The Lambeth four piece are about to embark on their own European/UK tours and supporting The Vaccines this autumn. Back in May they released their eagerly anticipated second album 'Danger In The Club' so, now seems the perfect time to sink our teeth into it.
At its core, 'Danger In The Club' is every bit the joyous throbbing racket its predecessor '180' was. However, emerging from every pore is a plumage bearing their influences for all to behold and more importantly, too enjoy.
Title track 'Danger In The Club' opens with a Dick Dale surf rock swagger and Doors-esque keys lurking in the background. At the midway point comes backing vocals seemingly sampled from The Clash's debut album and harmonicas akin to Oasis' 'Swamp Song' which are tied neatly together from a short trademark solo.
To describe, it would appear there are too many things going on here but every section of this song is so distinct you could argue this is a miniscule rock opera. Genius!
This song is indicative of the whole album. It has an overarching sense of fun and doesn't take itself too seriously which, for those illustrious ‘hard working people’ of the UK we hear about so often is going to unite far people than it will divide.
'Peter and The Gun' is the best example of this. A tale about the bands keyboardist on a killing spree and being found in Manhattan is delivered with comical panache and piss taking so wry, that the new series of Blackadder is considering it as its theme tune (this isn’t true, but wouldn’t it be great?)
'Coming Over To My Place' sees the band in their most reflective mood to date. The song keeps threatening to build to their prototypic frenzy but what you get is pub rock spliced with jovial nature of the Kinks and the spirit of Joy Division. The repetition of 'I would rather die / than be love' repeated over and over shouldn't be this rousing but somehow it is.
No album from any self-respecting group of 20 and 21 year olds would be complete without at least banger now would it? Nope. Album closer 'English Tongue' was added to the album last minute which is strange as it is the perfect bridge from the first to the second album. The Billy Bragg-esque guitar playing is coupled with British Sea Power electric piano to provide the perfect back drop to this anthem. Although the Libertines maybe back among us, for all of us who spent years broken by their absence, this song makes up for it all. It’s as though they know their people out there who thought the last Arctic Monkeys album was boring and wanted some energy back in their lives.
This album may not be a leap forward musically but there are big strides for sure. Moreover, they strides which will not alienate a fiercely loyal fan base. For Palma Violets and their army of followers, their journey has just begun and it is one that’s set to electrify.
TT last saw Broken Hands supporting Bo Ningen at Dingwalls way back in 2013. They were good, now, they’re on the verge of great things! They might not have headlined this gig, but they played as though they were and thus, blew everyone else away.
The Barfly, for anyone who doesn’t know, is a tiny venue. Nevertheless, Broken Hands vast and visceral sound makes it feel like an arena gig. Key to this are the vocals of Dale Norton. He has a hint of My Morning Jacket’s Jim James but hailing from sleepy Canterbury, there is a sense of Englishness which is certain to unite rock and indie fans alike.
Live, the riff to ‘Death Grip’ is pumped up to Led Zeppelin ‘Immigrant Song’ levels. This allows Norton to add aggression to his delivery and make the audiences pulses throb to dangerous levels.
Upcoming single ‘Who Sent You’ had everyone in awe. The enormity of it is inconceivable for such a small room. Especially when you consider some bands take 5 albums to reach this level, Broken hands however, nailed it on their debut!
They close their set with ‘Turbulence’, a set finale for years to come. Its slow build towards a flurry of drums and cacophony of guitars allowed the Barfly crowd to be completely lost in the moment, one glorious moment.
(Photos taken by Keira-Anee - https://www.facebook.com/keiraaneephotography)
Opening John Kennedy's first Radio X 'X-posure at the Barfly' night were Dissention Records 4 piece Eighteen Nightmares At The Lux. Their drummer Alex Allen is 6 weeks early to Halloween with his painted face and pink satin shirt. This sense of fun is not lost throughout a unruly set.
They open with the garage-cum-punk ‘6ft 6’which, musically, is made in the mould of The Horrors’ ‘Sheena Is A Parasite’. It was the perfect platform for frontman Shimon Joseph to begin his classy performance. Without doing a great deal and wearing a shirt from Neighbours’ Toadfish’s wardrobe, he oozes an effortless akin to Johnny Lee Miller’s portrayal of Sick Boy.
Amidst the psychobilly, goth and punk lurked a track which we feel is best described as the little brother of RATM’s ‘Killing In The Name Of’. It was warped yet accessible, dark yet fun and when we find out what its called, we’ll be sure to let you all know.
Anyway, if our words are not enough to make you listen, well, Q magazines should be:
"A fucked marriage of surf-punk, goth and psychedelia, and will bring you to your knees screaming for more." - Q.
Oxford's most charming band released their third album 'Bonxie' on Cooking Vinyl earlier this year. After the mixed reviews of 2013's 'Tales From Terra Firma' they drafted in Pixies producer Gil Norton as they seek to expand their sound.
The experiments undertook occasionally provide glimpses of great things to come. 'Get Low' takes the classic Stornoway sound and sprinkles some production magic to take their sound towards the lighter works of Grandaddy.
However, too often, the quest for something new clashes with the identity they have already forged. 'Lost Youth' has some Lemonjelly quirkiness to it but does it really add anything? Meanwhile, album opener 'Between The Saltmarsh and The Sea' feels like a sub-standard King Creosote number.
Despite the new production values, it is within their archetypal sound where their maturity is plain to see. 'Man On Wire' is a slow building pop-cum-folk number which will warm the coldest of hearts that all Belle & Sebastian fans should gravitate towards.
'Josephine' is as simplistic as they cum. Just an acoustic guitar and great harmonies. The sea shanty feel to this song will offer audiences a chance to come together arm in arm. Questions such as 'are you sticking to what you know?' will inevitably be asked. However, the harmonies are infinitely better than anything they have produced before so, we give a resounding no to that question.
Stornoway's musical journey on 'Bonxie' has definitely trodden new paths. At times their vision is not always clear but their ability to write great melodies is so strong its rarely a problem. When the new production values served these melodies it gave them the new edge they were seeking but not often enough. TT hopes that their 4th instalment sees them nail this new direction and not be on the fringes of it.
