We’re not even sure what is making the noises but if Hitchcock or Kubrick were alive today, they would be using this intro to psychologically disturb audiences. When the guitars kick in, you’ll be forgiven for thinking Mark E Smith is about to sing. What you get instead is Foster mashing up her opera singing and love of Northern US folk rock to splendid effect.

Meanwhile the track ‘Blood Rushing’ is yet another slice of progressive yet loving folk music. The violin solo conjures up a wrath of morbidity in this tale of embarrassment. Foster retreats to her operatic past in the climax of the song and the lyrics become indistinguishable except the line “I begin to begin again”. If you read up on the history of Foster, this lyric sums her up perfectly. She struggled when training as an opera singer, often unsure what type she was. Well, she has begun again and with glorious results we hasten to add. Blood Rushing is one of 2012’s must listens without a shadow of a doubt.

Coves - Cast A Shadow EP

Wondering what to get your music loving mate for Christmas? well look no further than Coves' debut EP 'Cast No Shadow'. Here is our track by track review.

1. Cast No Shadow – A fantastic blend of rock psyche and pop music opens this EP and sets the standard very high. The looping beats/keyboards coupled with the Pond-esque guitars lend the song a mature depth in the same mould as the early Belle & Sebastian albums and the Reverend & The Maker’s single ‘Silence Is Talking’.

2. No Ladder – This is the stand out track of the EP. It is a joyous psychedelic march through a Ennio Morricone’s vision of the wild west. Anyone who enjoyed Oasis’ ‘To Be Where There’s Life’ is going to immediately fall in love with this tune.

3. Run With Me – It seems almost everyone has had a favourite band from Brooklyn these days and Coves have lended their influences to theirs here with joyous nod to Here We Go Magic on 'How Do We Know' and Grizzly Bear's on 'Yet Again'.

4. Fall Out Of Love – This is the weakest of the four tracks but do not dismiss it lightly. It has some genuine moments of Mary Chain and pre-signed Glasvegas genius embedded. It feels a little confused when the Mary Chain fuzz crosses with electronica of Animal Collective but with the right producer honing Coves’ talent TT feels the two will merge push music forwards once more.

Dingus Khan – Support Mistley Swans

Vitriolic, passionate and aggressive: this is what all debuts should sound like right? The combination of ‘My Body’ and ‘Mad As Hell’ is the most exciting opening to a British band’s album for many a year. It is a full on noise assault, caused by their 8 members, 3 of which are drummers and 3 others are bassists. However, they have this amazing knack to maintain catchy melodies and leave us wondering are we witnessing the birth of another Blur-esque band. Dingus Khan are far more untamed compared to Blur so it’s probably safe to say ‘Tender’ and ‘Universal’ are off the menu, but heavier modern day versions of ‘For Tomorrow’ and ‘Song 2’ are all in the realms of possibility.

 As major labels retreat further into conservative signings, a doff of the cap is in order to Fierce Panda. ‘Bag For Life’ is the kind of exciting and bedraggled genius the charts has been missing since the Libertines ‘Up The Bracket’. If someone ever asks you to describe how you felt at a Crowns or Pulled Apart By Horses gig then just play them this song. It gets across the drunken, penned in sweaty nature of those bands perfectly.

‘Knifey Spoony’ sums this album up with its compelling mix of raucous guitars and undeniable melodies. At the point when you think you can’t take any more of their 3 drummers smashing the skins to within an inch of their lives, their riffs will reel you in and the vocals will send you off into a state of bliss (albeit a slightly aggressive one).

 Album closer ‘Ambulance’ has the kind of vocal brilliance we came to expect from Frank Black with The Pixies and has the youthful naivety of Frank Turner that we, at TT adore so much. However, what we really like about ‘Ambulance’ is something very tenuous indeed, its track placing. After the pasting Dingus Khan deliver to your senses in the previous 9 songs, medical attention will be required.

Then there is fierce uncontrollable beast ‘How Do You Like Me Now’. This is so intense that there are rumours (which we’re starting) that riot police sing this each other every morning as their national anthem. When Pulled Apart By Horses managed this level of viciousness with V.E.N.O.M in 2011, TT could envisage nothing as visceral emerging from the UK rock scene for a while but here we are, staring in awe once more.


 Many argue that rock music has ceased to reinvent the wheel of late and they’d be within their rights to continue this argument when listening to ‘Support Mistley Swans’. Nevertheless, they cannot say it has not been reinvigorated by this release. The energy and passion on this debut can only be the start of great things.

Bo Ningen - Line The Wall

Bo Ningen are a Japanese four piece based In London who have been championed by Marc Riley on BBC6 – a public service for which Marc should receive a knighthood, in TT’s humble opinion. They released their self-titled debut album in 2010 and have returned in 2012 to produce what is easily one of the year’s finest albums ‘Line The Wall’.

They open their 2^nd helping with rock n roll so desperate and so uncontrollable it won’t just escape into the ether it will lend you a magic carpet to transport you there. The drums on opener ‘Soko’ are pure punk rock to begin with, before cascading into a rock-cum-disco extravaganza not seen since The Music’s self-titled debut. Accompanying these exhilarating beats are the My Bloody Valentine on coke guitar parts which make this a truly barnstorming opener.

Hypnotic vocals and guitar licks are key to this album’s success. Bo Ningem have an ability to create a feeling of tension so daunting it is as though a decade of celibacy has been installed. Henkan and Daikaisei Part 1 are prime examples of this in subtle yet spectacular ways. Henkan utilises mesmerising vocals to lure you in before unleashing a ferocious frenzy of guitars reminiscent of Primal Scream’s paranoia classic ‘XTRMNTR’ album. Then there is the guitar solo. DAMN! It goes one way, then the other, twisting the listener inside out. It’s the kind of genius which we pray John Squire can produce on the Roses’ comeback album next year. Meanwhile Daikaisei Part 1 hooks you in with a nod to T-Rex’s ‘Get It On’ before evolving into a synth laden Pink Floyd epic to take you into a state of euphoria.

