5 Days of Richard Ashcroft: Fighting On Your Own

Day 3 - Hold On

If anyone at Brixton needed the new album sold to them still, 'Hold On' was going to do it. Despite everyone the wrong side of 30, Brixton is transformed from gig watchers to a rave in seconds of the killer strings and piano loop starting.

It’s such a big and hopeful sounding record and consequently, the only track that eclipses The Verve tracks played. It has the unique togetherness of Oasis’ ‘Live Forever’ (‘I feel like we are the only ones alive’) and the defiance of Nicky Wire with the line 'And the truth is on the march again / Wipe those tears away'.

Crucially though, Ashcroft is not so much performing ‘Hold On’ as he is battling it with the audience. He isn’t here to be cherished and will not settle for anyone, let alone adoring fans telling him what they expect of him. Ashcroft clearly see’s performing, especially new material, as a fight where he will be the only one left standing.

Despite the bullishness, his ability to romanticise, to be lost and longing for another to help remains at its best:

“Learning on your own / Can turn your heart to stone”

Oddly, us mortals attach ourselves to this more than his unique ability to lead but, without the two together, you’d be left with something far inferior.

5 Days of Richard Ashcroft: Into The Half Life

Day 2 - Velvet Morning

The Verve’s tale of being munted in the twilight hours and coming up with great ideas only to discover at 6am they are horseshit, is one we all familiar with. So, the moment the gorgeous slide guitar starts, its impossible not to reminisce about said douched nights.

Even after 20 years, the goosebumps still flourish when the big key change and Ashcroft’s incredible vocal hook chime. A feeling of triumph swirls around Brixton Academy as personal memories of the half-life come to the surface far outweigh the songs message of coming down in the second verse.

Despite all the fame and accolades, Ashcroft is still able to paint a picture of loneliness during ‘Velvet Morning’. Like a young William Blake, Ashcroft cuts a figure of the poet wandering the streets of Soho alone. Where Blake was intrigued and excited by it all, Ashcroft was chasing something that was never there.

Perhaps it’s the realisation that this was futile is where the real beauty of ‘Velvet Morning’ lies. Yet again, he shines a light on how to move forwards despite being inherently flawed.  

5 Days of Richard Ashcroft

Mad Rich is, as we all know, a bona fide legend. So, rather than just review he’s epic performance at Brixton Academy this past Saturday, we’re going to focus the next 5 days on 5 songs from his set.

We start with the 2016 comeback single ‘They Don’t Own Me’.

Having already played classics such as ‘Sonnet’ and ‘Space and Time’, there was a danger that anything new would be seen as a piss break for the audience. However, this is Richard Ashcroft we're talking about.

On record, it’s a good Verve circa Urban Hymns track, but live, it’s alternate beast. Many singers feed of the adoration of a crowd, for Ashcroft, he demands that you go with him. As the adrenaline runs through him, he drags people from awestruck onlookers to brothers in arms.

Perhaps the most interesting thing about ‘They Don’t Own Me’ is, it feels like Ashcroft was reluctant to write it. With all the love and defiance to power he has put out already, it must be odd to do it again.

Nevertheless, a lesson to all aspiring bands is on show here, if you’re going to do it, mean it! The anguish in his voice in the opening line is a testament to how much believes in the soul:

“Is it true what they say? / Nothing in life is free / Are you looking this way / Surely this can't be”

It's in the closing moments that Ashcroft unleashes all his frustration and emotion. With every repetition of 'they don’t own me' he becomes that feral behemoth of ‘Rolling People’ and ‘Come On’.

Despite all the success, Ashcroft, with songs like this, remains that unique blend of outsider and flag bearer of togetherness.

Travellers Tunes Presents: Flying Pyjamas 2

The second Travellers Tunes saw some stiff competition from Field Day, Camden Rocks, Depeche Mode and Elton John but, I think we got away with it.

We had four great acts, raised money for Reverse Rett and caused some pretty spectacular hangovers! Let’s check out the live reviews:

The Bracknall

As the Essex outfit, The Bracknall, take the stage, one thing is more than evident. They look the real deal. They look like a rock n roll band destined to break hearts and leave a trail of destruction in their wake.

So, what about the substance then? In short, bags of it. At times, the spirit of Zeppelin comes roaring to the surface. On ‘The End’, there is a huge hit in the making as the spine-chilling verses combine with the dark euphoria of the chorus.

If they hadn’t proven their rock n roll credentials with this set, they jetted straight off to the Camden Rocks festival in their other great band Electric Child House.

Ruby Delby

“With a little charm and a lot of style”

The Bluetones, 1996

Sandwiched between our guitar behemoths was the sparkling Ruby Delby. Her blend of blues and folk as the sun beamed through the windows was just what the doctor ordered. Her unique ability to lead you somewhere and then twist her vocals to open up unexplored areas of folk music is a sight to behold.

Her interaction with the crowd on ‘guess the song’ and her cover of Prince’s ‘Purple Rain’ endears her to the audience, but, moreover, it was a display of someone who can have any crowd eating out of the palm of her hand.

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The White Tips

This was the Aylesbury trio’s debut London gig and they did not disappoint. Their love of Nirvana and Pixies was worn as a badge of honour, especially on set highlight ‘Camping Trip’.

There are many bands with decent riffs right now, The White Tips will circumnavigate navigate this because, their riffs are crisp and concise like their aforementioned heroes. Even when they are thrashing it out, the pop sensibilities lurk beautifully in the corner.