The football season is a month old and that us got thinking, what Radio DJs would make our team? Tenuous? Yes. The result of daydreaming? Definitely. Read On? You Should!
Goalkeeper - Liz Kershaw
Everyone knows goalkeepers get better with age and Kershaw's vital experience is crucial to the team. The bolshie Northerner provides great vocal support for the back four and has just the right amount of crazy all world class keepers need.
Right Back - Ian Camfield
The XFM stalwart has been tried and trusted in every slot on weekday radio. This ability to adapt and remain consistent makes him the Gary Neville pro we’re looking for. Plus, his love of Motorhead means he will organise the teams Christmas outings inevitably ending on the front pages.
Left Back - John Kennedy
The XFM veteran has seen it all in his 20 year. His calming influence will give the younger players a the reassurance to put their foot on the ball and trust in their ability.
Centre Back John Peel (Captain)
Peel was the only contender for the captain role. His ability to read the game and be ahead of the opposition will provide a Bobby Moore classiness that all teams dream of having.
Centre Back - Phill Jupitous
Alongside every ball playing centre half should be a colossus ball winner. In Jupitous we have just that. His big heart will see him stick his head where he shouldn’t and will take prisoners unless Peel keeps him on a leash.
Holding Midfield - Shaun W Keavney
Sitting in front of the back four is the glue that binds BBC6 together. Always dependable and doing the unwanted yards of breakfast radio sometimes earns the ‘water carrier’ tag, but SWK’s regular flashes of brilliance will unlock defences from deep.
Attacking Midfield - Stuart Maconie
A product of the Tika Taka seems unlikely from Lancashire but Maconie and his years in the freakzone will terrify defences.
Right Midfield - Steve Lemacq
Every team needs a James Milner or Darren Fletcher to counter balance the flair on the other wing and Lemacq is ours. Industrious, runs all day and has more quality in possession than many realise at first glance. He will be forever under-appreciated by arm chair fans but season ticket holders will know how he important he is.
Left Midfield - Lauren Laverne
Silky, pacey and a left foot so wand like that every cross will lead to a chance. Older fans will relish Laverne’s old school trickery reminiscent of the dear departed Davie Cooper and the celebration king Lee Sharpe.
Centre Forward - Eddy Temple Morris
One half of our two pronged dance music attack. Eddy is tall and rangy and will threaten with his pace and has finishing so good it makes Batistuta blush.
Centre Forward - Rob Da Bank
Playing slightly deeper than Eddy to link play, Da Bank is our quiet unassuming genius ala Bergkamp, looking to supply chances and bury the occasional chip for us to drool over.
Coventry 3 piece The Enemy recently announced the details of their 4th album ‘It’s Automatic’ when songwriter Tom Clarke told the NME:
“I sat Andy [bassist] down and said, ‘Mate, I don’t wanna make another Enemy record. I’m bored. We’ve nailed what we do, I wanna go and do solo stuff and make music like the music I listen to.’ And he said, ‘So do I.’ So we decided to take a leap of faith together.”
So, has the lead off single, also called ‘It’s Automatic’, set the stall out for this new era?
Musically, the signs of progression are plain to see. The use of synths and huge sounding drums are reminiscent of the Editors circa ‘An End Has A Start’ but, rather than engrossing a desolate industrial wasteland, The Enemy, have taken this style to a more enriching realm.
What has changed, thankfully, is Clarke's ability to produce recognisable reference points in his storytelling such as meeting in a hotel bar and naively falling in love. The simplicity of it all is why fans continually come back for more of Clarke. Furthermore, within the chorus lies the subtle lines 'Can't talk about it / Nothing a man can do'. It might not be hitting the heights of Blake but, it generates a sense of hopelessness in a vast world when you are left behind by a partner perfectly.
Just looking at Clarke in the video suggests a new maturity and confidence has been found in the time away. Sporting a new outrageously cool haircut and singing about falling in and out of love suggests a lot has happened to the spokesperson of a generation and TT for one is drooling in anticipation.
San Francisco’sMoon Duowere live in Shoreditch this week to, in part, promote their new album 'Shadow Of The Sun', but mainly to blow minds and frazzle brain cells with their blend of psyche, krautrock and garage.
So many bands have that ‘one song’ within their set which has a guitar soloproviding sheer ecstasy. With Moon Duo however, itsevery freakinsong!
Often, the aggression of the verses is heightened which serves Ripley Johnson’s guitar parts for the better.it allows Johnson's playing to really stand out and also, the build up beforehand is so tense, the subsequent rush is immense.
The anticipation of the guitar solos is so big its visible. Some are on tip toes, some clench fists, some close their eyes and some do all 3. When the moment arrives, you can see the rush of euphoriawash over this audience. Drugs are redundant when Moon Duo areon stage.
Unusually for psyche based music, most of the songs are not that long. Sitting between 3 to 6mins apiece allowseach song to remain potent and interesting rather than drag into dull genesis prog territory. In turn, when the longer numbers 'Free Action' and 'Goners' are played, they encapsulate the East London's imaginations rather than send them to the bar.
Their tour rolls on through Europe for the next 3 months. We urge you all to get out and see them. You will not be disappointed.
Manchester’s PINS were the first of two support acts for Drenge last night at Camden’s Electric Ballroom. Unfortunately for Drenge and Big Deal, they were too good to be followed.
Their opening song, ‘Lost Lost Lost’, set the tone by decreeing ‘I feel alright / I feel so young / There’s nothing else / I want to become’. Youth and outsider culture doesn’t make the headlines much these days but, with PINS delivering polemic of this quality, it won’t be long before a Daily Mail journalist implodes with fear.
The current single ‘Young Girls’ has a hint of The Clash about it but they make it seem far more effortless. Teenage girls are going to want to be this band and frankly, when the teenage boys stop drooling so will they.
Immediately following was ‘Oh Lord’, another new song and the standout of the set. The guitar riff treads a similar path to Joy Division’s ‘She’s Lost Control’, whilst the aggressive harmonies and subsequent swirling guitars create a wall of noise to rival The Horrors circa ‘Primary Colours’.