‘Shin Ichi’ is another track which resembles Primal Scream’s ‘XTRMNTR’ era. Couple this with a Yeah Yeah Yeahs ‘Date With Night’ sounding riff and Bo Ningen have conjured yet more magic. Only one word can aptly describe this tune: filth. It reeks of sex dugs and degradation without a hangover or the accompanying regrets in sight.

Rock pyschadelia has made welcome return in 2012 from various factions. Tame Imapla made it great and complex with ‘Lonerism’, Weller made it poptastic on ‘Sonik Kicks’ this year and Richard Hawley made it harrowing on his bereavement based album ‘Standing On The Sky’s Edge’. However, Daikessi Part 2 is rock psyche at its most potent. It sounds death defying and carefree like all good rock music should and puts the great James Dean imagery and symbolism back into rock music. It doesn’t feel like a career with regular 1-2-1 meetings with your supervisor, a feeling we are often left with by Coldplay and The Killers. In a week where Led Zeppelin have dominated the music press for the release of ‘Celebration Day’ people should take heed of this ‘Whole Lotta Love’ inspired tune and recognise the future is still unwritten.

You may have noticed we haven’t commented on the lyrics in this review. This is a deliberately lazy ploy by TT. The feeling Bo Ningen gave us was so pure and primal on first listen and after 10 or 12 plays it was still having the same effect. It took us to levels of hysteria that had us all frantically re-writing our favourite albums of the year and decade alike. Due the powerful way in which the album moved us, we felt it best to leave their lyrics in the realm of the unknown to add to the mystique their music has built up. We do not implore anyone to do the same but we do urge you all to purchase this glorious demonstration of acid rock ‘n’ roll.  

Live Review: Luls @Hoxton Bar and Grill

 The London based three piece open with ‘Never Let It Go’, Best Coast meets The Rapture ditty which comes alive when the guitarist/vocalist adds his deep Ian Curtis tones. Bassist, Adam, is a star in the making and carries the tune gloriously but when Shaun joins him the band become a force of nature. Their influences come at you like a flurry of Manny Pacquiao blows. One second your hearing Mars Volta the next its Joy Division and its joyous (all this in the first song, you really should have been there).

TT is really impressed with Luls’ ability to hook the crowd with catchy guitar riffs and epic choruses and yet sound off the beaten track at the same time. New single ‘Swing Low’ is the perfect example of this. It has a raw primal sound that Grouplove and Biffy Clyro can only dream off.

The highlight of their set is ‘Young’. It displays just how much ability this group has. Just when you think you have them pinned down as a brilliant new rock band they toss out this euphoric Arcade Fire meets Young Guns number. TT was at the 02 on Tuesday night to see Radiohead, where every song sounded like a poignant moment in a David Lynch film. Well, ‘Young’ sounds like the climax to a Ron Howard film (excluding the Da Vinci Code obviously). All edgy on the fringes like ‘Frost/Nixon’ or ‘Cinderella Man’ but at the heart is something very engaging and poignant for us ordinaries to grab hold of and sing in our bedrooms.

They end with ‘We’re Coming Again’ which is a classic in the making. It’s so beefed up it makes Tribes’ efforts look like haute cuisine. The baselines are fantastic on this, forget the toss your reading about Muse at the moment, Luls have the best bass player you will have heard in a long time. ‘We’re Coming Again’ will be closing sets for a long time to come.

New single ‘Swing Low’ is released on the 22^nd October.

"I Was Born A Fiery Child"

Josephine Foster – Blood Rushing

Many may not know that Foster trained as an opera singer, but when you hear the diverse and unique delivery on ‘Blood Rushing’, you will not be surprised. Foster manages to create a chaotic sound that always seems to make sense. How? We’re not quite sure, and therein lies the beauty of this record. At times it will leave your brain frazzled but her ability to master classical US folk rock traditions always manages to keep the melody leading the narrative and as a result, enjoyment levels remain high.

Album opener ‘Waterfall’ is some of the most distinctive pop music heard in a long time. The combination of the long lost hippy tones of Linda Thompson with a 1930’s broadcast voice is inspiring and will hook you immediately. The accompanying guitars are reminiscent of Real Estate’s ‘Municipality’ but far more immediate, which adds to Foster’s unique intensity and oddness.

‘Panorama Wilde’ and ‘Sacred Is Star’ are two contrasting songs but both show the vastness of Foster’s songwriting ambition. PW will cart you off to the American wilderness, help you set up camp and leave you with the optimistic feeling that you can conquer it alone. Meanwhile ‘Sacred Is Star’ offers up a more twisted side to the image of the wilderness Foster previously created. The acoustic guitar plucking will leave you unsettled and wondering what lies beyond the darkness, as if the attempted conquering has gone horribly wrong and left you desolate and without hope. The orchestration which kicks in half way through has the feel of an evil Pagan ceremony, merely serving to heighten the sense of dereliction and isolation created in the opening verse. If Nick Cave had a time machine there is every chance he will be returning to 2005 to add these songs to ‘The Proposition’ official score.

After discussing the vast and the grand, it would be rude to not to mention the genius simplicity on ‘Child Of God’. ‘Child Of God’is a spectacular homage to Joni Mitchell, circa ‘Blue’. It is impossible not to visualise yourself in the summer sunshine of the Eastern Plains of Foster’s home state, Colorado, drinking a cold beer and watching the world go by.