Queensburys

Hailing from Grays, Essex, the young four piece stole the show. So often with new bands, audiences find themselves trying to depict the genres and influences they can hear. For Queensburys, what is abundantly clear, they’ve found their own groove and it’s a joyous one.

Do not be fooled by the diminutive figure of frontman Thomas Champion, he is a rock music colossus in the making. There’s a hint of the recently departed Chris Cornell as he growls and howls those key moments. Champion also possesses an innocence and purity in his vocals which, gives their storytelling a guts and glory vibe.

It would be remiss to solely mention Champion though. Dan Lamb (bass) George Brown (drums) and Archie Brown (lead guitar) are not just tight, their showing an expansive side to their playing as well.

Having had time to reflect on the horrific attacks from Saturday night, Queensburys have left me with nothing but optimism. Four mates grafting to create something better for themselves and for others to enjoy is peptic symbol of individuality and belonging, aka the human condition.

Keep your eyes peels for the Queensburys, they are set our glorious Albion.

Stake Your Claim On The Morning Sun (part 2)

As you may or may not know, Greg Gilbert from The Delays has been diagnosed with bowel cancer. Due to a genetic incompatibility, Greg no longer qualifies for free treatment on the NHS. His wife has set up a Go Fund Me page (link below), which, as a huge fan of the Delays, has been moving to watch the total grow from other fans.

Tomorrow, The Delays, along with Sam Duckworth, Mystery Jets, Eddy Temple Morris, Band of Skulls and many more will take to Greg’s hometown venue 1865 to raise more money for his treatment.  

Please donate and buy tickets and continue to spread the word:

https://www.gofundme.com/give4greg

http://www.seetickets.com/event/cavalry-a-benefit-concert-for-greg-gilbert/the-1865/1060398

In the run up to this great fundraiser, we have revisited all of their singles (part one here):

Valentine

They may have emerged in the 2002/3 boom, but, by their return in 2006 there was a second wave in full swing. Arctic Monkeys and Bloc Party were conquering the charts, so where did they fit? The answer, perfectly in the middle of the aforementioned.

They continued their venture towards dance music with this dancefloor banger and its killer bassline but never losing sight of their pop sensibilities.  

Hideaway

‘Hideaway’ made a return to the roots of ‘Faded Seaside Glamour’ with its jingle-jangle guitar pop style. Their new found spirit of Ibiza was not lost though. Its feel-good factor has the ability to soundtrack a hedonistic trip to the Balearics.  

Hooray

As so often is the case, once bands begin to dominate the charts, the vultures swoon and the industry plies it with shit merchants like Hoosiers and Scouting For Girls to masquerade as authentic alternative pop bands.

So, when Delays the returned with this spikey and spritely pop song, it was annoyingly overlooked. It has the feel of a Bluetones classic and is a must for anyone who missed it first time round.  

Keep It Simple

To go all Jerry McGuire for a moment, “you had me at hello”, and by hello, we mean, Keith from The Office is in the video!!!

 This is the first single which lacks that killer hook in this catalogue. Sonically though, it is not to be sniffed at. It’s by far and away their most mature single and thoughts of the Mercury Prize began to materialise rather than the top 10.

Unsung

Frankie Boyle questioned Radio 2 programmers that Jessica Hoop is not mainstream when she can sell out the Royal Albert Hall in an interview in 2015. The industry’s obsession with a soft and dull sound just never seems to go away.

By the release of ‘Unsung’, the same scenarios were emerging for the band. With this unfortunately apt song title, they were about to drift away. That said, they did so by encapsulating their sound in one song. There are jingle jangle guitars, euphoric synths and Greg’s distinct vocals carrying everything to another level.  

Stake Your Claim On The Morning Sun (part 1)

As you may or may not know, Greg Gilbert from The Delays has been diagnosed with bowel cancer. Due to a genetic incompatibility, Greg no longer qualifies for free treatment on the NHS. His wife has set up a Go Fund Me page (link below), which, as a huge fan of the Delays, has been moving to watch the total grow from other fans.

This Friday, The Delays, along with Sam Duckworth, Mystery Jets, Eddy Temple Morris, Band of Skulls and many more will take to Greg’s hometown venue 1865 to raise more money for his treatment.  

Please donate and buy tickets and continue to spread the word:

https://www.gofundme.com/give4greg

http://www.seetickets.com/event/cavalry-a-benefit-concert-for-greg-gilbert/the-1865/1060398

In the run up to this great fundraiser, we have revisited all of their singles:

Nearer Than Heaven

We first come across The Delays supporting Ocean Colour Scene at Hammersmith Apollo and, it was this slice of pop heaven that peaked our interest. The vocal from Greg still has the ability to float you away to happier and warmer places. There is an occasional gravel coming through too which, combined with the Oasis-esque guitars at the end showed there was far more to come.

Long Time Coming

Long Time Coming was a great bridge from the Britpop era into that indie boom of 2003-2005. It has a great simplicity to it like many of the great 90s pop singles. The amount of sunshine they crammed into this was remarkable. The harmonies and guitars combine to conjure, for TT, their crowning glory on this coming of age belter.

Hey Girl

For fans of The Byrds, Primal Scream’s debut album and c86, ‘Hey Girl’ was a modern take on jingle-jangle guitars. Considering all who have been drawn to this arena, The Delays remain one of the few to craft a great pop song from it.

