Theatre Royal: Top 5 Singles

Kent’s Theatre Royal have released all 22 singles dating from 2010 to 2018 via bandcamp. It’s proof just how this decade has been under documented for new bands. Much like Sheffield’s The Crookes and The Heartbreaks, they have the ability to write alternative 3min pop songs as naturally as the sun rises.

As a result, we undertook the unenviable task of producing our top 5 singles from this faultless collection:

French Riviera 1988

Escapism for the industrial estuary towns has never sounded so exuberant. The human condition on display for all to fall in love with. Yearning to belong somewhere out of reach should be a downbeat and crushed affair right? Nope!

Our Medway friends are made that much more heroic by saddling up and charging towards their dream land.

Locked Together on the Lines

This is the true story of front man Oliver’s Nan discovering a sailor and a prostitute laying together, dead, at Chatham’s war memorial. Rightly lauded by Steve Lamacq, it recalls Mike Leigh or Alan Clarke dramas at their best. Heartfelt and gritty, it oozes charm and great characterisation.

As the guitars shimmer to a climax, The Pale Fountains and Jasmine Minks come roaring to the surface on this pop triumph.

Standing in the Land

Despite unknown to the masses Theatre Royal are blessed as a band. They can write great and meaningful pop songs, as this singles collection will attest to.

On ‘Standing In The Land’, they change tact and deliver one of the bravest lyrics of the decade. Tackling the migrant crisis from a loving and reasoned view point is to be lauded. Especially back in 2017 with David “hides in his shed” Cameron describing them as “swarm of migrants”.

It goes further than just providing an emotive response. It offers an intellectual viewpoint, asking the difficult questions about Britain’s part in the crisis that emerged. The beautiful harmonies chime away as this kitchen sink drama conversation unfurls like an inspired piece of Morrissey song writing.

If You Could Stand Up

“Kent's 21st Century Robert Forster & Grant McLennan. Purveyors of timeless guitar pop classics.”

John Kennedy, X-Posure, Radio X

It combines the relentlessness of the The Jam and mod hooks of The Prisoners with their love of the C86 movement. It’s arguably the sweetest spot they have struck upon sonically. The earthy horns of latter day The Jam and the opulent harmonies are so effortless it’s impossible not to get washed out to sea on this pop riot.

Caught Me At The Wrong Line

A cross between their idols The Go-Betweens and their hometown heroes The Claim, Theatre Royal demonstrate alternative pop can still melt hearts.

The spritely and pop hook laden The Go-Betweens guitars saunter along carefree whilst Oliver delivers his finest vocal to date. Infectious as Edwyn Collins and defiant as Mick Head, it’s the perfect counter to the sun kissed guitars.

Friday 2nd August marks our 8th birthday. Come down to the New Cross Inn for a night of great live music. Tickets available here:

Album Revisit: Dot Dash - Proto Retro

Washington DC three-piece Dot Dash released sixth LP ‘Proto Retro’ last July. Although we missed it, when the good people at Canadian record label ‘The Beautiful People’ tipped us off, we had to revisit.

Wearing their influences as an emotional badge of honour, Dot Dash have delivered remarkably consistent piece of alternative pop/rock. 'Unfair Weather' has the punkiness of the criminally forgotten The Mice and the sublime licks of The Jam funnelled through the c86 movement. 'Dead Letter Rays', opens with a nod to The Courteeners’ ‘Bide Your Time’ before sliding into the infectiousness of Felt but with a Lemonheads riot beating at its core. Meanwhile, 'TV/Radio' adopts the mod-cum-punk jangle of Jasmine Minks in this assault on the senses.  

Despite the album’s consistency, there is a slight drop on the Boo Radley’s inspired 'Parachute Powerline' or the Britpop tinged 'Triple Rainbow'. However, when you countenance them with the firesome Sun + Moon = Disguise' or the hazy building 'Run & Duck For Cover', there is little cause for complaint.

The albums centrepiece, has to be 'Gray Blue Green'. A moment of pure genius. Squire’s, ‘Mersey Paradise’, jangle links up with the effortlessness of Teenage Fanclub before a Mott The Hoople 'Dudes' solo chimes in to melt all woes away.

It's albums like this, when discovered a year after release which make you question music industry. Just what is it doing? This is alt pop at its best. It should be on the radio alongside whatever major label factory line drivel is out there. Give pop equality a chance!

Friday 2nd August marks our 8th birthday. Come down to the New Cross Inn for a night of great live music. Tickets available here:

The Pink Toothbrush, Keith Flint and I

This past Saturday night, a casual night in the pub was called on with the immortal question of “Brush?” The Pink Toothbrush is an alternative club in Rayleigh, Essex. Open for over 35 years now, It’s become a rite of passage for the young, a reset pilgrimage for the aged, and this past Saturday, it was the Church of Keith Flint.