‘Geyser’ is arguably the most interesting track on the album. As an opening 10 seconds go to a song, you’ll be hard pushed to find a more insane 10. We’re not even sure what is making the noises but if Hitchcock or Kubrick were alive today, they would be using this intro to psychologically disturb audiences. When the guitars kick in, you’ll be forgiven for thinking Mark E Smith is about to sing. What you get instead is Foster mashing up her opera singing and love of Northern US folk rock to splendid effect.

Meanwhile the track ‘Blood Rushing’ is yet another slice of progressive yet loving folk music. The violin solo conjures up a wrath of morbidity in this tale of embarrassment. Foster retreats to her operatic past in the climax of the song and the lyrics become indistinguishable except the line “I begin to begin again”. If you read up on the history of Foster, this lyric sums her up perfectly. She struggled when training as an opera singer, often unsure what type she was. Well, she has begun again and with glorious results we hasten to add. Blood Rushing is one of 2012’s must listens without a shadow of a doubt.

Top 10 Creation Records Singles

With the exhilarating news that Alan McGhee is to start up Creation Records again TT has compiled a joyous top 10 singles from their last stint to see you through to 5pm on Friday.

 1. Oasis - Live Forever


2. Primal Scream - Come Together


3. Jesus and The Mary Chain - Upside Down


4. Super Furry Animals - Fuzzy Logic


5. Primal Scream - Kill All Hippies


6. My Bloody Valentine - Soon


7.  The House Of Love - Shine On


8. Hurricane #1 - Step Into My World


9. Boo Radleys - I Wish I Was Skinny


10. Ride - Twisterella

The Minx - No Friends

The single ‘No Friends’ is littered with punchy riffs and a kickass bassline which will have you sprinting for the dance floor. So far, everything you have ever wanted in a pop-punk band right? Well, there is more! Not content to be another replica in The Clash and Green Day legacy, keyboardist, Kieran McIntyre gives the tune some mod-flavoured soul and a hint of Subway Sect’s classic: ‘Ambition’.  Meanwhile, it is the guitarists Chris Haddon and Paul Robinson which give the band real identity. The manner in which he uses his riffs reminds TT of Steve Craddock’s work on ‘Mosely Shoals’ and ‘Marchin’ Already’. The guitar parts on both are often understated but always manage to drive the narrative of the song forward and on occasion that they are prominent they are as infectious as athletes foot in a swimming pool.

Like The Clash and Green Day however, The Minx have a social conscious. With the Coalition returning to Westminster this week and talk of yet more cuts, The Minx’s call to arms (“Too many public hiding heads under the covers, your looking after number one…”) could not come at a better time.

The first b-side ‘Cold Outside’ demonstrates The Minx’s ability to jump in and out of the genre pool and produce class pop music. We’re certain that if Bombay Bicycle Club had grown up loving The Ruts and Skids then this would be the end product.

The 3^rd and final track is ‘Scoops’, and is another 2 and half minute…….whaaaaaaaaaattt???? It’s actually 4 minutes 25 seconds!!!!!!! But don’t worry, they haven’t gone all Rick Wakemen on us yet. This is a prime example of the potential The Minx have. Sounding like a hybrid of Stiff Little Fingers and Secret Affair, it’s a good old fashioned “unite the crowd” anthem. Vocally, there is a smidge of early Alex Turner in there which should give burgeoning indie kids their way in but make no mistake Chris Haddon is his own man and will make his mark in a venue near you soon!

The combination of “Billie-Joe-with-and-English-accent” vocals and quintessential English rock n roll gives The Minx that ability to flirt with influences like Andy Gray and young female intern. The results are already proving dividends and the future of this band is going to be one to monitor very closely, folks.

'No Friends' is out now on Queen Street Records.

Live Able: Frank Turner, Billy Bragg, Mystery Jets, Miles Kane and Steve Craddock!

Steve Craddock

The OCS and Weller lead guitarist delivers a sublime slice of mod pop to get tonight’s proceedings off and running at the Roundhouse this evening. Craddock draws from his underrated solo albums The Kundailni Target and Peace City West and definitely wins new fans tonight with a polished performance. There is a guest appearance from his mate and collaborator James Buckley and then a fine rendition of OCS’ Riverboat Song to remind everyone how great he really is.

Craddock is a man of such talent and dignity surely the Lifetime Achievement Award at the Brits is not unthinkable. Just check the stats:

With Ocean Colour Scene:

      11 Top 20 singles. 6 of which were top 10.

    5 top 10 albums. 1 of which was a number one.

With Paul Weller

    20 top 20 singles. 4 of which were top 10.

    11 top 20 albums. 4 of which were number ones.

Not to mention his two solo albums and producing P.P Arnold’s comeback album in 1997. Just saying.

Miles Kane

Unhinged, untamed and uninhibited. The man is possessed by the rock n roll gods and its utterly fantastic to watch. He opens with Rearrange which eases the crowd in before he lets rip with astonishing version of King Crawler. It’s aggressive, sexy, and loud!  It is everything a young Pete Townshend personified.

The mood is lightened a little when he plays the infectious Quicksand. What a terrific pop song this really is. Catchy from start to finish, makes you want to dance and never fails to put smiles on faces.

It beggars belief Kane is not leading the charge of the alternative world at the moment but with his festival schedule jam packed TT imagines it won’t be long before he has converted the UK to his rock n roll charms.

