British Sea Power – Machineries Of Joy

It seems insane to think British Sea Power’s debut ‘The Decline In British Sea Power’ was released ten years ago. A decade on, they have released their 5^th studio album: ‘Machineries Of Joy’. The punkier numbers have mellowed somewhat but their beauty and grandeur remain large on an album which celebrates the classic BSP sound fans have come to know and love.

However, ‘Hail Holy Queen’ is one of the few tracks which deviate from the classic BSP sound this album generates. The strings will drift you out to sea without a care in the world; meanwhile Hamilton’s vocals are gloriously sweet and reminiscent of Mercury Rev’s David Barker.

But back to basiscs: ‘Loving Animals’ takes BSP’s love of Bowie to his electro/Berlin phase. What is fantastic about this song reflects what is great about this entire album. You can hear BSP’s influences from start to finish but at no point is any track a pastiche or parody. The final minute exemplifies this with the trippy Neu-esque guitars which are accompanied by vocals worth of Mark E Smith at his insatiable best.

Quite often with British Sea Power records one or two numbers are up-tempo punk rock anthems and mark themselves out as instant classics. On ‘Machineries Of Joy’ however everything is far more tranquil. ‘When You Need It Most’ is a sumptuous ode to Richard Hawley’s ‘Coles Corner’ material and the great Walker Brothers singles of the late 60s. ‘A Light Descending Above’ recalls the rock prowess of ‘Open The Door’ but with a sombre Robert Wyatt circa ‘Shipbuilding’ approach.

Ultimately this is an album for the dedicated British Sea Power fans out there. It is as though the lads have hit the studio with the idea: ‘let’s make a British Sea Power record’. There’s no messing around with new formulas here, but it is not a step back by any means. The quality of every track - we repeat, every track - is so high it is impossible for it to be anything other than a triumph.

Finally, what really excites TT about this is album is the feeling that the next one will be like witnessing a fully charged BSP going into a glorious battle, armed only with electric guitars and massive amps.

Peace - In Love

Peace are a 4 piece from Worcester and have been taking the UK by storm on their recent headline NME Awards tour. TT just couldn’t resist the hype and had to check out their debut album ‘In Love’.

Whilst TT feels this is one hell of a debut, it would be foolish to ignore that this album is unblemished. ‘Lovesick’ is everything we despise here at TT: British bands singing in an New Found Glory style. It is enough to make you want to go ‘We Need To Talk About Kevin’ on anyone who likes it. There, now that’s been said, we can all forget about that and move on…

The opening track ‘Higher Than The Sun’ immediately brings to mind Primal Scream’s incredible Acid House tinged anthem not only because of the title but in relation to its escapist virtues. Whilst musically it is more akin to the Scream’s rock-cum bluesy numbers, it has a wonderful feeling of youth awakening and stretching for more. The timing couldn't be better suited with further cuts being made and the ridiculous “Bedroom Tax” coming in to play. Sometimes bands time their journey into cultural conscious of the public just right and Peace appear to be doing just this.

The indie/rock scene has been largely divided in to two realms in recent years. On one side you have rock-psyche with Tame Impala, Toy and Kasabian and on the other there are the softer and more pop friendly (but by no means less credible) bands such as Foals, Mystery Jets and Little Comets. Peace are exciting because they look like the first band to unite the two divisions. ‘Follow Baby’ has verses which sound like The Pixies but with Gruff Rhys pulling the production strings to create a uniquely trippy, yet punky, sound. When the track reaches the chorus, Harry Kossier’s vocals hit those lush tones that Friendly Fires did so well with on ‘Paris’ to provide an ecstatic moment to treasure.