To some, it’s a just night out, to others, hearing tracks by IDLES, Courteeners, and classic anthems is life affirming. Five days on from the tragic death of Keith Flint, Brush (as its really known), was a chance to grieve, Prodigy style.

Full of love and punk spirit, Brush became more than just an indie club. It was brothers and sisters in arms. Brush, is depicted by people like me. Not confident enough to hit that dancefloor immediately. A level of drunkenness is needed and then, then you play the waiting game. Sitting on edge whilst the piss taking among friends is in full swing, really, I’m waiting for that ONE to kick the night off. Dj’s Darren and Russell duly obliged with ‘Omen’.

The iconic single from, arguably the greatest comeback album of all time ‘Invaders Must Die’ sent the room into a frenzy. The hint of dubstep funnelled through their archetypal rave sound was this crowds hymn. When Keith snarled “the writings on the wall / it won’t go away”, I was drawn to the Ian Curtis painting by the exit. Curtis’ demise was also too soon but, on this occasion, his image was a reassuring sight. Flint will live forever!

The night unravels as per usual from here on in, Snakebites (or a Rodney, a Rayleigh speciality) are spilt and split opinions over the 1975 ensue. However, when Darren and Russell drop ‘Firestarter’, ‘Voodoo People’, ‘Out of Space’ and ‘Smack My Bitch Up’, a togetherness was tangible.

Strangers are hugged and hoisted from the floor and hugged again. This mayhem was about the love of a fellow Essex boy who took a swing and hit it out the park for over 30 years.

Thank you Darren. Thank you Russell. Thank you Pink Toothbrush and before we get sued by Alanis Morissette, thank You Keith, you total fucking legend.

Top 20 Albums of 2018

Another year, another great haul of albums. However, this wasn’t an ordinary year for the underground and alternative scene. Something is afoot. A unified and destructive punk rock and rock n roll is bubbling up. A searing intensity is brooding alongside a mass outpouring of love. They havent quite balanced each other out yet but, the hope that’s amassing on the underground circuit is emerging and will not be contained.

Remember 2018 as the year where the new working class fought back with intelligence and love (AGAIN).

20. Richard Thompson – 13 Rivers

The old folk mongrel cannot stop delivering thought provoking guitar solos. Put your beret on and prepare to be dazzled.

19. Sean McGowan – Son of Smith

McGowan has toured with Billy Bragg, Frank Turner and Get Cape Wear Cape Fly in the past and clearly taken notes. From brass to funk to punk to pop, McGowan has taken a swing at them all. For the most part, made solid connections. Sometimes, bands/artists debut is all they have, a lifetimes dreams desperately oozing from their souls. What’s on display here is, clearly a man with aspirations and dreams way beyond teenage discourse.

18. Boy Azooga – 1, 2, Kung Fu

Welcome to the world of positivity starring Johnny Marr's protege. Cardiff's Davey Newington is a classic single away from national treasure status.

17. The Bonnevilles – Dirty Photographs

Amid all the fuzz and devilment, an old school R'n'B soul permeates The Bonnevilles. No matter how abrasive or decadent, an enriching warmth continually permeates.

16. Bennett Wilson Poole - Bennett Wilson Poole

The sweet sounds of The Byrds and CSNY are given a credible revisit.

15. Alfa 9 - My Sweet Movida

There is an expansive guitar side always threatening to break out on this record. The album isn’t lacking solos but, on 'Rise' and the trippy closer 'Fly', the highlight reel grows significantly. Think Stills at his sprawling best with Manassas.

14. Manic Street Preachers – Resistance is Futile

When will they make a bad album? Lyrically Wire has lit the touch paper and Bradfield's guitar playing strays from Motown to Rush, the drummer is good too.

13. Blossoms – Cool Like You

The stand-out pop music record of the year.

12. 485c – 485c

There is so much to admire about this debut album but mainly, it’s the high level of consistency of it that’s striking. The Charlatans and Maximo Park need to make some space, there is a new member to the forever 8 out of 10 club.

11. The Lovely Eggs – This Is England

Wiggy giggy giggy giggy giggy giggy giggy.

10. Cabbage – Nihilist Glamour Shots

The line has been drawn for battle, if you're not on the Cabbage's side, history will come for you!

9. Asylums – Alien Human Emotions

Pop punk has a new standard bearer. Thoughtful and observant of the times, the Southend outfit have channelled their inner Martin Amis.

8. She Drew The Gun – Revolution of the Mind

Lyrics with the power of Irvine Welsh meet their synths and psyche music head on for their best work yet.

7. Johnny Marr – Call The Comet

Johnny. Johnny. Johnny fucking Marr!

6. DMA's – For Now

The Sydney outfit have honed their La's meets the spirit of The Enemy to pop perfection.

5. Get Cape Wear Cape Fly – Young Adults

Priced out of the city and forced to return home, Duckworth's song writing has hit a career high. Strummer-esque polemic is given a poetical turn to great effect.