Billy Bragg

To be an English patriot is to love Uncle Bill. Huw Stephens introduces him as a legend and that is exactly what he is. Tonight he is on fine anecdotal mocking the youngsters for not knowing who he or Morrissey are. Anyone who has seen billy before will know he likes a chat between songs about issues close to his heart and tonight is no different (we apologise for any misquotes but we only had a couple of pints so sure this accurate):

“What a great year to be British and wave the flag. The Olympics lots of flag waving there, the jubilee…..watching two pensioners go down the Thames in the pissing down rain. Well, you know what made me proud to be British, a British high court judge put Murdoch on trial and held him to account over his actions. AND THE PRIME MINISTER (he shouts), yeah the Prime Minister that’s right. Wave your flag at that.”

Bragg followed this with Scousers Never By The Sun. A song that probably sums Bragg’s musical career up perfectly. It is a witty and politically biting punk/folk song with lush choruses and venomous verses.

Bragg rattles through his brilliant back catalogue with I Keep Faith and Sexuality before ending on A New England. It was very visible many didn’t know who he was at the beginning but even more evident was the respect he had earned by the end. Plus, what audience doesn’t love to see a tea bag lobbed into a crowd of people as a farewell gesture. Smashing up guitars, PAH!

Mystery Jets

What a perfect booking by Able2Able. Everyone is aware of Blaine’s condition but no-one ever cares. The World loves the Mystery Jets and that is all that matters. Tonight however, his disability does matter top the adoring crowd. The talent and graft Blaine has utilised weigh heavy on the audiences consciousness. Not as burden, but as a clear reminder that all people are equal and with extra help having a disability can produce the brightest of stars.

TT was at their Brixton gig earlier this year and must confess thought it was a bit flat. However, tonight the Jets are firing on all cylinders. The new Crosby, Stills and Nash enthused tunes are given the stadium rock treatment to sound mega. ‘Someone Purer’ lyrics’ “Deliver me from sin / Give me rock ‘n’ roll” take on a life of their own in this benefit setting whilst ‘Greatest Hits’ sets the crowd of dancing perfectly before the classic ‘Young Love’ and ‘Two Doors Down’ have the crowd in raptures.

Frank Turner

Last time TT saw Frank, we ended up pissed and emotional not fully believing he had just played to a sold out Wembley Arena. Tonight is a different experience. We have been frothing at the mouth with the prospect of new FT material. There was only one new tune tonight sadly and bugger, we didn’t catch the name but it was full of Turner’s passion and melody which make him so loveable. Vintage Frank! 

 

The decibels are upped tenfold by the crowd the moment ‘I Knew Prufrock Before He Got Famous’ starts to the moment the barnstorming ‘Photosynthesis’ ends. No matter how many times Frank plays ‘Photosynthesis’ it always resonates powerfully with his audience. If you look closely enough you can see the goose bumps on everyone. Look too closely and you will be arrested mind.

We Must apologise to Zane Lowe and Friendly Fires as we had to leave and missed their sets but friends of Traveller’s Tunes assure us they were top notch as always.

Finally, we must say what a great cause Abel2Abel is. Music at its best is always bringing people together and tonight it does it for an excellent reason.

http://www.able2able.com/

Novella - Novella (ep)

1.       Eat Yourself

How do you announce yourself as an awesome guitar pop band? Try a thundering hum of guitars on the opening and one genius singer called Hollie Warren supplying other worldly vocals is a pretty good start. Plus any song which is a cross pollination of Sleeper and The Shangri-Las is alright by us.

2.       He's My Morning

Cobain would have loved the opening to this song. Full of great pop melodies and shrouded in muffled guitars. The subtle nods and winks to the Pixies with 60s girl group harmonies continue here with great gusto. Sit back with an ice cold beer and enjoy.

3.       Don’t believe Ayn Rand

Ladies and gentlemen, please welcome back to your lives intellectual pop music. Remember that great feeling when you first heard Meat Is Murder, well, Novella have tapped into that feeling brilliantly.  Ayn Rand was a mere name to us at start of this song. After research (embarrassingly beginning on Wikipedia) we came to realise and debate the work of one of Objectivism’s leading thinkers. Accompanying this with Graham Coxon-esque guitar riffs circa ‘No Distance Left To Run’ makes one hell of a combination.

4.       Strange Things

All their songs have an undercurrent of The Pixies and Pavement influence but Strange Things wears it them on its sleeve. So much so you can imagine Malkmus in the studio shouting “great guitar parts, love them, but will you please stop being so freakin’ cool with your vocals”.

5.       You’re not that cool.

Lord help whoever Warren is singing to when she says “you’re not cool / I never wanted you”. From Warren, this is the vocal equivalent of hangover induced by cider and white wine in 40 degree heat. The song itself is brilliantly moody and ethereal in the beginning before building to a My Bloody Valentine state of hypnotic guitars.

The EP is out now!!!!!!!!!!!!!!!!!!!

Two Wounded Birds - Two Wounded Birds

Pop music, take a bow. Two Wounded Birds return with their self-titled début album after releasing two singles (corkers we might add) via indie legends: Moshi Moshi. It brims in equal measure with poptastic singles and spell-binding morbidity.

The album opens with ‘Together Forever’, one of the finest opening tracks in the history of rock music. It’s The Shadows, The Ramones and The Beach Boys. It's no wonder The Drums released this album on their record label Holiday Friends Recording Company. The title kind of gives the song's content away but this doesn’t detract from Johnny Danger’s ability to profess his love. If this song had been written in 1993 you can bet your left arse cheek it would have been on the soundtrack to True Romance.

'Daddy's Junk' is in keeping with the up-tempo genius of the band, transporting you to world where Chuck Berry became Lonnie Donnegan's guitar player in a Ramones tribute band. Who said all fantasies had to start with a mullet-haired, washing machine repair man and a bored housewife?

