Brits & Pieces: Columbia

What began as a Twitter feed dedicated to 90s music has now become a foray into the future. Marc Rossiter’s superb Brits & Pieces Twitter feed got the itch so bad that, he decided to bring together a compilation of great new bands like ‘Shine’ editions in the 90s.

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This week, we’ll be exploring our favourite tracks from the 18 track compilation. It’s released Friday 11th December and will be available at Rough Trade.

Columbia are a five-piece from Liverpool consisting of Alex Sheppo (vocals), Jonny Eccleshall (bass & vocals), Jay Sweeney (lead guitar), Tom Comer (rhythm guitar) Jay Culkin (drums).

Named after the Oasis classic and, recording with The Real People’s Chris Griffiths, they are set to light up big stages, when they’re allowed

A death-defying renewal of ‘Definitely Maybe’s spirit. Taking no prisoners, it’s a tirade of debauched escapism.

The release of Jay Sweeny’s guitars is an exhilarating joyride that is going to send the re-opened gig venues of the UK into sweat dripping frenzy. They’re matched, in the closing moments by frontman Alex Sheppo as he wrenches out an Ashcroft-esque “this is a big / fuck you / come on” moment of demonic brilliance.

Brits & Pieces: Monza Express

What began as a Twitter feed dedicated to 90s music has now become a foray into the future. Marc Rossiter’s superb Brits & Pieces Twitter feed got the itch so bad that, he decided to bring together a compilation of great new bands like ‘Shine’ editions in the 90s.

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This week, we’ll be exploring our favourite tracks from the 18 track compilation. It’s released Friday 11th December and will be available at Rough Trade.

Back in July, Aberdeen five-piece Monza Express released ‘Crying On The Radio’. Recorded at the Floortom Studios, it was produced by Steve Curtis.  

Morrissey’s gut-wrenching lyrical heartache is pummelled through a prism of Eddie and The Hot Rods, Blink 182, and the pop majesty of The Lemonheads.

There is a Phil Spector innocence to their punk. The kind the Shirelles and Ronnettes delivered, not the latter shotgun years. The protagonist, a love-torn wreck can’t see the wood from the trees. You’ll root for him like Jim Levenstein or Superbad’s Seth.

In normal times, this would have soundtracked every teenager’s summer. The endless nights doing fuck all but getting drunk and looking for that next one big night to be a hero (and failing).

*Image courtesy of Diana McKenzie

Brits & Pieces: The Lutras

What began as a Twitter feed dedicated to 90s music has now become a foray into the future. Marc Rossiter’s superb Brits & Pieces Twitter feed got the itch so bad that, he decided to bring together a compilation of great new bands like ‘Shine’ editions in the 90s.

brits.jpg

This week, we’ll be exploring our favourite tracks from the 18 track compilation. It’s released Friday 11th December and will be available at Rough Trade.


Run and Hide

Hailing from Dumfries, ‘Run and Hide’ was The Lutra’s debut single way back in 2018.

Wait, what? Debut single? It’s academy venue size but dreaming of Stadiums. It taps into Razorlight’s debut album, lifting all those great ragged pop moments and splices them with the effortlessness of Mersey beat.

The guitar parts, especially the solo, serve as a stark reminder why we must save pubs and small gig venues is the sound of red stripes being held aloft with your best mate in the other arm. Dripped in sweat, you look, you laugh and you know that this is forever.

Here's Where the Story Ends

Trudging slowly over wet sand, how I dearly wish I was not here. The seagulls can smell my vulnerability. I shake. I shiver. I think I about food, no, I’ll sit in the storm a while a longer. Sip the coffee. Should have brought water too. Feet sore, hips killing, I limp my way to the water. Splash my face with the Bristol channel. Regret. Retreat.

Change of scene. That is all I need to breathe again. As soon as I thought it was over. It started again. The running gags re-emerge. Tea. Toast. Fosters anyone? Yeah, go on, I’m not taking it home.

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As a child, my family would go to Mill Rythe Holiday camp in Hayling Island every year. Minehead, but smaller. Roaming free, playing football, table tennis, the arcades, pool, fruit machines, swimming, Jacuzzi, tennis, meeting Henry Cooper, Nan getting a table for bingo 1 hour early, and having a picture with Del Boy’s three-wheeled van, it was glorious. I would mope horrendously upon return.

These memories flood back on Sundays at Shiiine. It’s another time and another world and one no one wants to leave. One last hurrah lurks within everyone’s tired glint. We’re all over thirty, we all know we packed Sunday morning but, we’re all going to behave like it’s Friday night again.

Bouncing to TYS, fawning over Miles’ lyrics and wondering what anti-aging serum Jesus Jones are using. We shall not go gently into the night. I don’t want to go home!

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Levi digging everyone who is hanging out of a hole. Neds’ fire raises you up and PWEI’ groove launches you back to the party (sorry Burger King, Big Mac fries to go!). Orbital caning it like its 1988 and Stereo MC’s showing out like bosses. I don’t want to go home!

Cast, Dodgy and The Farm. Friends arm in arm, tears roll down cheeks. Reality looms on the horizon but, it doesn’t seem so bad now. Conversation going on all around me. I join some, I leave some and some never found me.  And now you must believe me, we never lose our dreams. Stop the slaughter, let’s go home, let’s go, let’s go.

All together now. See you in 2021

Saturday night's alright for Shiiine!