4. Shame – Songs of Praise

Such evanescent guitar playing combining with a venomous but heartfelt vocal delivery. They maybe 4th here but, our suspicions are that, Shame will go further than most.

3. Suede – The Blue Hour

It may be their third album post-comeback but, now it feels like they are back in the hearts of the nation once more. Outsiders young and old have a voice once more.

2. IDLES – Joy As An Act of Resistance

Desolation and gut wrenching despair has never been delivered with so much love.

1. The Blinders – Columbia

With the next generation about to be royally fucked, thank god for the punkadelic revolution being led by the Doncaster trio. Dark, warped and scathingly brilliant.

Outsiders

“And the more they see the more they say
Thrown like two winter roses into a broken vase”

Suede - Outsiders – 2016

 On Saturday 24th November, the premier of Suede’s documentary ‘The Insatiable Ones’ aired on Sky Arts. It’s a glorious piece of cinema that depicts the London icons in their role as outsiders on their rise to the top.

Fast forward 7 days to Brixton Academy, The Courteeners, supported by Gerry Cinnamon and Zuzu, it was snapshot of what 2018’s outsider looks like. Accessible and great alternative pop songs from all three are treated like leprosy from the same outlets that once gave Suede a chance.

The rejection of British lives being reflected in song writing, especially in bands in recent years, has served nights like this well though. The reaction to having what they love being ignored has been an intense outpouring of togetherness at the live shows. Cinnamon’s name is sung to the rafters, it couldn’t be clearer that he is the breakout act of the year.

Yes, crowds go wild to anthems and they fall silent to the ballads but, there was something else lurking in Brixton. A genuine feeling of “I have to die proving I love this band”, it was almost tangible!

Our lives may not be reflected in the songwriting played on mainstream outlets now, but, it’s only made fans kick that much harder against the pricks.

Music Venue Trust

London's iconic 100 Club played host to four emerging talents recently. Headlined by London's Sisteray and supported by Gaffa Tape Sandy, Strange Cages and Beach Riot, this was more than your average gig, sadly. It was part of the Music Venue Trust's charity fightback to stop small venues going under.

The fact a charity was set up in 2014 to protect venues should be sending warning sirens to anyone with half an interest in live music. Too many small venues have fallen by the wayside in recent years because of extortionate business rates, gentrification, and a government desperate to increase stats on house building. Thankfully, they are establishing themselves across the country and looking to obtain freeholds when they become available on avid gig goers venues.

For TT, this gig was firm evidence MVT is needed to secure these venues futures. March 2017, Sisteray opened up for The Blinders and The Shimmer Band at the Camden Assembly (formerly the Barfly). Just over a year on, they sold out a venue with a bigger capacity. Without the a venue to progress onto, where is the carrot dangling for a new band like them? Write a soulless corporate Magic FM single? No thank you.

Having been at both gigs, the progress of Sisteray was striking. They were tighter and their confidence was up. Frontman Niall Rowan delivered his social commentary significantly more venom and, on set closer 'White Knuckle Joyride', the band have developed a freedom the Oasis-esque track deserves.

Now, anyone who thinks success is overnight or handed to you by a shit haircut in a roll-neck jumper on ITV, think again. Sisteray have grafted their nuts off and earned this slot. We're not saying it should be easy, the struggle and the journey are key to any art a band puts out. However, without the space to play, fail and learn, Sisteray could not have reached this new level.

The other three acts were indicative of so many support bands. They all showcased glimpses of the sound their honing. In many ways, they are Sisteray in March 2017. Here's hoping that this time next year, one of them emerges as the 100 Club headliner.

Thousand Yard Stare - Keep It Alive

Confession time, Thousand Yard Stare was a blind spot until their Shiiine On Weekender 2016. It was one of those nights where the words “wow, who the fuck is this” just kept forming in a cider induced brain.

So, when they announced a special EP only set at the Lexington, It felt somewhat fraudulent to be there despite the obsessive record collecting In the intervening years. Especially during ‘Twicetimes’ when a total stranger turns and excitedly stutters “20 years, never, 20, never heard in 20 years”.

So often, people with less obsessive tendencies around music ask “why are you going to see an old band”, now, depending on mood, they are met with cynical derision or, an inevitable Spotify playlist. On this occasion, a far bigger response is needed.

They are the musical embodiment of Matt Le Tissier. This brilliant entity, capable of so many things but mainly, dragging the underdog to a realm of glory. The classic ‘0-0 AET’ encapsulates the spirit of The Wonder Stuff into their world of psychedelic rock n roll and ‘Buttermouth’, like Le Tissier, leaves you with the sense that, if new today, would be a national treasure.

Tenuous football links aside, the abiding feeling of tonight is love. From Stephen Barnes’ video message to unwell drummer Dom (get well soon mate), to Sean McDonough’s uncontrollable hugging of other band members to their crew holding on to amps and singing along simultaneously, love oozed from them. What “became unmentionable” tangibly rose in North London on Friday, “it belongs to everyone of us”.