Lost In Melody

A big leap was taken on this non-album single, merging dance and indie styles. It came as no surprise that Remix legend Eddy Temple Morris took interest and would later go on to remix ‘Hideaway’.

Everything that had been sun drenched on ‘Faded Seaside Glamour’, now lurked in the ether as this darker, punchy synth laden path was taken. Few could argue that the ground work for Bloc Party’s joyous arrival in 2005 was being laid.

Check back tomorrow for part two.

Please donate and buy tickets and continue to spread the word:

https://www.gofundme.com/give4greg

http://www.seetickets.com/event/cavalry-a-benefit-concert-for-greg-gilbert/the-1865/1060398

Travellers Tunes presents Flying Pajamas

“If you lose your faith in love and music / The end wont be long”

The Libertines, 2002

Friday 20th January was a bleak day for hope. Saturday 21st January however, was a day of passion, love and togetherness. Men and women marched as one to reject the new US President's odious views.

Travellers Tunes occupied music haven of the New Cross Inn for its inaugural event to raise money for Reverse Rett. Rett Syndrome is a post-natal neurological condition which most often strikes previously healthy little girls between their first and second birthday and leaves them with multiple disabilities and medical complexities for life. We raised over 600 quid and couldn't have done without the generosity of the venue and all the acts playing for free.

Kicking things of was the brilliant Annie & The Make Believe. The jingle jangle flow of 'Lets Get Together Again' delivered the sunshine spirit of Emmylou Harris and Gram Parsons to the delight of the crowd. They shifted the mood through darker tales of romantic failure on tracks such as 'Shivers' and 'November' but, the melodies never falter. For fans of First Aid Kit, Annie & The Make Believe need to be on your radar!

Next up was former Engineers member Daniel Land and his band. In a nutshell, this was shoegaze/dreampop nirvana. The atmosphere they created with their swirling riffs made the New Cross Inn feel the size of Wembley. Particularly standing out were the set opener and closers 'Glitterball' and 'Echo & Narcissus'. Move over Sigor Ros, Attenborough has a new soundtrack!

How anyone was going to follow this was a question clearly lingering in the air. Thankfully, Hull's finest, The Holy Orders brought their A game and shredded people's faces with their blend of alt-rock. Front man Matt Edible, has a rare ability to switch up from James Dean Bradfield to rock behemoth in a heart beat and, on 'Deviants', he and the band delivered one of the moments of day. The riff, the catchy chorus and the desperate rock n roll poetry all came together gloriously.

Teeing everyone up for the headline slot was the insanely charismatic Billy Doze. 'There Will Be Time' and 'For Now and Then' were so heartfelt, the feeling that the crowd growing attached to Doze was becoming tangible as his set concluded. Plus, anyone who can turn a Christian hymn into a crowd pleaser is definitely going places.

Headlining the night were indie superstars in the making, Luna Bay. These young pups from London were on fire from the off. By the time they closed on their latest single 'Smoke and Mirrors' South East London was putty in their hands. The brevity they enthuse into their songs, lifts them above so many of the established acts on Radio X at present, it will only be a matter of time before they high up on festival line ups.

Saturday 21st January saw this editor's faith in love and music restored. We hope the coming together of disparate music genres gave cause for optimism to all who came.

Watch this space for announcements on our next event.

The Final Five: A New Hope

5. Pete Astor - Spilt Milk

Astor's foray into his past delivers richness and warmth much, which, in year beset by iconic loss, is needed ever so badly. 'Really Something', 'Mr Music' and 'My Perfect Life' act as a holy trinity of alternative pop music. Simplistic tunes to warm the heart but with complex discourse. Bravo!

4. Savages - Adore Life

‘Adore Life’ is an album that delivers on the potential of the debut and explores new possibilities simultaneously. They have gone from being an exciting post-punk band to one threatening greatness on this record.

3. Hooton Tennis Club – Big Box of Chocolates

The slackers from Wirral have emerged from their debut album with astonishing results. Their follow up has invoked several new styles including fuzz, rock n roll and an all round more emotive edge. 'Statue of the Greatest Woman I Know' has put The Vaccines on notice for rock n roll kings. 2017 is theres to take on the live circuit.

2 Boxed In - Melt

From the early days of Keith, Oli Bayston has been threatening this kind of breakthrough. This album will hypnotise you and gently release you onto a sun kissed wave of bliss. Boxed In were once Annakin Skywalker to Hot Chip's Obi Wan. Now they are the masters!

1. Trampolene – Pocket Album Five (Divided Kingdom)

Yes this may be an EP but, we've not heard anything over a longer format that compete with these 4 songs and poem. Divided Kingdom's glorious social comment is set to devastating guitars. This is a real single of the year contender.

'Dreams So Rich / Life So Poor' continues the rich vein of British cultural observation. It wraps itself up in Strokes-esque rock n roll but, crucially, has personality oozing from every pore.

'Blue Balls & A Broken Heart' suggests the brilliance of the Libertines wasn't lost on a fashion of trilby hats and lies about being at Filthy McNasty's. This ballad encapsulates Blake, Morrissey, Doherty and anyone who ever dreamt of Arcadia in Albion.

Like the aforementioned Blake, head honcho Jack Jones can self reflect beautifully in his natural surroundings. Even with a slug. Today's political climate is so centered around on burying 'the other', well, this finds beauty in the outsider and encourages everyone to embrace the different.