 

Being on The Drums' record label, this album was never going to be just sweetness and light. On 'My Lonesome' they adopt Richard Hawley-esque guitars circa 'Coles Corner' to leave you feeling isolated during the wee hours in a deserted seaside town. Meanwhile, 'No Goodbye's' captures in 3minutes 38 seconds what Noah & The Whale took an album to do on 'First Day's Of Spring'. The darkness looms large like Voldermort in the clouds in the chorus:

'And yooooouuuuuuuuuuu / Don't live round here no more / And from you / And no goodbyes / No calls '. 

This really is a must buy for 2012. TWB caught everyone’s attention with Beach Boys and Dick Dale pop tunes in 2011 and have transgressed this already. The future for the Margate bunch appears to be very bright, despite the infinite sadness.


Two Wounded Birds - Two Wounded Birds is out now!

The Enemy Live @Shepherds Bush Empire

Travellers Tunes must fess up…, we saw The Enemy at the Borderline this year and decided not to review the gig. The reason being that the gig was so intimate and so personal, here at TT, we felt couldn’t write anything which wouldn’t be a great big pile of self-indulgence.

However, one thing seemed really clear that night, Tom Clarke seemed bloody grateful to have a room full of people ready to have a good time in his presence again. You could see in his eyes that if ‘Streets In The Sky’ went tits up, then he would always have this. As new song ‘2Kids’ proclaims “you’ll never take our memories away”.

The reason we have now referenced this gig (a great gig, btw)is because TT was at the Shepherds Bush Empire a few days after the Enemy’s 3^rd album came out and the band’s demeanour has changed dramatically, as well as the audience’s.

In the space of 2 months The Enemy have clearly been on one hell of a journey. They are now back to playing packed venues of a decent stature but more importantly, they have crowds willing to diminish their vocal chords on the new tunes. This has clearly had a great impact on their confidence and the belief that what they are doing is worthwhile. At one point Clarke rightly declares “Who the fuck said guitar music is dead. It’ll never die cos you’re here and so are we”.

The impact the impetus from the crowd will have on the future of this band cannot be underestimated. When the crowd sing “Enemy! Enemy!” ( a-la like Liverpool fans) the super confident bassist Andy Hopkins is clearly humbled whilst Clarke is verging on tears.  It justifies everything TT believes is wrong with the X Factor and how they manipulate the audience with a character’s back story. Cowell and the show’s producers know full well they can make people cry and feel empathy for someone when Coldplay’s ‘Fix You’ is played over the top of a promo. Ultimately though, it is not real. Tonight is real. In 30 years’ time someone’s kid might pick up an Enemy record and talk to their folks about them and they will relay stories about Clarke welling up at this very gig. For the boring fuckers sat indoors being fed diarrhoea……well, who gives a shit about them.

The confidence ebbing its way back into the band is apt as ‘Streets In The Sky’ is the most optimistic lyrical content they have produced so far. They have mentioned new songs have been written for album no.4 already, so fingers crossed this momentum continues and who knows, soulless drivel like Tinie Tempah and Rita Ora can be shunted to the outskirts and The Enemy can be given the airplay they deserve. Plus, TT cannot wait to see how loyal fans are when Tinie is down his luck. One assumes they will be on to the next hype!

The Cribs at The Troxy

Crocodiles

The Crib’s Support comes from San Diego’s Crocodiles tonight and boy, do they bring the decibels!!!

The band’s front man, Brandon Welchez.  seems to be a bundle of nervous energy on their opener. And whilst their Echo & The Bunnymen meets The Horrors grooves are in full swing, this leaves you  wondering whether the bottle of red that’s half empty might just blow this. Not a bit of it!

Welchez swiftly slots back into the effortlessly cool of the rest of the band and delivers some fuzzed up Spitiualized-esque guitars which is fantastically loud. The gentle swaying of the crowd this creates becomes hypnotic by the end of their set.

Their new offering ‘Endless Flowers’ has been met with plaudits across the board and with a live show this good, one feels greatness beckoning.

The Cribs

This gig has been 7 years in the making. In 2005, TT was all set to head for the Mean Fiddler to belt out the newly released New Fellas. However, Tuesday 6^th December 2005 proved to be a stupidly freezing night to go footy training and, pop goes the weasel shaped hamstring and TT temporarily lost the ability to stand up!!! But fret not, tickets for their May gig at the Astoria made their way in to TT’s grubby hands. Only a slipped disc could prevent TT from going… TT didn’t go!

Therefore, nothing will stop Traveller’s Tunes attending the Troxy tonight and what a gig it is! There are a lot of people here tonight approaching 30, something Ross and Gary have done in their time off. Among this lot, one thing is noted and muttered repeatedly. The way they haven’t compromised and essentially, never joined in the bollox of being the Next Big Thing or the biggest band in the land that so many are sucked in and spat out the other side for. This statement is more powerful to people at this age as music ceases to be new and the bullshit can be smelled a mile off.

The Cribs live at the Troxy are great. It’s as simple as that. They smash through a Greatest Hits set as if their lives depend on it, most likely their souls. One of the great things about them is the way that everything is not perfect, even after 8years together. Some of the notes are missed but the tightness of the brothers allows the songs to still sound fresh,  as if they are being made up on the spot.  

‘Hey Scenester’s’ is TT’s highlight of the set but as a friend duly notes on the way home, it’s because ‘you bought the single when it came out and then got injured like a tart’. Nevertheless the crowd is bouncing and the brothers snarl their way through the chorus with the cheap and nasty growl that makes them so loveable.