What began as tentative baby steps to the front became leaps of joy and togetherness for one lonely music lover. Lost in the abandon of loyal “weatherwatchers” and seeking solace in a criminally underrated band, Friday was a heartfelt expression of hope.

Keep it alive!

A Letter to Scott Hutchison

Dear Scott,

Thank you. Thank you for your songwriting. Thank you for the lift in the mood at my most isolated.

The news of your passing didn’t hit until today, the anniversary of the Manchester terror attack. As Radio 4 reported the testimony of parents who lost their children and surviving children as young as 12, I was awe-struck by the spirit and sense of togetherness they’d found in adversity.

Radio 4 also interviewed various choirs this morning. They were preparing for a performance tonight in memory of the tragically lost. As they found solitude in a mourning city, your masterpiece ‘Nitrous Gas’ sprang to mind more vividly than ever before.

The warming nature juxtaposed with the emotive darkness as the protagonist tears their world apart is remarkable. The sense of telling the world to “fuck off” is so striking its almost tangible. The little guitar licks nod towards a dawning light that should have been spent asleep dreaming of better things. The imagery is masterful.

However, clearly, this mindset came with a cost. We, and hopefully all music fans from here on in will change their approach to music appreciation. It cannot be enough for reviewers like me to put a tortured soul up on a pedestal anymore. The time has come to refer young men like Scott to CALM, or simply as, “are you ok mate”.

Sorry we indulged in your pain. Sorry for not making your isolation our problem too.

Yours Sincerely

Mike Adams

* The Mural was painted by Michael Corr in Glasglow with his wife and a little girl who walked by wanting to help. http://www.michaelcorrartist.co.uk/

The Bluetones Top 10

After two intimate nights with Mark Morriss (Westcliff) and then the full band (Water Rats), we thought we’d do something different than just review their brilliant Shepherds Bush Empire homecoming.

So, here are our top 10 Bluetones songs for you to enjoy, debate, and troll us with alternatives on Twitter.

10. Slight Return

Music is a great tool for inducing memories both good and bad. As a child of the 90s, it felt like this emerged from nowhere to number two (kept off by Babylon Zoo!!!) in the charts. After Pulp’s ‘Mis-Shapes’, siege mentality was at the forefront of the alternative community and this was one of its chief weapons.

9. Emily’s Pine

A groove-laden ending to the 3rd album ‘Science and Nature’. What begins as a romantic ode ends in dank murderous tones. What’s not to like?

8. Carnt Be Trusted

The perfect mix of Marr’s funk and Squire’s rock n roll blend on this heavy paisley anthem. Lyrically, it’s Morriss at his best, detailing the darker side of relationships. Remarkably, in a song without a chorus, its level of hooks is high.

7. Talking To Clarry

Kicking off the debut album, and harnessing the band with too many Stone Roses comparisons was this cracker. Yes, there are some ‘Breaking into Heaven’ moments in the intro, but, for our money, there was always a nod to Crosby Stills and Nash in this slow burner.

6. Autohpillia

In 2000, Pop Idol was well underway, and freeze-dried pop in a bag was in full force. So, for this eccentric REM number to reach 18 in the charts was a great feat.

5. After Hours

When Mercury Records decided to put the greatest hits out against the band’s wishes, the boys decided to take ownership and record some new material. The iconic Bugsy Malone video directed by Edgar Wright was the best of the bunch.  

The Wings meets ‘Benny and The Jets’ sense of fun oozes from this tale of pub that the Winchester of Shaun of the Dead fame is based on. For anyone who is old enough to remember the dirty secret of a lock-in, well, it will always raise a wry smile.

4. Never Going Nowhere

Bands like Radiohead get tagged as brilliant because they always innovate (rightly so). However, to recreate your band’s sound and retain great pop sensibilities is a far rarer occurrence. Their 4th album witnessed a distinct array of 70s influences not seen before. The intro brims with Talking Heads’ sense of humour whilst, as ever, Morriss tells brilliant tales of dark relationships.

3. Home Fires Burning

After the heavier second album, the knives were out in the music press. It would have been easy for them to fold under the pressure. Cue, their most complete single.

2. Bluetonic

This, more than anything seems to define the band in the mid-90s. It’s immediate with intelligent lyrics and a boozy swagger. Much like the early Supergrass records, it was both of and before its time simultaneously.

1. Marblehead Johnson

Few bands reach the top and then give something back to the fans as The Bluetones did with this non-album single. Furthermore, it’s the freest the band have ever sounded. From the jingle jangle riffs to Morris’ eloquent vocals, everything flows effortlessly.

Shot in the Dark

"they've now grown up, sorted their shit out but importantly they still retain their bite." - Alan McGee (Creation Management) 

Tuesday night, in the car park of a music industry office building, Towers of London are laying on a night of booze food and themselves. These things are always weird, some turn up for the music, but some stand around talking through the whole thing about how they once broke some shit Britpop band.