The Foals references will be ringing loud and clear on ‘Wraith’. It is like an offspring of Foals hit ‘My Number’ whose riff may not be as catchy but as a single has so much more depth. There is also looping piano which fades in and out to signify that Happy Mondays’ ‘Step On’ was not in vain. The lyrics are spectacular within this setting too. The below chorus may read as childish but with the tune behind it, it feels like two young lovers grasping freedom by the horns with the intention of living forever:

‘You could be my ice age sugar / Lay me down and make me shiver / Blow me like a floating feather / We’ll be dark we’ll be dark we’ll be dark forever’.

Then comes the colossal ‘Sugarstone’. What a spectacular rock song. It has a beautiful haziness worthy of the Brian Jonestown Massacre and a swagger not too dissimilar to that off ‘Champagne Supernova’. Oasis seemingly play no part musically in the bands influences but the philosophy of Peace is something different altogether. What makes both bands great is that unseen spirit which allows you and your best mate to belong to something to cherish for all time. ‘Sugarstone’is one of the few tracks that manage to tap into this soul successfully with the lyrics: “It’s not about a generation / It’s not about our education / We don’t need to think today / Cos you and me can slip away”.

These lyrics are just another reason to why Peace are the best thing to happen to the UK music scene since the Libertines. They give a much needed voice to the indie/rock youth of today. TT can see Peace uniting the indie hipsters and math rock fans with Kasabian and Beady Eye lovers out there. ‘In Love’ is an album you must all invest in!

Veronica Falls - Waiting For Something To Happen

Veronica Falls returned earlier this year with ‘Waiting For Something To Happen’, the follow up to their self-titled debut. This week, TT decided to check out what the indie-surf lovelies had been up to. In short: - relationships. This album is a great collection of crisp pop songs, of which, the lyrical content delves into the two and fro of the everyday complexities of relationships.

‘Tell Me’ opens the album and really sets the tone for what is to follow. It is littered with pitch perfect vocal harmonies which fans of Camera Obscura will adore. The flawless nature of the vocals lends ‘Tell Me’ an eerie feeling. They are so perfect that it suggests the protagonist is damaged beneath the surface and if we scratch away at the lyrical fabric of ‘Tell Me’ it is clear to see that this is the case. The opening verse portrays the desperate half of a relationship trying to garner where they stand:

‘Tell me, tell me everything / Tell me if your boat is sinking / Tell me where you have been / Tell me, tell me everything’

‘Waiting For Something To Happen’ is another fine exponent of relationship woes, this time reflecting how sometimes, one member is the driving force behind everything the couple do, whilst the other needs to be shook into life:

‘If you don’t realise / There’s no sacrifice / If you feel the way I do / World won’t wait for you’

TT is struggling to remember if anyone has ever produced lyrics which really get at the average relationship so well. The British public love songs about the big gesture (Elbow – ‘One Day Like’ This or The Smiths – ‘There is a Light That Never Goes Out’). Well, now is the time for a healthy dose of the truth as banal but intricate power struggles between couples are brought to life.

Former single ‘Teenage’ witnesses the band going to the next level. It sounds a little bit like Slade’s ‘Cum On Feel The Noise’ being covered by The Pastels. As Spring is threatening to kick in, there is no better time to listen to this sun-drenched piece of majesty. The voice of lead vocalist, Roxanne Clifford, has such an innocence to it that the simple lyrics: ‘When are you gonna see / I carved your name in the cherry tree / From the window when you look outside / I’ll be there you know I wont hide’ gets across the uncontrollable intensity we all brought matters of the heart as teenagers.

As we have discussed, the discourse for a lot of the songs on ‘Waiting For Something to Happen’ is centred around love and what it actually does to people in relationships. Then comes ‘Buried Alive’. Never has song encapsulated the isolation and torment that heartbreak can bring to a teenager. This tune comes from deepest murkiest parts of the stomach that ache so much when you go through the pain of something you don’t understand.

This second helping from Veronica Falls is sublime success and deserves all the plaudits it receives. Much like the Maccabees, they have perfected the sound they set out to achieve on their debut by their second album. Here’s hoping for that big sounding record on album no. 3 which catapults them into the consciousness of bigger audiences.