Closing this glorious EP is 'She Is A Nice Girl'. A sprightly Libertines via The La's acoustic number which relays the fondness of yet another who is misunderstood. 2016 has been a year of misunderstandings on a monumental level, let this track guide us back to humility in 2017.

Top 20 of 2016: 10 - 6

10   Heron Oblivion - Heron Oblivion

The San Francisco super group will lure you in with Meg Baird’s lush vocals before Noel Harmonson and Charlie Saufley’s guitars melt your ears with the spirit of Jimmy Page. No one has delivered the calm with the frenetic so poetically this year.   

9 Misty Miller – The Whole Family Is Worried

What a special talent Misty Miller is. Heartache has never sounded so devastating on ‘Best Friend’ and sarcasm has never been so devilishly delivered as it is on ‘Happy’. The album details a troublesome time between the ages of 18-20 with expertise way beyond her years.

8. The Coral - Distance Inbetween

Not content with just reaffirming themselves to the world, The Coral have set about introducing key aspects of prog into their pop songs. ‘Beyond The Sun’ uses spellbinding organs, allowing this track to float away into the ether. Meanwhile, ‘Distance Inbetween’ pays homage to Dave Gilmour’s archetypal Floyd sound with a slow build and superb solo release.

7. Whyte Horses- Pop or Not

Sultry psyche-pop music from start to finish. The influences appear in great numbers but, it’s the vibrant melodies that shine through.

6 Recreations - Baby Boomers 2

The way in which Duckworth changes gears on ‘Baby Boomers 2’ is ultimately its biggest success. For fans of alternative pop music, this album is perfect. It moves from downbeat electronic folk to Calvin Harris pop with cutting lyrics and thus, is always intriguing.

Top 20 of 2016: 15 - 11

15. Blossoms – Blossoms

A stark reminder that radio friendly guitar music is not only achievable, it’s essential. It might not be a call to arms like ‘Definitely Maybe’ or ‘Up The Bracket’, but, the Stockport outfit demonstrate much needed ambition to be knocking on their doors.

14. Stick In The Wheel – From Here

UK Folk music exploded at the end of the last decade. It produced some great albums, but inevitably, it tailed off with a whimper. Stick In The Wheel inject the scene with much needed urgency, authenticity and the spirit of punk.

13. The Crookes – Lucky Ones

Sheffield’s great romantics deliver yet another consistently high blend of hope, guitars and poetry. Ever evolving, they introduce slices of The Cure and Depeche Mode to their visions of Kerouac, Burroughs and Ginsberg.

12. Pete Doherty – Hamburg Demonstrations

Doherty’s journey continues to deliver time and time again. Melodies of intense quality just never seem to leave Doherty which can be seen on the classic ‘I Don’t Love Anyone (But You’re Not Just Anyone). To hit this high 8 albums in is remarkable.

11.  Steve Mason – Meet The Humans

Mason’s third helping steers the closest to his Beta Band days with its undeniable grooves. However, this album is more than that, he is yet once more ahead the curve with this blissful blend of folk, indie and that magical voice.

Top 20 of 2016: 20 to 16

20. Suede – Night Thoughts

After their triumphant return in 20 with 'Bloodsports', Brett Anderson's bohemian rebellion returns once more. 'Night Thoughts' may tread a familiar path but, after 23 years, the quality is high and more importantly, Anderson's voice of the voiceless remains firmly in tact.

19. Baby Strange – Want It Need It

Raw and visceral rock n roll from the fledgling Glasgow three piece. Watch out fans of Warpaint and Beach House. There’s a new menace in town, and its going to kick down your front door and smash the gaff up.

18. Victoria Hume – Closing

Hume has an innate ability to write melodies simultaneously haunting and beautiful. Hume expertly proves that tales of ‘taking chances’ are not just delivered by punk rock icons on ‘Wild Winds’.

17. Nap Eyes – Thought Rock Fish Scale

If you thought slacker-rock was done for, think again. It ambles around through singer Nigel Chapman with a sense of aimlessness but, with just enough angst that you feel that glory could be around every corner.   

16. James Dey – The Night Time

Kudos to Tom Robinson for turning us on to this one. This is folk music in the guise of pop perfection. Simple tales to warm the soul from start to finish. Dey depicts beauty in the imperfect with such skill, especially on ‘Smokers In The Corridor’.

Shiiine On: Then, Now, Forever!

“When something's good it's never gone”

New Order, 1990.

From the second summer of love to the end of 1996, saw several cultural spikes from the UK. Acid House, Baggy, the Camden pop art scene and the 60s renaissance of Oasis, Ocean Colour Scene and Cast. They haven't just sound-tracked the lives of the 30 plus crowd at the Shiiine On Weekender, they continue to be the fulcrum for subsequent generations looking for something real. Yes, The Libertines, The Streets and The Enemy have contributed significant albums, but, there has never been that Joe Strummer defamation “finally Beatles mania has bitten the dust” written about the Happy Mondays, Oasis or Stone Roses. Why? Well, as this great weekend showcased, it was music by the people for the people. Not a bunch of tossers kitted out Topman clobber. Every act, DJ, venue host, heck, even the dancing security guard proved that a working class hero is still something to be.

'Do you remember when....' is probably the most uttered phrase this weekend. Do you remember when he Bluetones went straight in at number 2 with 'Slight Return', or, when Steve Lamacq used to help us with our homework on the evening session? On and on the fond memories went.