It’s a short but impactful set of their new material which, is largely a foray into dirty rock n roll. Breed and Proletariat have been scrapping there way to radio attention in recent times, on this showing, Towers of London might just be the break through this emerging scene needs.

The show is good, they are good, but, on ‘Shot In The Dark’, they’re great! Donny introduces it by saying “this is Shot In The Dark, I hope you like it, It really means a lot to us”. This maturer approach is a striking contrast to the persona he once built which adds more fuel to its fire. This song wins on every level. Great riffs and solos are one thing but here, they become a clarion call to the downtrodden. Arguably the finest of its kind since The Enemy's 'Away From Here'.

In this setting, surrounded by industry that shunned them, they've made a great statement that, not only are they back, but this time you will listen.

This Feeling TV Live at Nambucca

Nambucca played host to the Other Kin, Shed Seven and Cabbage’s live performances of This Feeling TV (episode 5) Tuesday night. One thing is striking about the night, optimism. It’s everywhere. The youngest in the audience fuck about care free whilst, the elder states people among us, can sense the ground swell of rock n roll emerging once more. Despite the neglect from the mainstream, This Feeling has provided a home for the outsider and, after years of graft, they look set to kick the doors in and take back the airwaves for the righteous!

Opening the live proceedings were the Dublin five piece Otherkin and, although Shed Seven are legends and Cabbage are well established, the sense of “follow that” loomed large. Their blend of psyche, grunge and rock n roll was a joy to behold. The guitar playing, comfortably the best we’ve seen in some time. It was intensely brutal but, in a similar fashion to Nirvana or The Cribs, never loses sight of great pop melodies.   

Shed Seven treated us to a rare acoustic set. On new tracks ‘It’s Not Easy’ and ‘Better Days’, it struck home just how heartfelt they are and highlighted the trust Rick and Banksy have as song writing partnership. The classics ‘Going For Gold’, ‘On Standby’ and ‘Chasing Rainbows’ were giving an airing and, as ever, their hymnal quality reigned supreme.

Cabbage’s set is less promotional trail for the upcoming debut album release and more a rampaging assault on Downing Street. Their guttural psyche-cum-punk is the sound of this generation kicking back against all things Tory. Never without humour or melody, you can’t help but feel they are one big single and tabloid scandal away from scaring little Englanders half to death.

RIP NME. So What Now?

No one should be surprised that the NME closed recently. It's a difficult time for all print media. Furthermore, no one should care either. IPC has long put a noose around its neck to make the reader stop caring. It was trading off its once good name to sell adverts. Global are doing the same with Radio X, Channel 4 & Bauer did the same with Q television. They’re all run by people who just want a job and judge success on numbers. They should be run by people who want to push the boundaries of art, fashion, and music.

Speak to anyone who writes about or takes photographs of bands they love and the same themes emerge. They were born out of a love of something and a deep-rooted sense of injustice that it was being overlooked.

It's not officially a public service, but, essentially, that’s what is provided. So, for anyone thinking it’s a sad day for music journalism, get off the canvas and join the struggle. You only have to look at This Feeling, Rocklands TV, The Zine UK, or Louder Than War over to realise how digital media can matter. Hell, even if you have just one reader, be it your wife, best friend, or parent who says “hey, I just listened to The Blinders after reading your review”, you've won!

What else can be done:

1.       Take to social media when you find a band you like. From our experience, the mainstream music industry will look for any reason not to play alternative music, such as lack of online presence. It’s not in the DNA of the hegemonic to allow rebellion to thrive. So, like them on as many platforms as possible. Don’t give them an inch!

2.       Start your own club nights. Find a room in a pub for free, get some mates, have a party. Get any local bands you know to play and most of all, don’t be snooty if they are shit. Everyone is shit when they start out. Find the first entries of our google blog, appalling (please don’t find them). Those willing to try should be afforded the space to fail.

3.       Finally, to the younger generations, the ones who instinctively understand digital media. Find ways to make an honest living from it and ways for bands to make an honest living from it. Spotify cannot be the answer. You can and must do better to help artists thrive.

Top 20 Albums of 2017

20. Ride – Weather Diaries

The Oxford quartet’s first album since 1996’s ‘Tarantula’ saw them on mixed form. At it’s best though, ‘Cali’ and ‘Lannoy Point’ deliver their brand of melodic shoegaze.

19. Cast – Kicking Up The Dust

The Scouse legends deliver their best album since the 1995 classic ‘All Change’. Flitting between their free flowing blues and spritely pop numbers, John Power has hit a purple patch of song writing once more

18. Noel Gallagher – Who The Built Moon

The old mongrel shed a few coats for his latest album. When he nails it, as he does on ‘Holy Mountain’, it’s magnificent. It’s big bold and new. Alas, when he doesn’t, its because the leaps are not big enough or he doesn’t remain in his big key change comfort zone. Nevertheless, with plans to make another record with David Holmes, this could be the start of a glorious journey.