TT hasn’t seen a band which looks and plays with this much style and skill simultaneously like this for some time. Drummer Sophie Galpin can clearly hammer the skins as well as anyone but she has moments of show stealing flair which are a joy to behold. Meanwhile, when singer Faith Holgate puts down her guitar for ‘LUVU4LYF’ and ‘Girls Like Us’, she transforms into a mesmeric force of nature.
There have been comparisons have been made to Vivian Girls, Best Coast and the Dum Dum Girls in the past but, as PINS approach the release of their second album make no mistakes, there is only one PINS and they are about to blow the competition away.
For fans of The Go! Team, it has been a painful four years waiting for their new album ‘The Scene Between’. This album, the 4th in The Go! Team’s history, like their debut ‘Thunder, Lightning, Strike’ was written, recorded and produced by founder member Ian Parton.
In the past they were renowned for great sampling, resounding horns and genre defying indie-dance music. This offing however, mainly features 60’s girl group numbers and bubble-gum pop with only minimal nods to their previous work.
Previous albums gave MC Ninja a platform to be the star she was born to be. On ‘The Scene Between’ though, Parton, seemingly wanted more innocence in vocal delivery and went to ‘Daniel Day Lewis levels of ‘method’ to get this by drafting complete unknowns.
Had ‘Blowtorch’ used the biting rasp of MC Ninja, then, it would be just another Go! Team standard but the vocal of Doreen Kirchner lends it cuteness worthy of Rilo Kiley or Camera Obscura.
Meanwhile, ‘Catch Me On The Rebound’ has Annabelle Cazes on singing duty. She brilliantly combines the classic style of The Chiffons with the ‘butter wouldn’t melt’ attitude of Louise Wener which allows Parton’s sugary production to flourish.
Former single and standout track ‘Scene Between’, sparkles on an already glistening album of pop music like the greatest memory you ever had. Farris Badwan and Rachel Zeffira’s pet project Cat’s Eyes will look on in envy at this!
It’s astonishing to think its eleven years since their debut album hit the shelves. That, along with the follow up ‘Proof Of Youth’ were genre busting expressions of car chases and playground hip hop. ‘The Scene Between’ witnesses head honcho Parton taking a step back into the world of conformity but do not mistake this as a step backwards. Its an album awash with great pop songs which beg to be adored.
Wooden Shjips’ guitarist Ripley Johnson, returned to his Moon Duo side project with long term cohort Sanae Yamada in March to release Moon Duo's 3rd album ‘Shadow Of The Sun’. Here's what we made of it.
Their previous album, ‘Circles’, was a master class in fuzzy guitars and compelling krautrock and on 'Shadow Of The Sun', not much has changed. What is new though, are the array of guitar solos which effortlessly bleed into this set of tracks.
Despite the other-worldliness of the album, large chunks have a formula of krautrock hooks as a base before Johnson sprinkles his guitar magic over everything.
The opening tracks ‘Wilding’ and ’Night Beat’ are fine exponents of this. Yannae’s organ playing on ‘Wilding’ is hypnotic and has a Thee Oh Sees style aggression. There are parallels with the Doors’ ‘LA Woman’ here, that is, until Johnson’s guitar solos come sauntering in to blow you away. Unlike Johnson’s previous efforts, these solos are far terser and bring Modern Loves at their best to mind. ‘Night Beat’ should be viewed less as a song and more a test of humanity. If your feet or fingers are not tapping to this then your soul has long since departed sadly. This is arguably the best groove they have created with the Horrors-esque keys and the bugged out production. Once more, Johnson comes in mid-way with sun drenched guitars but, this time, they lean towards the escapist ilk of Noel Gallagher rather than his psyche standard.
However, this formula doesn't always serve them well. ‘Zero’, despite having a great Horrors like hook, this track ventures towards Sonic Youth but doesn't ever dish up their ferocity.
‘In A Cloud’ however, is a gear change that excels. Far slower than the anything else on the album, it meanders along without a care in the world. The rich guitars and dual vocals deliver a dreamlike state that’s so vivid, when it finishes, you will question whether it just happened.
The final two tracks also change the pace of the album. ‘Animal’, by a distance is the albums’ most immediate. On this occasion they channel The Horrors and Sonic Youth to perfection with desolate keys and a destructive baseline.
Bonus track ‘Cross The Way’ combines a great keyboard loop with the higher tempo and for the first time on the album, witnesses Johnson interject he’s guitar wizardry and maintain the new found momentum.
For the most part, ‘Shadow Of The Sun’ is business as usual for Moon Duo. Yet, when the pace is bolstered on the final two tracks, the album is opened up to new dimensions, dimensions which, TT hopes they continue to explore.
Ripley and Sanae are currently on tour and are not to be missed. Check the dates here:
TT has seen hundreds of bands since its inception, many,
who, on record have created far grander tracks. However, we would give that all
up for a band like Palma Violets because they are a band which hopes and dreams
can be pinned to and in Southend last night, that’s exactly what a packed
Chinnerys did.
It’s easy to see why the NME fervently champion this band. Every
note is played with reckless abandon and each lyric is sung in an attempt to
change the world. Whilst Chilli and Fryer bare a striking resemblance to the
Libertines on stage, this is no tribute act. In the bloody carved words of
Richey Edwards, Palma Violets are ‘4 Real’.
They are tighter than ever on stage which is reflected in
the audiences impassioned and frenzied responses to every song. This is clearly
a gig for which the younger members will cling affectionately to forever.
New single ‘English Tongue’ is treated like an old favourite
and the old favourites, such as ‘Best Of Friends’, ‘Step Up For The Cool Cats’
and ‘Johnny Bagga Donuts’ are promoted to the status of classics.
Many music magazines and websites will say they lack
originality or diversity. Tell them to fuck off. Nothing is purer than when rock
n roll and punk music combine with this much passion. There are 40 dates left
on their current tour, get to one, you will not regret it.
The Charlatans returned in January to release their new
album ‘Modern Nature’, their first since the passing of drummer Jon Brookes.
Last night at the Roundhouse, was the final leg of their UK tour before they
head off to Japan. So, was it a night of nostalgia or could the indie veterans
forge a path of relevancy once more?