To cynics, the Shiiine On Weekender is a festival for the outdated and irrelevant. They're wrong. For any artist or band yearning to breakthrough, a lot of these bands hold a the answers their looking for.

Echo & The Bunnymen show the value in looking cool as fuck. Mark Morriss and Rick Witter demonstrate the value of between song banter. Meanwhile, Echobelly's Sonya Madan's ability to connect her dancing to their sound gives that additional meaning to songs and makes her look every bit of a star now as in 1995. In a world where music is stolen as much as its bought, these things matter even more now. Talent is not enough to garner adoration, it's got to be earned!

Recently, the glorious Caitlin Moran spoke about the differences between the approach taken by Radiohead and Kasabian on Richard Herring's RHLSTP (RHLSTP) podcast:

“Radiohead and Kasabian are interested in exactly the same music. Kasabian are a working class band from Leicester and Radiohead are a middle class band from Oxford. I love both intensely and dearly but this seems to absolutely typify the differences between working classes and middle classes.......Where as Radiohead make these impenetrable things and don't really talk to the audience, we make these scary things and to make you cry. Where as Kasabian make the same music and are like oooooaaaaarrrrrggggghhhhh. There was a quote from Serge after a Radiohead gig saying 'there was no birds on blokes shoulders, that's a shit gig'. That's exactly it, they want to share it with everyone and make it joyful.”

This come one, come all spirit is alive and well at the Shiiine On Weekender and can be seen in the various cover songs played. It's an art form often overlooked but cultivates identity so easily, it should be rehired immediately.

The Farm remind everyone of their punk and protest roots via The Clash's 'Bankrobber' and arguably draw the biggest reaction of the weekend when Paul Hooton rightly revels in the victories over the West Yorkshire Police, Thatcherites and the Murdoch press.

The music industry is often looked upon negatively, and often with good reason. The lack of reward for the risk is nothing compared to what it was for this weekends acts. Nevertheless, is there a better time to be in a band? There are more festivals, more radio stations and a ton of more interesting less corporate ways of promoting yourself. The talent that Cabbage, Whistlejacket and The Academic possess, the world is theirs to take if they want it enough.

The odds are clearly stacked in favour of those from more comfortably backgrounds but let the likes of Jake Bugg and especially Skepta and Kano be the example of not only how but why it should be done.

NB:

Please go read Mark Beaumont's Guardian review and the beautiful piece from Step On Magazine:

https://www.theguardian.com/music/2016/nov/14/shiiine-on-weekender-minehead-butlins-bez-britpop?CMP=share_btn_tw

http://steponmagazine.com/purple-love-balloon-shiiine-on-weekender-wrap-photos/

Get Cape, Love Southend, Fly!

“Southend is the new Margate is the new Brighton”

Jokes Sam Duckworth during his homecoming gig on Southend Pier where he played his debut album in full. However, to see enthusiasm with which the brilliant charity Metal promoted the arts in Southend this past month, it’s hard not to be filled a sense of hope in these bleak political times.

Nostalgia is a funny thing to be a part of. At times, it’s a sad refusal to move on from the glory days (Liam Gallagher) but, when done properly, serves as a great juxtaposition of then and now (Primal Scream’s 2012 Screamadelica tour). This gig was certainly the latter.

For everyone on the pier, ‘Chronicles…’ is a classic, and thus, nerves are rife. What if it’s a bad gig, will it be tarnished? How apt that the gentle and warming ‘Once More With Feeling’ eases you in. Just one tender blast of the trumpets and everyone feels at home.

The hometown faithful react joyously to favourites ‘I-Spy’ and ‘War Of The Worlds’, a sight that many of us thought we would never see after that great send of in the Forum. These songs have that feel of Billy Bragg’s ‘A New England’ and ‘Greetings To A New Brunette’. No matter how much time passes, they remain great alternative pop classics which unite crowds.

It would be rude to say there was a standout song on an album the alternative community adores. However, ‘Call Me Ismael’ encapsulates everything great about Sam Duckworth. Great meaningful lyrics of everyday life and its struggles, which are enhanced by powerful brass section. Vocally, it strays from emotive to rebellious and when the punk via DnB breakdown comes in, well, it’s impossible not to feel optimistic about life.

Being from Essex, you’re supposed to work in the city, like garage music and be right wing. It’s not a bastion of compassion and alternative culture. Nevertheless, the teenagers tearing up the Pink Toothbrush and the older punks at The Railway provide a bedrock for it and it’s a privilege to come together for whatever guise Sam is operating under. 

Remembering Les Incompetents

Sadly, London band Les Incompetents are now confided to NME's shitty '00s bands we forgot about' lists. They deserve more than this.

As 2004 was drawing to an end, it was becoming abundantly clear the Libertines were finished (for now). Pete's drug problems caused riffs which would take years to heal. This was leaving a big hole for someone to fill.

The history records will show that the charisma vacuum of Alex Turner's Arctic Monkeys and the ego maniacal Johnny Borrell of Razorlight went on to fill it, but, for a short and exciting period, it looked like it was going to be Les Incompetents.

They, like The Libertines, had back and forth vocals which gave sense of brotherhood that the UK has always craved. Furthermore, after the intense William Blake-esque poetry of Albion seeking Libertines, they offered a far more light hearted nature.