17. Public Service Broadcasting – Every Valley

Those clever clever bastards have churned out the goods once more. Getting to grips with pit life in Wales this time round. The guest vocals from Camer Obscura’s Tracyanne Campbell and Manics’ James Dean Bradfield were welcome additions to their sound. However, the standout track comes from the rage

16. GospelbeacH – Another Summer of Love

The West Coast veterans channel their inner Byrds spirit and deliver exactly what it says on the tin. As the cold sets in and all that’s left to eat is cold meat, this blast of sunshine will see you through to your next holiday.

15. Alvvays – Antisocialites

Molly Rankin’s sublime vocals should be saved for a long journey staring out windows at vast landscapes. Everything this band do sounds life changing or affirming.

14. Girl Ray – Earl Grey

With the single of the year ‘Touble’ on its books, Girl Ray were always making this list. Brilliant melodies, unique vocals and a sense of humour unrivalled, they are band with magic at their fingertips.

13. Tom Williams – All Change

History has always proven the poet can achieve far more than social comment. Nevertheless, the social commentary here is smothered such warming pop music vibes, it’s hard to picture this not reaching even those who disagree.

12. Michael Head & The Red Elastic Band

There is nothing we can say, that the genius John Dorman hasn’t about Michael Head already: https://noisey.vice.com/en_uk/article/3ka349/the-british-masters-michael-head Nevertheless, we love this album, we love that Head is in a good place and long may it continue.

 11. Liam Gallagher – As You Were

To quote Jurassic Park, “clever girl”. Did anyone see this album coming? All the money was on a flailing Beatles via psyche album. What we got was, big emotive albums with remarkably honest and humble lyrics from the icon.

 10. Shed Seven – Instant Pleasures

Sixteen years was well worth the wait. All the pain and bitterness felt by band and fans alike when they were shunned by the industry has dissipated. Emerging from the fog are the unsung heroes of Britpop. This new offing is packed with great choruses, wit, and a charming underdog spirit. Business as usual!

 9. The Moonlandingz – Interplanetary Class Classics

This supergroup was always going to deliver wasn’t it? Whether it’s the Mary Chain inspired ‘The Strangle of Anna’, the Gary Numan-esque ‘The Rabies are Back’ or Earl Brutus via The Horrors ‘Black Hanz’, everything sounds so fresh!

 8. Idles – Brutalism

Wry, sarcastic and effing hilarious. This pitiless body of work will stop at nothing to take the piss and provide punk rock nirvana.

7. Johnny Flynn – Sillion

The one true genius of the nu-folk era returned from acting to prove he is still the master. No one in the folk world can touch him for sincerity of song writing. Everything he delivers has a warmth and depth of emotion to be admired.

6. British Sea Power – Let The Dancers Inherit The Party

Is this the first ‘Remainer’ album? Quite possibly. It has overarching sense of together is better and, inevitably, a sense of loss.

Forever consistent, BSP have risen their pop sensibilities to ‘Open Season’ standard and, on leadoff single ‘Bad Bohemian’, surpassed it. Despite the “half glass empty” and “what’s done is done” lyrics, it’s as defiant single your likely to hear. Effortlessly free, it tumbles and swirls with abandon.

Elsewhere, ‘Don’t Let The Sun Get In The Way’ is a sauntering rock behemoth which will stop you dead in your tracks to ponder life as you know it.

5. Daniel Wylie’s Cosmic Rough Riders – Scenery For Dreamers

Proving age is but number, Wylie, 59, as delivered a masterpiece. No one thought it was possible for him to ever reach the heights of the Cosmic Rough Riders’ ‘Enjoy The Melodic Sunshine’ but, this Teenage Fanclub via Neil Young offering just does that.

4. Theatre Royal – And Then It Fell Out My Head

Comfortably the pop record of the year. Smart, funny and always brave in its song writing topics. The heartfelt ‘Standing in the Land’ just grows in resonance the more the British press turns away from atrocities of Syria. To wrap such a subject in a achingly beautiful acoustic number is the very reason why so many people think Ed Sheeran is shit. This is the pinnacle of a simple song!

‘Locked Together on the Lines’, ‘Port Bou’, and ‘Will Somebody Please Write Me a Song’ ooze a carefree spirit that demands instant affection.

3. Ryan Adams – Prisoner

Mr Prolific is back, and his back with the most brutal of break up records. This is the sound of a crushing divorce and searing unseen pain. Channelled through big rock riffs and dream pop production, Adams is at his scintillating best. 

2. Wolf Alice – Visions of Life

The hottest property in the UK right now, and rightly so. They’ve combined a sense of experimentation with punk and pop immediacy on an album that is forever shape shifting in sound. Rock music might not be dominating the charts right now but, Wolf Alice have taking a big stride towards making it relevant again and, they’ve done it with the utmost integrity.