They opened with the full length version of ‘Forever’ which,
was met with rapturous applause. Has there been a better comeback single? This
is immediately followed by classic ‘Weirdo’ and has the audience dancing like
no-one is watching.
Then came the test for any band of their stature, could they
get the new material across to the audience without them all pissing off to the
bar. The honest answer for tonight’s gig is, yes and no. The slower paced
numbers such as ‘Talking In Tones’, ‘So Oh’ and ‘Lean In’ sadly fell flat outside
of their diehard fans.
However, the crowd are lifted and then some with new tracks ‘Trouble’
and ‘Let The Good Times Be Never Ending’. Introducing two incredible backing
singers and two of Dexy’s brass section transformed ‘Trouble’ form a good album
track to a gospel-cum-indie belter.
Moreover, current single ‘Let the Good Times Be Never Ending’,
became monumental. Everything was heightened, quickened, and played as though
it would be the last thing they ever did. In 15 years of gigging, this writer
has never witnessed a standing ovation for so long, especially during the
middle of a set.
The rest of the set is made up of, what seems like, endless
classics. ‘The Only One I Know’ is still the greatest baggy anthem for our
money, ‘ How High’ has the beer flying and perennial set closer ‘Sproston Green’
is still a colossus force of nature.
Despite the dizzying heights the band have already achieved,
this standard single/album promotion tour feels like a triumph. Getting the new
album from the band after they lost Jon was great, but to see them with this
much passion and love for what do once more was a joy to behold.
Get Inuit are a 4 piece from Sittingbourne in Kent. They are
being championed by Radio 1’s Huw Stephens and have featured on XFM as well.
They are a hugely refreshing slice of guitar pop music and here is our rundown
of their new EP.
Dress Of
Bubblewrap
This record sounds as young and carefree as guitar pop
music can. This is sure to soundtrack school leaver’s summers everywhere and
will make those with joint pain reminisce about those halcyon days.
It takes the quirkiness of New York’s Vampire Weekend and
turns it into an English sounding record. The regular bursts of escapist
guitars could, in essence, only come from their hometown Sittingbourne, a
typically behind the times English town
Coping With Death
In A Nutshell
What a great indie record this is. It’s a simple 4minute
indie-rock pop song with catchy verses, distinct alternative vocals and a guitar
hook which will forever rattle around your brain.
Cutie Pie, I’m
Bloated
This is as contagious as pop-punk can be. It’s so refreshing
to hear an English band make this kind of music with their natural accents
coming through. So many adopt an American style which leave you feeling empty.
I Would
With the deftly delivered bassline racing through this track,
it is without question the most intense offering on the EP. The changing up of
tempo throughout the song signifies there is more to Get Inuit than just great
singles.
When tragic news broke in August 2013 about the passing of The Charlatans drummer Jon Brookes, many questioned whether the remaining memebers
would call it a day. With Brookes very much in mind, they returned at the end
of January to release ‘Modern Nature’.
Whether the band approached the track ordering with fans in
mind remains to be known but, to open with the solemn ‘Talking In Tones’ was
spot on. It allows the listener to approach with caution and gradually be
coaxed into yet another new era for this great enduring band. The new found
electronic production on this track would suggest hanging out with Grumbling
Fur has had positive effect.
The secret weapon of ‘Modern Nature’ is the subtle and
underlying groove that flows through its veins. Former single ‘So-Oh’, stomps (with
a small s) along so pleasantly its impossible to not be completely in awe of
the affection it dishes out. Add Burgess interchanging from his classic deep
gravel vocal and his ‘Wonderland’ falsetto beautifully and you have a classic
on your hands.
‘Come Home baby’ is another fine exponent of this new groove.
The piano loop ties this track together, which, in turn allows the ‘Tellin
Stories’ country-blues chorus comes crashing in. This is sure to be a live
sing-along favourite on their March tour.
Their love of New Order not only resurfaces, but to the same
high quality of ‘Mistakes’ and ‘Misbegotten’ from their ‘You Cross My Path’
album. This time round, ‘Emillie’ trickles along like something from ‘Get
Ready’ but with far more elegance. Meanwhile, ‘Let The Good Times Be Never
Ending’, the track dedicated to Brookes, combine the free flowing nature of New
Order’s guitar playing with some 70s disco production to conjure the highlight
of the album.
Not everything works on ‘Modern Nature’, the stripped back
‘Keep Enough’ fails to spark any emotion. However, reflecting upon the grief
and pain the band went through (and probably still are) to make this album, you
have to stand up and applaud.
The Charlatans have never been afraid to try new things but
who among us would have not forgiven them for sticking to a tried and tested
formula on this offering? Instead, they launched a new era for The Charlatans and begun, yet again, to change people’s viewpoints on what their archetypal sound
is.
Zane Lowe has been a part of my life ever since he joined
Eddy Temple Morris on Up For It on MTV. On as kids got home from school
initially, with Zane as the secondary presenter, it gave great spotlight to
bands. It also got guests to use tracing paper to shade their 6 packs or lack
off, it had it all.
It was however, when he took over the evening session on XFM
that Zane cemented a place in my heart. 7pm the jingle would hit (‘he comes on
everyday…) and the top 7 at 7 would come on and feel like the most important
chart in the world.
His enthusiasm is legendary and it was here that he would
use those bigger singles from White Stripes The Streets and Libertines to keep me listening
and eventually discovering some gems from Duke Spirit, Nada Surf and the daily
sessions. That’s right, daily sessions. Pull your finger out XFM, bring them
back!
As Steve Lamacq’s time as Radio 1’s Evening Session host was
coming to an end, the rumours were rife that Zane was set to replace him. At
this time, and after a debauched Electric Ballroom gig watching D4, Hot Hot
Heat and The Caesars, this writer met Zane Lowe at the after party. Being
drunk, I asked him straight off the bat, ‘are you leaving XFM?’ It was a douche
move, but, Zane, as listeners of the Chris Martin interview will know, is a
warming and encouraging guy. He proceeded to talk with excitement at the
prospect of taking his XFM show to a national audience and you couldn’t help be
excited either.