At the heart of this were a string of terrific singles. 'Reunion' opened with the glorious line 'No not this way / I haven't even been paid yet' and has a guitar breakdown which always draws a smirk as they took piss on stage.

'RamShackle Riot Show', only one minute eighteen seconds long, it packs in an amazing amount of lyrics and the faux-honest mocking of Libertines in the third verse is priceless:

So say goodbye to the heroes
That never knew your name
Loved them to death
But they never felt the same
And know they've gone for ever
They have gone for good
Over the motorcycle
Like I always knew they would

Pulling everything together in one glorious moment was the single 'How It All Went Wrong'. A song which is full of drama, humour and great singalong moments. Ten years on we are still wondering who 'Andy the disco Queen' is and, more importantly, we are still dancing to this track. The mid-noughties is often ill-defined as a second coming of lad bands. This single is perhaps the ultimate counter to that argument. It showcases a creative intuitiveness that the bigger egos of 'lad bands' rarely had.

Alas, all of this promise came to a premature end in June 2006 when frontman Billy Leeson was attacked from behind by former Green Party member Christian Briggs. This tragically left Leeson in a coma for over a month and by September that year, Les Incompetents were no more.

Despite leaving a feeling of what might have been, they were a joyous little star which burned brighter than most. Copies of of the compilation 'End of an Error (2004-2006)' are hard to come by worth every penny.

Liam Gallagher, that tweet and his future...

After this tweet the other week, the Travellers Tunes HQ thought up a couple of dream projects for the iconic frontman:

A jingle-jangle supergroup album

Robert Plant has been on fire in the past decade with his various band line ups. As a result, we can't help but salivate at Liam treading similar ground, especially to make a psyche tinged jingle jangle album.

Liam's vocals are not restricted to this style but Oasis' 'Songbird' and Beady Eye's 'Millionaire' showcase one of his big strengths. So, who could he team up with to make this happen?

Former Byrds guitarist Roger McGuinn is top of our list. Imagine the pair covering Primal Scream's 'Gentle Tuesday' and The Byrds' own 'Ballad Of Easy Rider', a recurring wet dream right? Original material along those lines would somehow further both of their already legendary statuses.

Gallagher also has some amazing talents from Liverpool who formidable talent from Liverpool he could utilise. Ian Broudie, Bill Ryder, The Coral, Michael and John Head could all play a pivotal role in the studio and on the road. Plus, a mancunian leading a troupe of scousers around must be appealing.

The Pretty Green Festival

Liam's flagship store is in the Mod capital of the world and Brighton's beach would be the ideal setting for annual all day gig. Fans would love the nostalgic venture down South on their scooters wearing their Fred Perry polo shirts and desert boots for a piss up and a sing-song. Demand would not be an issue.

It would also be great exposure for many of the UK's bands who struggle to make the mainstream airwaves in today. Picture the scene, you get your wristband, a pint and then settle in to watch Erland and The Carnival, Swines, James Skelly and The Invaders, Kassassin Street, and Steve Craddock in its inaugural year.

Enjoying it so much, everyone makes the journey back next year to see Cast, The Moons, Miles Kane, Little Barrie, and The Rifles. Everyone is winning!

Moreover, Liam can come on and collaborate, have a headline DJ set, or if he has new material on the go, headline the show. This would be a creative play thing for him.

Thank You Shaun Keaveny

Monday 11th January will forever be etched in the memories of music lovers as the day David Bowie passed away. It should also be remembered for an astonishing piece of broadcasting by Shaun Keaveny on BBC6.

As music news reporter Matt Everitt broke the news, he was clearly choked up and didn’t want to announce the news. Keaveny, being good a friend, chipped in to help him through to the next junction. He later, completely off the cuff, sent his thoughts and feelings out to fellow presenter Mary Ann Hobbs who felt would be distressed.

To call both acts of kindness a presenting style would demean the situation completely. This was a man openly and honestly sending out heartfelt emotions. It was what we all did that morning right? This writer spoke to the friend who burnt him copies of 'Hunky Dory' and 'The Rise and Fall of Ziggy Stardust...' for no other reason than, it felt the right thing to do.

Keaveny's selflessness is often his way on air but in a time of strife it was apparent this is not an act. He is a great bloke who cares about the same things the listeners do.

He put listeners emails and texts before his own thoughts and feelings which was remarkable considering how most broadcasters made it about themselves. Keaveny only offered anecdotes about his past when they related to a specific email or text that came in. It created a bond and a sense of togetherness that can never be lost.

Even more impressive was the way he took a back seat to the elder Bowie fans. Recognising that the hose who were teenagers in the late 60s early 70s were going to have passion for their hero no-one else could reflect was a really nice touch. Every generation has that act which they idolise and follow blindly, Bowie wasn't Shaun's and was keen to take in knowledge and stories from those who knew more. Meanwhile, Moyles was in me me me me me me me mode.

Bowie was always striving for something new and innovative and the play of Daughter's 'Doing The Right Thing' felt apt. The show must go on, its what he would have wanted sprang to mind.

The broadcast became like a wake towards the end, people were over the devastation and began to celebrate what a wonderful career he had had and its impact on people’s lives. Shaun was at his wise crack best, lifting the mood with every dad joke and every pun.

It must have been hard for him to remain in control that morning. As every bowie song was played the reality of what had happened sunk in more but from the bottom of our hearts, we say, thank you Shaun Keaveny. You were a comforting father figure on a bleak Monday morning. Here s to at least another 9 years at the helm of the breakfast show. 