If fans thought they were a dirty punk band with their hearts nailed to the independent cross already…. well, new album ‘In The Belly of the Brazen Bull’ takes it to a new level (especially live). ‘Chi Town’ is greeted with as much love as the rare outing of ‘Baby Don’t Sweat’. Where the hunger comes from is baffling as this is a ferocious tune and the thousand strong moshing is testament to that. Especially the black converse trainer which did the rounds…

One thing must be noted about The Cribs though. Ryan Jarman, wow. Let’s make it clear, The Cribs are a great band but Ryan is something else. He sums up the struggle of life when he is on stage. He clearly loves being a Crib but can’t hide his burning desire to be an individual. This is not just because of his bedraggled jeans and insane haircut, but it’s all part of it. There were plenty of kids in the crowd tonight. One couldn’t help but hope that they are moved enough by their current single ‘C’mon Be A No One’ to be the next punk rock singer with an unflinching ability to be yourself.

Setlist

Glitters Like Gold

I’m A Realist

We Were Aborted

Hey Scenesters!

Anna

Come On Be A No One

Back To The Bolt-Hole

Don’t Believe In Me

Mirror Kissers

Confident Men

North Of England / It Was Only Love

Baby Don’t Sweat

Another Number

Jaded Youth

Cheat On Me

Be Safe

Chi Town

Men’s Needs

City Of Bugs

The Heartbreaks - Funtimes

This debut seems a long time coming after the release of first single 'Jealous Don’t You Know' in April 2011 but at last, it’s here. During the past 12 months, Miles Kane has created an undercurrent of success for classic song structure and 60's pop, and now The Heartbreaks look set to follow in his footsteps.


The album is a joyous romp from the off, with 'Liar, My Dear'; this year’s firm favourite to feature on an animated iTunes advert. Imagine if The Kooks weren’t shit, then you’re almost there. Current single 'Delay, Delay' follows this style and takes the album up a notch. The NME gave this a bit of a kicking recently, leading with 'Another kingly-jangly indie pop band singing about nothing'. Now, we all love ground-breaking, life-affirming pop tunes but we at TT acknowledge that they are rare and realise that is why they are so special. What is on the menu here is pop music in its simplest form. A catchy repetitive chorus set to the tune of The La's at their best. It may not be reinventing the wheel but who cares? It’s fun, it makes you smile and want to sing along, and it’s independent. With the NME fervently against them, it will do the world good to remember that music is not one long Mercury Awards wankfest.


Evidence that there is more to The Heartbreaks than 60s pop heaven is in the form of 'Winter Gardens' and 'Hand On Heart'. The latter sees Matthew Whitehouse give the nod to the vocal delivery of a young Elvis Costello on 'Oliver's Army' and 'I Don't Want To Go To Chelsea' whilst the free-flowing guitars are reminiscent of The Wannadies' 'Might Be Stars'. The Vampire Weekend riffs in 'Winter Gardens' suggests if Nusic Sounds give the lads time there is a lot more to come from this band!


'Jealous Don’t You Know' is an obvious tune to discuss on Funtimes. It has the type of pop immediacy Jarvis Cocker said was lacking from guitar music these days. It saunters along like The Cure's 'Friday I'm In Love' and is a hair’s breadth away from being just as good. Lyrically, it is a really sweet song displaying the naïve youthfulness of boys falling hopelessly in love and having no grip on their feelings when the bad times come. JDYK, and in particular 'Polly', demonstrate the band’s love of Morrissey and his incessant need to be wanted by what he can’t have. Despite being entrapped by beatific melodies, it’s hard to escape the image of a young lad playing 'Please Please Please, Let Me Get What I Want' 58 times in a darkened bedroom and each time expecting a happy ending. TT can assure you all it never comes.


Funtimes is released 7th May

Spiritualized & Paul Weller

Spiritualized @Hackney Empire

It’s been a good week for fans of the experienced pro’s of the rock world this week, as Monday night saw the kings of brooding rock ‘n’ roll and gospel-inspired tunes, Spiritualized, play the Hackney Empire, only to be followed by the Modfather, Weller, playing the Roundhouse on Wednesday.

The Hackney Empire is a glorious old music hall decked out in effulgent red and gold which dates back to 1901. It is the perfect setting for Spiritualized whose psychedelic guitar parts are spellbinding from the word “go”. Accompanying many of the tunes tonight is one hell of a VT which has imagery so potent and fast, you would be forgiven for shaking your head like wet dog in order to readjust your focus.

Jason Pierce is one of those rare enigmas; when he is on stage everything is drawn towards him, despite the fact he is accompanied by some of the finest guitar playing and amazing gospel backing vocals. He is much like a great centre forward: the other 10players can be brilliant, but without the natural born finisher-up, top success will never come. The effortless manner Pierce projects, gives him an auteur feel on stage, which considering some songs are 12mins long is a testament to the mankind’s journey for perfection.

After a few performances of intense yet melodic swirling guitars, particularly on “In fact Ladies and Gentleman” and “Electricity”, you can’t help but feel McCabe and Ashcroft (Verve) were always searching for this sound but never quite got it apart from Urban Hymns’ ‘Come On’. However, it is Spiritualized’s slower gospel-based songs which have always struck real chord with Travellers Tunes. On record and especially when played live, they display the fragile and destructive characteristics in the band’s leader. Yet Pierce’s ambitious nature always outshines his flaws, driving these hymn-like songs into a state of euphoria.

Paul Weller @The Roundhouse

There is not a great deal to say about Paul Weller that hasn’t been said. He is the Ryan Giggs of the music world. He continually proves himself to be brilliant, year in, year out. He has also come across the skill of being able to turn people onto his new releases, something which has proved difficult for other former youth culture icons. He played “Sonik Kicks” in full for the first half of the gig, which as a concept captivated the audience rather well, we must say. The mods here are left to pick out the soul and dub elements of the new album (“Study In Blue”) whilst the more open minded fans marvel at the bubble-gum pop of “The Attic”.