He will always be remembered for his time at radio 1 and
rightly so. Here, he became a national treasure. Correction, he became a
fucking national treasure! He flew the flag for bands which Lammo fans had
become accustom to but more importantly, gave hip hop a push like never before and he brought drum n bass to the
forefront of popular music. DnB is as English as Morris Dancing no matter where
the tracks come from. Getting fucked up and letting loose at a club or a
festival to DnB is in the Magna Carta right?
12 years at the top is incredible and to be honest, he could
have done another 12 and kept things as fresh. The unwavering enthusiasm perked
up Monday to Thursday every night and Annie Mac has some shoes to fill.
So, we have two things left to say. Good luck to Annie and
thank you to Zane.
Their new single is a clear indication to why most critics
tipped the North London outfit to succeed in 2015. The dreamy vocals float along
in this Modest Mouse meets the The Cure number. You wouldn’t call this anthem
but it’s not far off as it slowly builds layer upon layer into the warped
guitar solo.
Powder
This was the band’s debut single in late 2014. For anyone
wanting some middle ground between The Vaccines guitar playing and Alt-J’s
studio wizardry, well, look no further. The guitar solo will have Graham Coxon
dribbling over its simplicity, fuzz and confusion.
Bathed In Light
Slow verse and a euphoric and catchy chorus. What’s not to
like?!? The production on this track is the best of the three here. The track
really is as simple as they come but listen after listen (we’re pushing about
70 now) you will notice something new. There is the odd trippy Horrors guitar
lick and the crescendo has some keys which sound like a LSD trip at a Blackpool
pleasure beach. Well played.
Hooton Tennis Club are a 4 piece from Liverpool who are
currently on tour of the U and everyone should be champing at the bit to see them
and here two reasons why (tracks can be found via this Spotify link Hooton Tennis Club
– Jasper / Standing Knees ).
Jasper
This single is packed with driving guitars reminiscent of
Teenage Fanclub. There is a good dose of Pavement aswell but, make no mistakes,
this is a very English song. It has that overcast sense of gloom throughout
which, when combined with their clear talent for guitar melodies creates a
glorious pop single.
Standing Knees
This is a fuzzy and slightly twisted take on the new garage
scene which has been on the underground in recent times (with Ty Seegal in
every band it seems). The lo-fi vocals have a brilliant ‘anyone can do this’
attitude and the spiraling guitar solo around the 2minute 20 secs mark maybe
short but, is incredibly powerful for such a fledgling outfit.
The hotly tipped Worcester four piece returned in Feb to release their highly anticipated second album ‘Happy People’. Is it an album where they come of age or is it just another indie album?
Here’s what we thought.
Their debut ‘In Love’ was a hazy affair with nods to Primal Scream and The Who. Those sun drenched psyche elements are still present, particularly on ‘Gen Strange’ where, they have taken cracking work of Tame Impala’s ‘Lonerism’ and pumped it full of funk and pop music basslines.
Immediately following is the former single ‘Lost On You’. Here they combine their indie charms with Disco to create one hell of a floor filler that Noel Gallagher seems destined to search but never find in his solo career.
‘In Love’ featured the odd lyric for people to cling to (‘it’s not about a generation / It’s not about our education’ – Sugarstone) but ‘Happy People’ is littered with them. The title track is tinged with melancholy and has not been put as well since the great scene between Egg and Anna in This Life:
The second single ‘Money’ is a scathing attack on the money orientated folk among us stating ‘Do you need it? / Do you eat it when you’re hungry?’ The inclusion of more meaningful lyrics were a conscious effort according to their interview with the Guardian recently (http://www.theguardian.com/music/2015/feb/07/peace-im-a-girl-happy-people) and at TT towers it’s welcomed with open arms.
Rock and indie music needs this kind of resentment and angst lurking in the background again. It needs people like Peace to stand for something once more, otherwise, it will never be more than someone’s vanity project. This is why we loved their live performance on Made In Chelsea. What a fantastic piece of art and juxtaposition. If this was the heady days of guitar music this would have been talked about in the same vein as the Pistols’ boat trip during The Jubilee.
‘Perfect Skin’ is perhaps the most interesting track on the record though. Throughout this album and the first, the influences sneaking through always sound British. Here though, there is more than a hint of Nirvana. The nihilistic lyrics, the guitar solo towards the end are a great homage to Kurt Cobain an co.
What is also great is the way it never feels like a Nirvana rip off, it feels original and fresh but with a nod to one of the greatest bands of all time in the same manner ‘Cigarettes and Alcohol’ never felt like T-Rex plagiarism.
This is not a huge leap forwards for Peace but this is definitely a big stride towards becoming the most important band in the UK today. Musically they have diversified into new styles but without losing the essence of why people fell in love with them first time round.
This autumn they will embark on their biggest UK tour to date. We strongly urge you attend as this will be the tour when things start to go crazy for them.
Simon, Oscar and Steve played to a sold out Royal Festival
Hall to celebrate their 25th birthday. As ever, they do not
disappoint.
The semi-acoustic gig allowed for more of their underrated
folk numbers ‘She’s Been Writing’ and ‘Village life’ to get an airing. The
accompaniment of the string quartet heightens the beauty of these Fairport
Convention inspired numbers.
Fans always remark upon Simon Fowler’s voice and Steve
Craddock’s guitar playing when they see them live but this environment
highlights just how great they are and why, as a partnership, they should be
considered one the best of all time. Fowler can switch between heartbroken
English folk music to an energized mod in a heartbeat whilst Craddock, having
to reduce the tempo, ramps up the psyche elements of his guitar playing to
create something special.
Usually at this point, we’d describe the highlights from the
set. However, this is a career spanning set which we’re certain everyone has
read a review of before. So, we asked ourselves in the office, what makes OCS a
band who continually sell out big venues every year?
Other than the obvious answer that the songs are effing
marvelous, TT feels it’s the common touch Simon Fowler’s lyrics have so often
provided. The mid 90s was an era of working class bands breaking through for
various reasons. Oasis were brilliant and an example of just how special people
from humble backgrounds could be. Blur and Pulp wrote fantastic social commentary
about lives people recognised and Suede were superb at turning squalor into
beauty.