Top 10 of 2015: 5-1

5. Kagoule - Urth

What a storming breakthrough year the Nottingham three piece had. Some say supporting Johnny Marr would be their highlight but let’s face facts, not many get to finish fifth on our annual top ten of the year.

This is a fierce record which follows in the mould of Nirvana, Pavement and Sonic Youth. The duelling vocals of Cai Burns and Lucy Hatter are not treading new ground but they are delivered well and en-route to be added to that list. Refreshingly, the guitars are used as a weapon to assault the senses.

This is an album of remarkable consistency for a band so young. It has the presence of a top seasoned band returning to their fiery beginnings. For a group of teenagers to achieve this, it really does set the excitement levels high.

Standing above the crowd is ‘Made of Concrete’. Amidst all the angst and thrash comes a riff worthy of Modest Mouse. Furthermore, it witnesses Hatter altering her vocals to this more radio friendly track and making her sound like a star.

‘It Knows It’ is another track which pops its head above the rest. The riff conjures memories of Nirvana circa ‘In Utero’. Do compliments come any bigger?

Kagoule are obviously not at an ‘In Utero’ level but neither were Nirvana on ‘Bleach’ but they are throwing some big right hooks in attempt to become that sort of punk-rock heavyweight.

4. Tom Williams - New House

The second mini album of 2015 from Williams is perhaps his finest to date. His band The Boat will need to come back all guns blazing because this heartfelt effort hits staggering heights at times.

For anyone renting with a landlord as sensitive as a Donald Trump speech in Mecca, the sentiments of anguish on opener ‘New House’ will resonate well. It may not be the fist in the air defiance of Frank Turner but rather a warm arm round the shoulder and equally as moving.

‘In The Snow’ features Catherine Black on cello which helps to make this a great piece of dark and squalid art. Everything sounds so bleak and claustrophobic and the use of tuning radios towards the end makes this easily the most interesting track of the album.

The most compelling track however is ‘Play Guitar’. Has a song without a chorus ever being so captivating? The reference points in the song are instantly recognisable like the great novels of Irvine Welsh and John Niven (minus the heavy drug use). What makes it so great is the combination of kitchen sink realism with hope and love embedded into every chord.

In an era where bands only last a month, TT looked despondently to the floor when The Boat said they were taking a year off. That’s going to be that then; they’ll never come back now. Well, if they don’t, the heartbreak has been removed by Williams’s two brilliant mini albums in 2015. If this is his solo starting point, have another year folks because this, this is great. 

3. Hatcham Social - The Birthday Of The World

When will Hatcham Social stop making great records? The answer is seemingly never! ‘The Birthday of the World’ is their fifth LP from the New Cross outfit and they are on top their game.

Opener ‘Bucket of Blood’ sums up everything to love about this record. There is a bit of the Charlatans, The Horrors, Jesus and the Mary Chain, and The Creation all blended into the mix and yet it’s a distinctive Hatcham Social sound.

Weird and wonderful is a phrase often bounded around for the band and with the warped production swarming over the lullaby strings of ‘Wondrous Place’ it’s easy to see why. Despite this achievement, it’s the overarching feeling that ‘The Birthday of the World’ is made by friends who adore what they are doing as much as the few of us left who love buying it.

‘Our Love Will Carry Us Through The Stars’ combines strings with pianos reminiscent of British Sea Power circa ‘Open Season’ to create a sound so light in touch that, whisper and you won’t hear the beauty floating around you.

The one question a record this distinct and career defining throws up is what next? ‘Life In An Endless Love Song’ provides the possibly best answer which is, who cares? This song has love bursting from every pore and as long as this remains, well, nothing else will ever matter. Viva la Hatcham Social.

2. Reverend & The Makers – Mirrors

Bugged out, pure pop, Phil Spector production, Primal Scream, New Orleans Jazz, great guitar hooks, synths, horns, Love, Beatles, Kinks, Ennio Morricone, this album has the lot. You would be forgiven in thinking this is a muddled affair, not at all, this is the best pop album of the year. John McLure is one clever bastard!

For a band that walked their own path rather than the one London’s elite music PR companies told them to, this is the stadium filler they were probably always told to write. As it is, it serves as another great fuck you to the people who never supported the band’s ever increasing creativity.

‘Black Widow’ opens with drums from Primal Scream’s ‘Movin’ on Up’ before a monster riff worthy of Black Keys muddies the water to a level of pure filth. The dirty riff and the Peter Green-esque solo mesh so well with Maclure’s vocals it’s incredulous to think this is not their archetypal sound.

Most of the album differs in tone to ‘Black Widow’ and is a just pure pop brilliance. So many are under two minutes and thus, the need to play them again and again only increases.

‘The Trip’ is 90 seconds of stomping glam and psyche with a great early Noel Gallagher solo to round things off with. ‘Makin’ Babies’ clocks in at 1min 59 and is spritely Belle & Sebastien pop song injected with their Sheffield grit. Meanwhile, ‘Something To Remember’ sounds like a 90 second collaboration between Ronnettes, Scott Walker and Crosby Stills and Nash.

This is an album of relentless quality. The bar for all bands has been nudged that bit higher with this record. Simply put, you must buy this record and revel in its genius. 