1. Trampolene – Swansea to Hornsey

What a year these boys have had. As if supporting The Libertines and Liam Gallagher wasn’t enough, all the promise from the early EPs has been followed up with an instant classic. There's the aching beauty of ‘Gangway’ and ‘Beautiful Pain, the vitriolic social comment of ‘Dreams So Rich, Life So Poor’ and William Blake poetry scattered throughout, it has it all

Shiiine On the Underdog

"The fact of being an underdog changes people in ways that we often fail to appreciate. It opens doors and creates opportunities and enlightens and permits things that might otherwise have seemed unthinkable."

David and Goliath, Malcolm Gladwell, 2013

Shiiine On 3 was a glorious display of David vs Goliath. Every act seemingly should never had made it but did. A fervent reminder that belief can be all, especially when its in the art of our working class.

Headlining Friday night were the indestructible Levellers. Could a group of Marxist folk-cum-punk rockers ever be considered mainstream anymore? Nevertheless, the fire of 'Liberty', rueful melody of 'Fifteen Years' and the togetherness of 'The Road' are a stark reminder that pop music can be full of love, socialism and make a difference.

The examples of the underdog just kept on coming over the weekend. Clint Boon, an organ player from Oldham, now an icon of the industry Dj-ed to adoring fans. The criminally unknown Theatre Royal continued their good run in 2017 in the Inn on the Green pub. Recent single 'Locked Together On The Lines' drew the crowd, but the power of 'French Riviera' will place them in hearts forever.

Amidst the big choruses lay two beautiful. Firstly, celebrating their 30th anniversary, The Orchids played arguably the most angelic indie set known to man. 'Something for the Longing' will ring in the heads of anyone who watched until they next see this remarkable band. The jingle jangle of 'Bemused, Confused and Bedraggle' brought on a freeness that would have had Arthur Lee beaming from his multicoloured cloud and 'Peaches' was, is and always will be a classic.

The second came from a man, without who, this festival simply could not exist, Steve Lamacq. He was this generations John Peel, shining light on anyone who dared record a demo. His set covered his 30 years but more importantly, it gave little indie nights their dignty back. It became about the people in the room singing the 'Size of a Cow' chorus as one, feeling every bit of angst of 'Mis-Shapes' and, as Lammo stopped to tell all, it was about what John Peel fought so hard to give us, 'Teenage Kicks'.

A conclusion is usually appropriate at this time but, Shiiine On 3 can only be summed up by The Orchids' 'A Kind of Eden'. See you all next year!

Grace and No Favour

For those who don’t know, and far few do, Grace Petrie is solo artist with agift, not seen since Billy Bragg’s formative years to write anti –Tory protest songs and love songs with wit, charm and often, heart-breaking emotion.

Petrie, hailing from Leicester, is four albums in to her career now, and whilst she has a small band of loyal fans, we are certain this should be more. So, in 2017, could Grace Petrie ever be played on daytime Radio 1? It would appear not, so, why not?

Can it be that her blend of punk, folk and pop music is not what they are looking for? Well, loathed as we are to mention Ed Sheeran, he ticks two of those boxes. As for punk, their daytime playlist currently hosts Foo Fighters, Enter Shakiri, 30STM, and Royal Blood so it’s not that.

Maybe it’s her song ‘Ivy’, a loving tale of friendship and kindness as she sets off to meet the new born protagonist. The sense of hope and the swelling of love as Petrie and her friend drive all night from Glastonbury is so unifying, so ready made to tug on heart strings for the millions of us who have been in similar situations. Does it matter, should it matter that she came from left wing Left Field stage? The press love a media spat so, when she decrees “who gives a fuck about Kasabian”, isn’t this just another tick in the box for airplay?

If that wasn’t enough, there are name drops for Billy Bragg and Phil Jupitus and an ode to Dolly Parton’s ‘9 to 5’ in the closing moments.

Our main suspicion lies with her left leaning politics. Perhaps R1 are concerned with balance? Something I’m sure they agonised over when play listing Robin Thicke’s ‘Blurred Lines’ or every time Eminem’s peroxide French crop comes to town. If it is acceptable for Thicke to sing “I tried to domesticate you” and “Me fall from plastic / Talk about getting blasted” then surely it’s fine for Petrie to objectively sing about Edward Woollard throwing a fire extinguisher of the roof of Tory HQ in 2011:

“Well how quickly thrown, Was all your judges stone / Oh how quickly the obliteration of your reputation / So detested so deplored so unyieldingly appalled /  By elected officials who, had recently committed fraud”

Maybe the beeb enjoy being systematically dismantled by the privateering party but, if they don’t, may we suggest playing some tunes that might provide the ballast against a predominantly right wing press.

Hell, Coldplay are first name on the team sheet for R1. Where do they think they stand on immigration, gay rights, the EU and austerity? They’re not exactly skipping through fields of wheat despite how boring they are.

Yes music is subjective, so maybe they just don’t like her. However, it stinks of something more than that. It took Frank Turner, a straight white middle class male, selling out Wembley Arena in 2012 for R1 to pay attention his blend of folk and punk. Is this answer for Petrie, and anyone else who has an image and sound beyond grasp of Simon Cowell?