Whereas, OCS always felt like an extension of their fans on
stage. ‘So Low’ depicted how so many people felt and feel about getting up for
work (good or badly paid) and ‘Travellers Tune’ could have been any group of friends
in the UK on a weekend away. Perhaps best of all though was line from ‘Get
Blown Away’:
‘And Monday she'll go down town standing naked in the road /
You may know what I am / But who I am you don't know’
This line epitomised how they were always one of ‘you’ on
stage. The normality of them probably shortened their careers in the mainstream
(one only has to look at how albums 5-7 were overlooked) but year in and year
out big venues are sold out. This isn't just an annual nostalgia trip either,
any new album tour is supported by an always respectful crowd.
We only hope and pray that a few bands starting out today
follow their mantra.
The Proper Ornaments, are primarily made up of Veronica
Falls’ guitarist James Hoare and Argentine singer-songwriter Max Claps. They
returned in 2014 to deliver their second album ‘Wooden Head’. It may not have
been the most exciting of releases but it should be a staple part of everyone’s
record collection and here’s why.
For the most part, ‘Wooden Head’ combines Roger McGuinn’s
Byrds jingle jangle and Andy Bell’s shoegazery in Ride. The album opener,
‘Gone’, is a slower and gentler Mary Chain number which, rather than sounding
like a drug fuelled night out, acts more like post-comedown tonic and the
realisation of what the protagonist needs to do to succeed.
‘Ruby’ merges Mark Gardener-esque vocals with some spritely
acoustic guitars on this track. To begin with it lightens the mood but, the use
of the same riff casually builds a suspense which suggests all is not right.
There are some deviations from the Bell and McGuinn school
of guitar playing on ‘Now I Understand’ and ‘Always There’. ‘Now I Understand’
has a catchy and repetitive guitar riff which borrows from Hoare’s Veronica
Falls via David Tattersall’s Wave Pictures. ‘Always There’ could have been
lifted from a number of great records released by Sub Pop in the past decade
with its brooding seaside tones. ‘Step Into The Cold’ meanwhile, ends with a
blast from the guitar worthy of Stephen Stills’ Manassas era.
None of these tracks are a big shift in direction but they
do allow the introspective shoegaze numbers to breathe and prevent the album
from being monotonous.
For TT, the highlight of this collection is ‘Stereolab’. Sonically,
it slots in with the rest of album, but the vocals are what make it special.
The harmonies are spot on throughout and the key change in on the line ‘I’m going out with the tide’ is
sumptuous.
The dad of TT’s editor, used to spend Sundays playing vinyl
and relaxing at home. We urge you to do the same with this record. It doesn’t
have the energy to make you want to get up and change the world but it does
have the power and beauty to make you sit and contemplate it for a while.
In
1992, rock journalist Paul Moody was due to release his bands debut album
‘Portabellohello’. Dodgy accountants, a police raid and 22 years later the album
finally got to see the light of day. Here is TT’s view on things.
There
seems to be two types of song on this album. There are the upbeat mod-psyche
numbers which would have every proper music pub rocking. The other side, sadly,
simply don’t stack up the former.
‘Goodbye
Baby and Amen’ and ‘Doubledeckerbus’ are two of the aforementioned more upbeat
mod-psyche numbers. Both tracks see the Hammond organ getting a workout worthy
of Rob Collins during his Charlatans pomp. ‘Doubledeckerbus’, has a riff from
Steve Craddock’s locker which will inevitably fuel good moods. Furthermore,
both tracks witness some fine Edwyn Collins crooning which is never a bad
thing.
The
album also has small successes with ‘Mrs Choudhrey’ and ‘In A Broken Dream’.
‘Mrs Choudhrey’ is a joyous cross between the heady days of Britpop and the
trippy side of Small Faces. Meanwhile, ‘In A Broken Dream’ is an instrumental
drenched in 60s acid which has more than a hint of ‘House Of The Rising Sun’ to
it.
Unfortunately,
there are too many songs on this album and as a result the quality does dip on
the likes of ‘Rollin Machine’, ‘Just Say The Word’ and ‘Portabellohello’. These
tracks stray into the drearier areas of the genres they chase but ultimately,
this heightened because elsewhere, the quality is high.
It’s
a genuine pity Studio 68 didn't get their 15mins of fame back in ’92 but the
album is out now and one for all Mod collections.
In the summer of 2011 London's Dogs split and left a hole in many fans lives. Well, fret not, the bands key components are back in the shape of Apeman Spaceman. Here is our track by track rundown of their new EP:
1. YWM4ME
Opening with crashing drums and their trademark visceral
guitars will have fans of Dogs salivating. On their last outing they were leaning
towards a more lo-fi guitar sound which features here as they begin a new era.
2. This Is A Low
This is a melancholic tale of a dreary Kent seaside town in
the dead of winter. Jonny Cooke’s lyrics depict the situation in an Orwellian
style which should be marvelled at. Despite the despondency, there is a nagging
beauty to this song which, we guess, part and parcel of loving these strange
shores we inhabit.
Further enhancing their new creative mission are the high
pitched vocals in the chorus. Similar to The Black Keys in style but they carry
far more weight combined with the songs bleakness.
I Make Shadows
This song has fearlessness about it, which rock purists will
love. Presumably, this was made on a low budget, one wonders what the results would
be if, financial backing in the studio was to come their way.
Mazes
‘Mazes’ instantly made us think of the Frank Turner line ‘For
guitars and drums and desperate poetry’. It’s an underdog anthem which has that
great rock ‘n’ roll ability to sound like it could fall apart at any minute but
never does.
20.8.14
Twisted electronics straight from the Dan Le Sac catalogue
further the bands credentials yet again Cooke rattles through the bad, the
negative and the atrocities of the world today.
The Manchester three piece returned last month with their third helping ‘Wooden Aquarium’ and TT is on hand to check it out. The latest outing witnesses Mazes’ love of 1990s lo-fi US indie once more but a turn towards a more polished pop sound is helping them tread yet more exciting new ground.