1. Gaz Coombes - Matador

Coombes’ debut solo effort ‘Here Come The Bombs’ was a mixed affair, often too many ideas denying a great tune from breaking out. His second offering ‘Matador’ however, combines the elaborate ideas with great song writing with aplomb.

As album beginnings go, the sweeping majesty of ‘Buffalo’ and ‘20/20’ prove to be one of the finest of all time. The spiky acoustic guitars of Supergrass loom large against a backdrop of haunting backing vocals, choirs, and great production values courtesy of Coombes himself.

The simplicity of ‘The Girl Who Fell To Earth’ and ‘Detroit’ is where their genius lays, a point which was missed by Pitchfork’s review earlier this year. Less is more and sold out tours mesmerised by the beauty of these songs is firm proof they did connect!

There are only two problems with this album. Firstly, ‘The English Rose’ is a little close to a well-defined Arcade Fire sound for it Coombes to consider this homage to them. Secondly, the full version of ‘Matador’ does not feature. All in all, a small price to pay for what was comfortably the best album of 2015.

Top 10 of 2015: 10 - 6

10. The Charlatans - Modern Nature

When tragic news broke in August 2013 about the passing of The Charlatans drummer Jon Brookes, many questioned whether the remaining members 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.

9. PINS - Wild Nights

Manchester’s PINS second album ‘Wild Nights’ was eagerly anticipated after their great punk debut ‘Girls Like Us’. This time round, PINS have built upon their punk roots by adding elements of psyche and shoegaze to the arsenal. 

‘Baby Bhangs’ and ‘Curse These Dreams’ form a big part of their evolving sound. The former has a big krautrock riff pulsing through its veins before the Cats Eyes-esque chorus comes rippling through. The results are not perfect but they are on a clear path towards it.

‘Curse These Dreams’ is a hazy affair with a baseline Mani would be proud off. The new intoxicating sounds are a big leap from the ferocious ‘Get With Me’ and Banshee’s inspired ‘LUVU4LYF’ from the debut but not an irrelevant one.

Making it all sound like a great rock n roll journey are the vocals of Faith Holgate. In a similar fashion to Tim Burgess, Holgate’s ability to adapt to different styles seems effortless.

They haven’t completely discarded their punk beginnings though. ‘Too Little Too Late’ brings in their debuts power along with the new pop-psyche sounds. This feels like a space where PINS could really make their mark on album number three. Thee Oh Sees do this sort of thing well but they lack the pop sensibilities of PINS.

What is evident on this record is the lack of killer guitar solos. Lois McDonald has created some brilliant riffs here and at times impressive melodies but the definitive hook or solo eludes. If they materialise, McDonald will rightly take her place alongside the likes of Andy Bell and the Reid brothers.

‘Wild Nights’ is a very good record. A great record it is not. It’s imperative to state this because PINS are so close to creating one. As a live act they have everything. On record though, they are still learning the ropes it seems. Take ‘Molly’ for example’. The guitar pay off doesn’t match the world class build up it’s given in the opening minute. It’s an eight out of ten but feels like full marks could have been got.

Nevertheless, ask yourself this, how many bands in recent years have you felt that about? Exciting times definitely lay ahead for PINS. 

8. Noel Gallagher - Chasing Yesterday

We would love nothing better than to write a glowing review about Noel’s second solo album but we won’t. The reason being, another Mancunian legend John Robb produced the finest piece of music writing of 2015 back in March when he reviewed ‘Chasing Yesterday’.

So, click on the link and go to his brilliant website Louder Than War and read his review. Afterwards, set the site to your favourites and tweet John the gushing praise he deserves.

http://louderthanwar.com/noel-gallaghers-high-flying-birds-chasing-yesterday-album-review/

7. Public Service Broadcasting

The second helping from PBS is a concept album based upon the US vs Soviet Union space race from 1957 to 1972. A genius idea as the rousing speeches, tragic missions and sense of isolation in space are a great source of emotion with which to hook listeners.

The samples are used expertly as they were on their debut 'Inform-Educate-Entertain' to detail the events of the space race chronologically. It's not just Brian Cox educating us on space now!

The real power of this album is not the gimmick, no; it lies within the emotional understanding of the events. 'Sputnik' is a slow building house track which uses scintillating synths to signify the world's realisation that travelling to space will happen. Whereas, 'Gagarin' displays the hero worship Yuri Gagarin obtained for being the first man in space and the subsequent feel-good factor it gave to millions around the globe.

The tragedy of Apollo 1 is captured with minimal effort. The fuzzy radio static and deep noise of the cello acts as a back drop to news reports. This is a as haunting as it gets and a record which will never cease to make you stop and contemplate that fateful day.

Soaring above the crowd is the glorious 'The Other Side'. It documents the successful mission of Apollo 8 utilising NASA radio transmissions via Kraftwerk inspired synths. As it becomes clear the mission will be achieved the music saunters into escapist heaven providing goosebumps galore.

The London duo has delivered above and beyond on their second album. With such a strong gimmick as their key hook for listeners it really wasn't clear if this would be the case. The decision to make the album around such an awe inspiring epoch of human achievement was an excellent one. One in which they were allowed to breathe creatively and conjure new sounds and new image for themselves.

6. Richard Thompson - Still Life

In at number 9 is the fabulous new offering from folk veteran Richard Thompson. Read all about it via Jim Wirth's great review and highly revealing Q&A on Uncut's website here:

http://www.uncut.co.uk/reviews/album/richard-thompson-still