The Crookes Top 10

“if we’re gonna try / lets go all the way”

The Sheffield outfit, frustratingly, have been one of the UK’s best kept secrets since their debut ‘Chasing Ghosts’ in 2011.

The Sheffield outfit, frustratingly, have been one of the UK’s best kept secrets since their debut ‘Chasing Ghosts’ in 2011. Despite support from Steve Lamacq early on, they just didnt catch that big break.

A month out from their final 3 tour dates (http://thecrookes.co.uk/tour-dates/), we take a look at our top 10 favourite moments:

To prove out point, here is our top 10:

1.       Outsiders

2.       Before The Night Falls

3.       Just Like Dreamers

4.       Backstreet Lovers

5.       Echolalia

6.       Bloodshot Days

7.       Maybe In The Dark

8.       Sofie

9.       The World Is Waiting

10.    Afterglow

Absolute Radio’s Final 5: Shiiine On Weekender

Shiiine On Weekender was one of TT’s biggest highlights in 2016. So, to whet our appetite before we venture west, we take a look at the 5 contenders in Absolute Radio’s competition. The winner will open the main stage at this years shindig and win a £1000:

Shakedown Stockholm – Silence

No longer are female twins scaring the shit out of audiences riding tricycles or bullying human scarecrows in the League of Gentleman. Joanna and Davina front Shakedown Stockholm, a seven piece band from the northwest.

‘Silence’, is a classic piece of brooding rock music. Their intense entwined vocals are the stuff of hedonistic sweat ridden nights.

Deja Vega – Eyes of Steel

The Cheshire three piece won many a fan at last year’s Shiiine On Festival, opening for Eddy Temple Morris’ closing party. It would be only fitting for them to step up to the main stage in 2017.

Especially based on ‘Eyes of Steel’. Guitar playing this dangerous demands big stages. Not a big leap from motorik, but, with far more on the line. You’d be forgiven for imagining yourself as Jon Snow charging into the battle of the bastards.

Gypsy Fingers – Hey Maria

Gypsy Fingers are comprised of Luke and Victoria Oldfield, Luke being the son of legendary composer Mike Oldfield.

‘Hey Maria’ sees Victoria take on the vocal duties and delivers a sultry cross between The Bangles paisley era and early Lily Allen.

The Keepers – Here Comes Spring

The Keepers are British psyche-pop band from Northampton. ‘Here Comes Spring’ follows in the footsteps of fellow Northampton band The Moons and Temples.

This slice of haze, melody and big key changes pay homage to Syd Barrett era Floyd and the pop sensibilities of Noel and Ashcroft. While they are steeped in English heritage, lyrically there is more than enough to carry this in the present day.

Iridesce – Rise

Camden was once the epicentre of all things Britpop so, it’s only fitting that a Camden band form part of this competition.  

The Camden four piece are clearly onto something with this epic effort. The simmering vocals saunter through a cascade of guitar riffs seamlessly. They are but one killer hook from delivering something truly remarkable.

Head over to Absolute Radio here to listen and vote now:

http://absoluteradio.co.uk/competitions/shiiine-on-voting/index.html

5 Days of Richard Ashcroft: These People

Day 5 - These People

Has a song been more needed in recent years more than ‘These People’? Rather than attack the Tory divide and conquer tactics with an angst ridden punk polemic, Ashcroft delivers s slide guitar lead ballad.

The message of survival and rising above stacked odds is that bit more inspiring when, one look around Brixton displays thousands of people arm in arm, together and few things are more powerful than that.

His new material, is largely a reawakening of deep seated desire Ashcroft carried to dizzy heights in the 90s. There is a clear ‘fuck you’ attitude to anyone with preconceptions of who he is. While sonically on ‘These People’, this not overt, the power and intensity he garners on the line ‘I know we can survive’ is remarkable.

As he wraps his glorious vocals around this line, it ceases to be about romantic survival and operates on a new plane. He elevates the people to another level where belief is everything. It’s not enough to just sit back and watch bands we love anymore, the standard has been reset again by Ashcroft and its default setting is real, humble and critically, it’s brilliant.

5 Days of Richard Ashcroft: Space and Time

Day 4 – Space and Time

An underrated classic from The Verve’s arsenal is met with a rapturous response at Brixton Academy. The beauty of the release 3 minutes in never diminishes. Neither does the life affirming end ‘keep on pushing cos I know it’s there’.

However, on any Verve track ensconced with trippy guitars, it’s tough to watch live without Nick McCabe and Simon Tong in tow. Yes, Urban Hymns was all but written by Ashcroft alone but, when the 3 combine, fewer things have been that special.

It’s highly unlikely to ever see The Verve together again, but, with hope on the rise politically, and psyche and rock n roll emerging from the shadows of the UK once more, we can dream.

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.