Foxygen - We Are The 21st Century Ambassadors Of Peace and Magic

‘We Are The 21st Century Ambassadors Of Peace and Magic’ is the second full-length album from the Californian duo. It follows their debut ‘Take The Kids Off Broadway’ by churning out both sublime melodies and joyous experimentalism.

The current single ‘No Destruction’ is a dazzling display of the Velvet Underground’s ‘Rock and Roll’ combined with Dylan in his most loving mood. Uniting their favourite musical influences is something the duo does incredibly well on this album. Unsurprisingly, this is the most successful combo attempted as Reed and Dylan’s sing-talk styles are reasonably similar. TT will be amazed if we hear a cooler vocal in 2013.


‘Bowling Trophies’ witnesses yet more first rate genre amalgamations from the duo. Here they merge industrial electronic music with rasping gospel choirs. Honest! The song opens with a hook that is as catchy as Kraftwerk’s ‘The Model’ and will draw you in immediately. Then, as the verse ends, the listener is hit with an anthemic, almost gospel choir style in the chorus.

The references to the past give this album a sense of fun. The second verse of ‘San Francisco’ features a nod to the Scot Mackenzie classic ‘‘San Francisco (Be Sure To Wear Flowers In Your Hair’ whilst the brilliant change in tempo for the chorus of ‘On Blue Mountain’ mimic Elvis’ ‘Suspicious Minds’. The album is littered with various one-liners to show off the band’s influences but manages never to detract from what they are doing. The varied references should never be viewed as plagiarism as that is clearly not what they are about; they serve to become an in-joke with listener. It reminds TT of the same way that Simon Pegg and Jessica Hynes’ TV show ‘Spaced’ used pastiche to heighten their reality.


For an album with so much going on it is remarkably simple to enjoy. It revitalises 60s flower-power psychedelia  taking it away from die-hard Syd Barrett mods and propelling it into a space where lovers of pop music can enjoy it without fear of recrimination. With spring on its way, we can think of no better album to listen to as the circle of life begins once more.

Palma Violets - 180

‘Best Of Friends’ kicks off ‘180’ spectacular style, this is more than your average splice of indie-punk and has all the ingredients to go down in history as a classic album opener. It begins with a riff which could be from any classic Billy Bragg song and then launches into a sure-fire fan favourite sing-along. The guitar solo, seemingly lifted from the Mary Chain’s ‘Just Like Honey’, has a beautiful simplicity which will leave fans in a state of euphoria, and Sam Fryer’s vocals have a strained smoker’s gravel which lends the song a heightened sense of despair.

Unfortunately, they don’t hit the heights of ‘Best Of Friends’ on the rest of the album. This is not to say the rest of the album is poor, but compared to the majesty of the first track, the rest feels a bit like the Queen’s 2^nd cousin trying to sneak into a family portrait.

‘Step Up For The Cool Cats’ is a prime example of this. It opens with the classic sounds of Echo & The Bunnymen, combining the Doors and Velvet Underground to create the ultimate cool reverberation. Sadly it just doesn't go anywhere as exciting as the Bunnymen’s ‘Rescue’ or ‘Crocodiles’.

Album closer ‘14’ is eight minutes long and is essentially two different songs: the first half is a decent tune and casually builds itself to a glorious drunken crescendo. Nevertheless, the imagination of The Who or Green Day to build a raucous rock opera is not present and when the song finally gets going again it feels too much like a laboured Libertines track.

‘Rattlesnake Highway’, however, is an admirable nod to the Ramones’ ‘Biltzkrieg Bop’. It may be a little too close the aforementioned song for die-hard Ramones fans but Sam Fryer’s gritty voice definitely gives the Ramones’ style a fresh impetus.

This may not be the most glowing of reviews but we definitely recommend this debut. It is full of promise and has a lot of good pop sensibilities which will inevitably be enjoyable to most. TT is looking forward to their second album already, where we hope their own sound, which has been developed on the cracking ‘Best Of Friends’, shines through more prominently.