The manoeuvre towards a mod-cum-psyche direction is reminiscent of their peers Toy and Foxygen. What gives them the edge is the ability to combine their previous Teenage Fanclub dirge-pop sound with the new direction. ‘Letters Between U&V’, ‘Mineral Springs’ and ‘Salford’ are prime exponents of this.
‘
Letters Between U&V’ delivers a riff worthy of Teenage Fanclub or the Lemonheads but with a crispness that the aforementioned Toy have trail blazed with in the previous years. The motorik beat allows them to meander between the two styles. The grouping of sullied US indie and English Mod-psyche together is unusual on paper but in practice it works. So button up your Fred Perry and grow your hair long, anything goes!
‘Mineral Springs’ witnesses Jack Cooper’s vocals at their best. They are angelic and wrap around the driving guitar loops with a quality that Bobby Gillespie was searching for on Primal Scream’s ‘Gentle Tuesday’. Meanwhile, ‘Salford’ has a style similar to the Pixies’ ‘Gigantic’ with male and female vocals working in tandem, whilst the guitars are a comparable to David Tattersall’s Wave Pictures. All that said, Mazes are their own band with their own sound and the influences act like the great flms of Simon Pegg and Edgar Wright; great if you get them but if you don’t it’s still a great film.
To just talk about the merging of these styles would be a disservice to the creativity elsewhere on the album. ‘Explode Into Colo(u)rs’ sounds like a mellowed out Graham Coxon, whereas, ‘RIPP’ has a Pixies via James Yorkston feel, combining spoken word vocals with a dreamy semi-consciousness.
Fans of the first two albums will revel in the more uninhibited ‘Universal Me’ and ‘Stamford Hill’. These two have the aggression of their earlier work but, now they come with an additional surging For TT though, the standout track is ‘Stamford Hill’. It encapsulates everything the band is now about. It blends the lo-fi angst of their previous work with the new nods towards motorik much like rest of the album. However, on this song they get the energy and free flowing sound they create conjure a sense of lawlessness one can completely lose them in.
In recent times we have witnessed bands such as Wild Beasts, The Maccabees and Jamie T all produce their best work on their 3rd album and ‘Wooden Aquarium’ is no different. For any record label considering signing bands, we implore you to believe in them and let them grow. ‘Wooden Aquarium’ is another fine example of the quality which can be achieved if bands are allowed to go about their business as they please. Go. Buy. It. Now.
4. Hobbes Fanclub - Up At Lagrange
‘Up At The Lagrange’ is the debut album from the Bradford
four piece Hobbes Fanclub. There are plenty of late 80s and early 90s guitar
band influences to behold, here’s what we made of them.
A recurring theme throughout the album is one of heartbreak,
best displayed on ‘Your Doubting Heart’ and ‘How Could You Leave Me Like This’.
‘Your Doubting Heart’ is a tale of how the honeymoon period can spiral
downwards to something dark and bitter. The Mary Chain style of guitar playing
gets the lack of faith and trust across with real style.
‘How Could You Leave Me Like This’ is as morbid as it says
on the tin. The opening line of ‘How deep is the water / I can’t look down’
sets the tone for this shoegaze classic as it roams through a world of
introspect and heartbreak.
Lyrically the album might be quite a gloomy affair but musically
there are some moments of pure bliss. ‘Outside Myself’ is MVB ‘s ‘Loveless’
combined with a joyous mid-90s guitar solo. ‘Stay Gold’ has a House Of Love
riff destined for glory whilst the vocals sit perfectly between Jim Reid and
Stuart Murdoch on the jingle-jangle spectrum.
‘Why Should I Tell The Truth’ is a combination, seemingly,
of Jesus & The Mary Chain, My Bloody Valentine and Teenage Fanclub. The hint
of fuzz from the Mary Chain, the epic atmosphere of MBV and the driving guitars
of Fanclub had us frantically reaching for the repeat button.
The only live date scheduled for 2015 is not until June at
present but more should be on the way and TT will definitely be attending. As
should you.
3. The Crookes - Soapbox
The Sheffield four piece returned in April with their 3rd installment ‘Soapbox’. As they are about to end their current UK tour we revisit what is surely to be a mainstay in the end of year top 10 polls.
Last year’s ‘Hold Fast’ album saw the band adopt a more aggressive attitude to their exploration of US rock n roll music. The opener ‘Play Dumb’ begins with said combative guitars but also adopts synths which evoke memories of The Cure circa ‘Pornography’. These subtle touches pop up throughout the album demonstrating yet another step up in class from the band.
As ever with the Crookes, the lyrics are fantastic. Daniel Hopewell has consistently churned out the goods but on ‘Soapbox’ he has hit top form. ‘Echolalia’ is a melancholic look at repeating the same mistakes whilst attempting to move on from a former love:
‘I should brush aside what The Strangers tell me,
That those on the outside are born to be lonely,
Still I keep chasing the cheap fix ‘til I wake from this crisis on my own,
My mind unfolds and I resolve to forget her but still I hear the echoes come the low.’
Songwriter Hopewell’s sorrow laden take on the human condition to belong and simultaneously be individualistic is a triumph and should be heard by everyone!
For anyone who, in the naivety of youth fell so hopelessly in love they had no idea what the rest of the world was up to then ‘Holy Innocents’ is a must listen. Not since Kevin Sampson’s ‘Stars Are Stars’ novel has a young burning love been so intelligibly illustrated:
‘I just wanna hide like holy innocents,
I met you at the fountain outside the station,
Nothing else mattered ‘cept dumb conversation
Our world in holy innocence’
The piece de resistance of the album and the track that sums up The Crookes more than any other is ‘Outsiders’. This is an anthem for anyone who treads the snakebite sodden floors of their indie disco and sinks too many red stripes at the local 200 capacity gig venue. If anyone ever wanted to make a mix-tape to depict the character of Jimmy from Quadrophenia this track has to be on it.
The current cultural climate is far less tribal than the era or mods, rockers, punks and skins but this only serves to make this song better. It is easy for a wolf to don some sheep’s clothing these days but make no mistakes, The Crookes are the real deal. Also, in Hopewell they have lyricist who should be given as much airtime as possible so his words can make you laugh, cry and inspired.