Weller described “Sonik Kicks” as a modern take on psychedelic music and this definitely rings true at the Roundhouse. He is in a fantastic songwriting period of late which has converted into a supreme confidence on stage. Weller has never lacked self-belief but the conviction to have the string section on stage and to get all the synths and overdubs firing as they are on LP is a marvel to behold on stage. Only “Tame Impala” spring to mind of those who do this any better which, their being one of his favourite bands at the moment, should sit well with the old mongrel.

The second half of the gig begins with an acoustic section of old favourites such as “English Rose”, “Out Of The Sinking” and some gems from “22 Dreams”. It seems redundant to comment on his vocals but even more ridiculous not to consider how astonishing they are. On “English Rose” the crowd stop singing in full voice half way through and instead, opted to simply gaze on in awe. As an 18-year old releasing “All Mod Cons”, he was a soul enthusiast but singing “English Rose” tonight at 53 years of age, he is a soul powerhouse. His up-tempo songs are great and whilst it is always a joy to watch him get into that space, it is when he slows things down tonight that is the thing of real beauty that few can match.

Weller picks up the pace for the final 7 or 8 songs and hammers out “Fast/Car Slow Traffic”, “Moonshine” and “Wake Up The Nation” to rapturous applause. At his age, Weller could be forgiven for playing his new stuff and then his biggest hits. Not a bit of it!!!! It feels like a gentle reminder that ‘Wake UpThe Nation’ was a top album and not enough people bought it.

He dedicates “Stanley Road” to his old mucker, Noel Gallagher, who is in the crowd tonight and then follows this with “Echoes Round The Sun”, the track Noel penned for him on ‘22 Dreams’. Now, we are just saying, but Noel did say recently he can see himself ending up playing guitar in a band for someone. Steve Craddock on lead; Noel on rhythm, anyone???? Just saying.

The Final Five!

5. Young Rebel Set – Curse Our Love

Been wondering if the folk scene in the UK could go anywhere after Noah & The Whale and Mumford’s pop perfection? The answer, a resounding yes in the form of Stockton-On-Tees’ Young Rebel Set.

YRS are a band clearly not content with simple tales of romance or the lager fuelled indie dross we are all subjected to. Their debut is straightforward and direct, qualities which are dearly over looked in songwriting (Jarvis Cocker slammed the alternative scene’s lack of immediacy so TT must be right). They draw influence from instantly recognisable sources allowing the album to sound like something you have had for long time.

Won’t Get Up Again and Borders are a nod to Springsteen circa-River when he poignantly merged gritty stories with ballads. Borders in particular stands out as a songwriting concept. It reveals the story of a friend who is serving time for knocking someone out on holiday and how he is suffering from the incarceration. All standard stuff we hear you say, well, what takes this up a notch is singer/songwriter Matty Chipcase’s plea to his friends girlfriend to stick with him and not succumb to the social sniping she has endured:

“So have a little more faith / Darling you know there aint no shame or disgrace / Have a little more faith / Have little faith”

Less we forget that Borders is a bonafide anthem as well folks. This rivals Mumford’s Cave or Winter Winds rapturous melodies but has a lyrical depth of a Jimmy McGovern script which propels the band into another league!

Standing out like a lost 12inch classic from the early 80s is If I Was. Vocally Chipcase is sitting somewhere between Billy Bragg and Kevin Rowlands offering another side to the band which is hard not to take to your heart. If you were to merely read the lyrics you could fall into the trap of thinking this is a simple  love song in which Chipcase pledges his desires through promises. However, whether you have listened to this track once or a 100 times like a besotted teenager like us, you will realise Chipcase knows no other songwriting technique than from the heart. He is a man so desperate to rip his love from his insides and put into song. It is this very reason which makes If I Was (and Curse Our Love in general) so timeless and utterly brilliant.

We leave you with a quote from Matty himself which sums the album and band up better than we ever could:

‘Quitting the group he was in, Matty set about writing songs on his own, “doing a Johnny Cash” with an acoustic guitar and putting into words the things that normally go unsaid – the heartbreak, love, dreams and fears that follow all of us through our lives – and turning them into songs that can outlive a generation. “If you don’t write a song from the heart how are you ever going to touch anyone else’s heart?” He says matter-of-factly. ‘

(quote taken from http://www.youngrebelset.co.uk/the-band/)

4. Mr Bligh – Is this England?

Without doubt the reggae album of the year and lyrically the only thing too come close to summing up the times we live in.

Anyone who knows anything about Mr Bligh will recognise some of these tunes from his former band days with the Darling Reds. However, following a move to Bristol and then back to his native London these tracks are fresher than ever before.

Bligh kicks things off with something he has always had in his locker, an infectious riff. Lit Wayside's guitars transport you from his indie past to his reggae present via a more up tempo Police In Helicopter. FU2 demonstrates a love of Prince Far I with its slower refrain and biting lyrical content whilst Little Friend is a rockier interpretation of one Bligh's heroes Matisyahu.

Is This England? encapsulates the mood of England more than any other realises in 2011 by some distance. The disdain of greed and the lost youth of urban Britain have been dominating news stations all year from largely conservative perspectives. Bligh cuts through the diatribe with sharp insights and abstains from clichés proving him to be a real force on the British Music Scene.

3. Frank Turner – England Keep My Bones

Turner's solo career has always been an enigma. Debut “Sleep Is For The Weak” was littered with songs any outsider could cling to, yet resulted in no real success. The single “Photosynthesis” from the follow up “Love Song & Ire” is a call to arms that should have indie discos jumping through the ceilings every Saturday night… Alas, BBC6, XFM and late night Radio One didn’t really pick up on Frank's genius until his 3rd album and only now is he a mainstay of their playlists.