Ocean Colour Scene Live At Electric Ballroom

Tonight is a rare chance for Ocean Colour Scene’s fans to see them in a more intimate setting and they do not disappoint. In recent years they have been playing bigger venues in London such as the Astoria (RIP) and Hammersmith Apollo in support of a new album release. Gigs of that stature must be tough for the band, as many turnout in hope of a trip down memory lane. Tonight in a 1000 only capacity is the perfect setting as a hard-core following sing-along to new numbers from the criminally underrated ‘Painting’ album.

The previous couple of OCS albums have been ok but Painting sees them back to their best with Fowler’s love of folk clashing with Craddock’s genius on the guitar to create their unique mod/folk sound. They open with ‘Painting’, a surprise too many but it grabs their attention and is met with ecstatic applause. ‘Weekend’ follows a few songs later and really strikes a chord with the crowd. With the ‘Mosely Shoals’ anniversary tour still fresh in the mind, the audience are left wondering is this new or a b-side from that era? It has a hypnotic quality not seen by the band since the ‘North Atlantic Drift’ album and the harmonies between Simon and Steve are a sight to behold.

Another treat for the loyal fans are rare outings of songs from the albums ‘One For Modern’ and ‘Mechanical Wonder’. ‘So Low’ is often a part of the setlist and is sung in full voice but ‘Emily Chambers’ and Jane She Got Excavated’ are seldom heard. They are met with rapturous applause and watched in stony silence as the Camden crowd marvel at the sweetness of Fowler’s vocals.

Of course all the big hits are in the set and they still garner a riotous response. Craddock’s guitars sound ready for Wembley Stadium rather than a small album launch gig. He makes ‘Travellers Tunes’, ‘Riverboat Song’ and ‘Hundred Mile High City’ sound like the biggest songs in the universe. Even as elder statesmen there is clearly ambition to be the best band possible, there is no second place mentality here which is clearly the reason for the high quality on ‘Painting’, an album you all should invest in.

Jake Bugg Live At Shepherds Bush

What a sensational night. Jake is 19 and his performance is electrifying, beautiful and one for the record books. So much so it will be very difficult to not use clichés about oysters, feet and the world to describe how much potential he has.

His self-titled debut was a solid effort which displayed a few moments of brilliance but live he is consistently on a higher level that will result in world domination. The audience is made up of scenesters, Dylan fans, skiffle fans, mods, hippies, and mums with their primary school sons. There is no passage for Bugg which will not lead to great things.

The variety his voice has is remarkable of someone so young. On ‘Simple As This’ he becomes an English Dylan lost in a world of self-realisation. It’s visible on the expression of many of those older than Bugg in the crowd that they wish they had known this at his age. On ‘Taste It’ and ‘Lightning Bolt’ however he becomes rock ‘n’roll star to revere. He has the bluesy punch of a young Jagger and often allows his voice to drift off into ether. It gives Bugg a vulnerability which will see teenage girls flock to him like they did for Marc Bolan and Liam Gallagher in years gone by.

There are two main highlights tonight. The first is ‘The Ballad Of Mr Jones’. It’s beefed up tonight and propels Bugg in to the realm of guitar hero. He manufactures twisted riffs and illumination solos to heighten this song that wouldn't look out place in a Hendrix or Oasis set.

The second highlight comes from the third song of the night ‘Kentucky’. Musically it doesn't compare to Bugg’s finest work but the symbolism it projects is colossal. The current government’s message is don’t worry about what you’re doing wrong, just blame who had the job before you and ignore your own failures. Well fuck that, Bugg has given the Shepherds Bush crowd the greatest thing music can offer, escapism. TT suggests the next time you here an unelected coalition say ‘the reason we have no growth is because of deficit left to us by Labour’ you think of Jake Bugg. An everyday kid from Nottingham who worked his socks off and is changing the world by doing what he loves.