2. PAWS - Youth Culture Forever
‘Youth Culture Forever’ is the second album from the
Glaswegian 4 piece Paws. Here’s what TT made of it.
The album opener ‘Erreur Humanie’ is a slower number but by
no means less powerful than the rest of the album. The opening lyrics aptly fit
the current climate of reunion tours and nostalgic album tours by claiming ‘one should never go back and fuck with the
past’.
The album is littered with some craking pop-punk numbers which
are begging to be adored in indie discos. ‘Tounges’ is a wall of noise with a
great Idlewild-esque riff and piano hook. ‘An Honest Romance’ has a Pavement
guitar style but with Biffy’s ear bruising noise levels.
‘Owls Talons My Clenching Heart’ is the standout single from
the bunch. It has a teenage brooding quality with lines like ‘I don’t want to fall in love with your
heart’ and ‘I know I shouldn’t like
you but it’s too late’. If only it had been written in 2009 it could have sound
tracked the love triangle of Cook, Freddy and Effy in Skins.
The best thing about this album is not what its saying, it
is that it’s being said. ‘Someone New’ states ‘I don’t want to see you with someone new’ which, won’t be troubling
Keats nuanced poetry but, it’s puerile nature does highlight what its like to
be jealous when young and who else is talking on their behalf in pop music
these days?
‘Alone’ takes this further and declares ‘Fuck what others think’ and ‘Why
would you want to go a funeral if your not old’. The obnoxious polemic is
great and allows teenage angst to belong yet again to a creative world rather
than the tantrum filled world of Bieber.
The album closes on ‘War Cry’, their most ambitious effort
to date. At nearly 12 minutes long they leave behind their pop-punk default
setting to create an aggressive epic. The guitar playing is from the school of
Black Francis and Kurt Cobain but extended to leave you transfixed.
‘Youth Culture
Forever’, for TT, is hopefully the beginning of a wave of young bands who are
aggressive and oblivious to what has gone before them. The inclusive nature of
music today is brilliant for anyone over the age of 21 but, teenagers need
bands who sound like they are ready to die for what they believe in before they
discover Dillinger’s lost reggae classics or Mr Fingers acid house gems.
We end this article with the lyrics from the title track
‘YCF’ simply because we can and, you should read it:
When I come home to my
hometown, I'm not sure which part of me still expects you
to be around. Same old faces, same old feelings, But not nostalgia, I'm not revisiting, I am
breathing But not for youth cos we're still young and not
for boredom, Droughts of hope, I'm feeling like the only one Who couldn't make it out of here alive. I'm still trying to figure out which part it is Of me that died, to screw this place And curse their bones, I'm in a lodging room Because I no longer have a home. I had a nest, and now it's gone. I know I said this in a song before But, fuck it - "Life goes on." I'll have my youth culture forever. You'll have your youth culture forever. He'll have his youth culture forever. She'll have her youth culture forever.
1. Bombay Bicycle Club - So Long, See You Tomorrow
XFM recently hosted ‘An Evening With Noel Gallagher and
Friends’ Nicky Wire discussed how 1994 was a great year for music with the
release of ‘Holy Bible’, ‘Definitely Maybe’, ‘Parklife’, ‘Grace’, ‘In Utero’,
‘Dog Man Star’ and ‘Dummy’. He is correct. He went on to say how many albums
will be held in the same esteem. Answer = none. A better question should be how
many should be held in the same bracket as those classics? The answer to this
question is one, ‘So Long See You Tomorrow’.
To the person responsible at Island Records for keeping them
on the books for a fourth album, thank you. In fact, they should be giving the
John Peel lecture in 2015 on ‘How to let bands grow in today’s climate.’
The album opens with ‘Overdone’ which isn’t spectacular but
is a solid bridge from their past to what is about to unfold. Leaping of that
bridge with lead stones attached come the astonishing ‘It’s Alright Now’. Time
and time again we find ourselves spellbound by the lyrics ‘Made a plan to be
someone / Mess it up when the moment comes / Step away step away stay numb /
It’s alright now, I don’t want wanna wait’. The message of hope and that it is
ok to fail is staggering in an era of hate fuelled politics and the constant
reminder there is an ‘other’ causing you harm.
Musically it is comfortably the most ambitious and best
thing they have done. It opens with beautiful harmonies and synths which
reappear regularly throughout the track to add extra layers of ecstasy to this
anthem. On paper it does just seem a tale of couple of various journeys,
sometimes as one and sometimes antagonistically but, the feeling of hope and
love is nowhere in music today, nowhere but here and TT cannot be the only one
longing to belong to a feeling of optimism again, right?
Bombay Bicycle Club has been many things on their previous
albums. They have been indie darlings and alternative folkies but always lacked
a definitive identity. Their next album may well be another reinvention, but
what this album does do, is give them a sound they seem to have mastered. The
euphoria and blissed out sounds coarse through the veins of every song here.
‘Feel’ has the archetypal BBC hook which fans have grown
accustom to. It also pulls in all the cuteness of The Sundays with vocals, the
production bliss of New Order’s ‘Dream Attack’ and a killer borderline
Bollywood bass line to make one of the singles of 2014.
‘Whenever, Wherever’ adopts a slow build approach which
culminates in an exultant crescendo of UNKLE-esque drum loops and multifaceted
vocals which will blow your mind. No doubt the scabs at X Factor will be using
this for a montage for some soulless no-mark this year.
The introduction of Rae Morris on former single ‘Luna’ is a
stroke of genius as it gives the album more texture which is what desperately
needing but benefits from all the same. It is the contrast between the vocals
which will make you marvel. A simple tactic but when done this well is always a
joy to behold.
Guitar music hasn’t been prominent in the mainstream for a
while, largely because it hasn’t stood for anything. ‘So Long, See You
Tomorrow’ however, is sonically ambitious and it pays off. It offers hope to
anyone who thought there was no way out of the current land of fear which is
unfolding in front of us. For this, TT makes this album number and is left only
to say, thank you Bombay Bicycle Club.
