Palma Violets - Danger In The Club

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.

Broken Hands @ The Barfly

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. 

Eighteen Nightmares At The Lux Live @ The Barfly

(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.

Stornoway - Bonxie

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 4^th instalment sees them nail this new direction and not be on the fringes of it.

Fantasy Football: Radio DJ XI

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. 

The Enemy - It's Automatic

Coventry 3 piece The Enemy recently announced the details of their 4^th 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.