Lead of single 'Peggy Sang The Blues' from EKMB is by no means his best work but the daytime Plays on XFM will win Frank a new set of fans. Why? Well, for starters, it’s a song about his Nan and how if he beat her at cards she would give him whiskey to put him off his stride. More importantly, it displays everything that is great about him. When Turner steps up to the mic he sounds like he is laying down his life. The ever-increasing passion in this crescendo chasing tune should have anyone saying, post-dubstep, “its time I re-evaluated my life”.

As with every Turner album, there is always one song which is head and shoulders above the rest. “I Still Believe” is that song here. It’s a simple rock-n-roll song about, well, rock-n-roll. If you’re in band and not striving to make songs like this, then you should do us all a favour and admit you’re boring and go play golf instead.

The final track “Glory Hallejuah” is an ingot of comedy gold. The jovial chorus 'There Is No God' is expertly delivered and doesn’t fail to raise a wry smile every time. As always with Turner there’s often more to his songs than first meet the eye. This is not just an atheist’s bash at religion, it is desperate plee for mankind to embrace life as it comes. By some miracle, he has managed to cram Orwell's early novel 'Clergyman's Daughter' into 4minutes 35secs of folky rock-n-roll and remind everyone that life is short, so live it now!

“Redemption” sees Turner in a brutally introspective mood as he examines the nature of his song-writing ability. This is without doubt the bravest thing he has ever written. Musically it’s not pushing boundaries for him, but to dig into the colon of your soul like this, can only be admired.

Those who are new to Turner will be hooked for life after this helping. It is the ultimate ‘way in’ for anyone wondering 'who is frank tuner' (with Wembley Arena sold out, that’s probably a lot). Catchy folk tales, rock-n-roll belters and poignant lyrics, this album has it all for anyone steeped in a sense of English pride.

Tom Williams & The Boat – Too Slow

So, we've just had Frank Turner's pretty euphoric folk album at number 3, meaning more of the same for number 2? Not on your life. Welcome to the moody world of Tom Williams & The Boat.

Williams, a self-confessed Radiohead fanatic, adopts similar song-writing traits with his character-based songs, presenting to his listeners: society's outcasts, and social commentary from a twisted point of view. To get in the mood for this dose of genius, listen to Radiohead's “No Surprises” and “Optimist” and you will begin the journey down to Williams' underworld.

Rather than kick things of with a staple live 3-chord effort as so many do these days, Williams launches off with the brilliant character-based “24”. The opening line “It's just I can't imagine / A woman being true / They say I find it so insulting / Something’s wrong with you” is the lyrical equivalent of a Tarantino movie, beginning at the end point for the character. Before he descends into this bitter attitude, we see the amusing attempt at ambiguity when applying to an online dating website: “I used to have short back and sides / But now I have long hair with a fringe like everybody else”. Williams' character rejects the social contact a date might bring and favours his N64 instead. This begins the journey to the bitter hate we have already witnessed in the opening line.

The next track “Concrete” follows the same character, focusing on his defiant stand to become a social recluse. His lifeline to socialising emerges from his small-town-mentality father who “is this town through and through / Old school 50 something boring racist / And he's mates are too”. Via his dad's lack of mental ambition, we can see the chinks of light in our flawed anti-hero who is something akin to “This Is England”'s Shaun and “Submarine”'s Lloyd Tate.

“Wouldn't Women Be Sweet” deals with yet more enmity towards past girlfriends but here we have a sublime sense of humour Morrissey would be proud of. Sorry? What’s that? You think no one is funnier lyrically than Morrissey? Well I present you with Exhibit A: “Wouldn't women be sweet / If they could die a broken heart”. And Exhibit B: “I met you in bar in 2003 / We started going out immediately / I thought it would be fun / I thought it would be easy / didnt realise you were a maniac”.

To conclude, amid the emotional mess of the album are melodies so uplifting the lyrics pale into insignificance. Having seen the band live a number of times, TT can confirm audiences do exactly this. This sprightly little number will have you bopping and jigging along to your heart’s content, make no mistakes about it.

1.   The Crookes – Chasing After Ghosts

Well, well, well… we are finally there. The number one album of 2011 goes to The Crookes' “Chasing After Ghosts”. The young lads from Sheffield have delivered a master-class in pop music with their follow up to 2010's EP “Dreams Of Another Day”.

Often new bands come out of the traps with raw polemical albums like The Libertines 'Up The Bracket' and Arctic Monkeys 'Whatever People Say I Am...'. However, 'Chasing After Ghosts' is a debut of maturity and pop classicism way beyond its years and more akin to the expressive nature of The Cure's 'The Head On The Door' or The Smiths' 'Queen Is Dead'.

The Smiths in particular are key to The Crookes' sound. The opening four tracks are all tinged with Johnny Marr guitar-parts and Morrissey's lyrical delivery. “Godless Girl” launches the album into a catchy realm it rarely leaves via a punkier Billy Fury vibe. “Chorus Of Fools” combines everything that has been great about Sheffield music in recent years. It has the melodic 50s guitars of Richard Hawley and poignant observations of love and friendship Alex Turner can only reminisce about these days.

Standing out like Danny Dyer in a period drama is “Bloodshot Days”. So long as there is life in TT, we will long for songs like this to be Number 1. It is dark in its content, describing a girl who takes to the street at night, but the pop sensibilities of this song are so captivating you will be hard pressed not to rip your diaphragm in two whilst wailing this into a full-length mirror.

“Chasing After Ghosts” has absolutely everything. It has those anthems which leaves teenage boys obsessing over every lyric, guitar part and fashion choice the band make until their first girlfriend tells them otherwise. Meanwhile, the slower paced tracks 'Youth' and 'Laundry Murder' will be on constant repeat for those who are beset by unrequited love.