I get up when I want, except on Saturdays, when I’m rudely avoiding the cooking of breakfast. The four-man birth resembles opening scenes of Young One’s ‘Sick’ episode. Someone please god tie a bin bag on my head and hammer the nails in!

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Come on man, get up, the hangover cure awaits. Piss looks like iron bru. Berocca, coffee, litre of water, coffee. Piss looks like 5alive. Another litre of water, bacon sarnie, nap, more water, more coffee, shower. Piss looks like a weak Robinsons squash. Back in the game!

Sit on the patio with a brewer’s droop, I get intimidated by the seagulls, they love a bit of me!

The troops are up, every one slightly in shock we’re all intact despite the confession:

“lot more pushing on the bog than normal”.

With that, it’s Inn on the Green time once more. The glint in the security guard’s smile is beaming, yeah, alright mate, we get it, you got some sleep, we didn’t. cheers!

Thatcher’s Haze, the lemsip of booze. Edge is coming off! Time for new music. Theatre Royal and Gazelle have been the truly special ones in this slot!

A feeling of impending victory forever lurks on Saturday. The c86 wars were fought and the Stourbridge massive kicked an academy venue-sized hole into the industry. It’s all we ever wanted. A place to exist. A place to call our own. Then 1994 happened. Masterpiece after masterpiece came out. Dare we dream a little bigger?

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This all culminates in the mid-90s triumphalism. Huge skyline singalongs to Sleeper, Ocean Colour Scene, The Bluetones, and Shed Seven echo across the sea. Smiles on every face, band t-shirts glow in the disco lights like a Mediterranean sunset. Maybe it's the clothes we wear. The tasteless bracelets and the dye in our hair. Maybe it's our kookiness. Or maybe, maybe it's our nowhere towns. Our nothing places and our cellophane sounds. Maybe it's our looseness. But we’re Shiiine On trash, you and me!

The skyline filters out, and the indie kids seek out Lammo but the ravers are only just coming out to play. Daniel Fulham fires up the party with his rave sets. The black and yellow become poetic as visibility wanes. Awesome 3 wobbles you to the core and N Joi pulsates through your heart like a shot of serotonin.

Jon Mancini drops acid house, rave, and pop classics. The piano loops a signal for another vodka lime soda. Another hug from a stranger. I lose my friends, I dance alone, it’s 4am, and I don’t wanna go home!

Shiiine On Happy People

On a cold and frosty morning, there's not a lot to say. Have I stolen a pint of milk from work for coffee? Have I packed my Thousand Yard Stare t-shirt? Have I been to the gym enough to get through the onslaught of Shiiine On?

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I catch myself in the mirror. Greyer and fatter but, never more ready for the annual trip to Minehead. Why the fuck did I have the 6th pint at Gerry Cinnamon last night?!

The first rush of excitement as old friends meet is allayed by hips falling out of place. Much like 4am finished, hugging around a hand brake is a young person’s game. Four hours of shit jokes, farts, and laughing at your mate for pissing in a bottle as you deliberately ignore Fleet services fly by. This alone is worth 200 quid.

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Being the musical geek of the gang, inevitably I’ve spent hours making playlists. Agonising over which new Candy Opera track to add or about which new band is the best Oasis re-hash. The Crooks or Columbia? (it’s The Crooks for me). As you take that exciting right turn past every supermarket under the sun and the Big Top becomes a reality, so does that they haven’t listened to anything you have curated. When Liam Tyson shreds later, then they’ll listen!

Admin. Bleurgh. Queuing for check-in for 30 mins, why didn’t we get here at 10am? Maybe next year. In the meantime, I’ll stare at everyone’s trainers and parkers like a fourteen-year-old staring at strap-on sally chasing you down the alley.

Beers in the fridge. Beers in the freezer. A warm beer whilst we wait. Lammo on 6music. I wonder if he’ll repeat the same John Peel joke again. I wonder if I’ll laugh again. One hour until Ivory Wave, keep drinking!

Then it happens. Like it does every year. There are only three, of the four of us in the lounge. The extractor fan is on. The slow waft of service station expulsion meanders into the room. The wretched fog is here, and with five thousand middle-aged folks digesting the one nutrient between them in Burger King all weekend, it’s loitering with intent.

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That first walk to the main arena is like the coronation. The laughter at the Inn on the Green grows steadily, the bouncers friendly (that’s not very 90s), and then it begins, Stone Roses is booming. As it surely always is here. Minehead, in November, is grey, bitter and the seagulls have come beyond the North Wall in Game of Thrones but, ‘She Bangs The Drums’ paints night like a Jackson Pollock masterpiece.

Jug after jug come. I should eat, maybe after Rev. Jug, jug, Thatchers, jager bombs, jug repeat! I should eat. Maybe after Cast and Lightning Seeds. Shit, I can’t hear the Seeds properly, maybe I should eat no? Not before Sice, never before Sice! I eat, it’s not legal, Apollo 440, Adamski and Cut La Rock take me to a buffet of love among strangers I forgot existed. I should sleep. One more pint with this couple as they tell me about meeting at Spike Island.

Chalet. Bed. Sleep smiling. Best friends. Best strangers. Best day one ever.  

 

Interview: Thousand Yard Stare

Slough’s underdogs Thousand Yard Stare released their first album in twenty eight years recently. It’s firm proof that you can teach old dogs new tricks.

We caught up with frontman Stephen Barnes just after the triumphant release of ‘The Panglossian Momentum’ (full review here).

Afternoon Stephen, how has lockdown been for you?

The album is available from their Bandcamp page.

The album is available from their Bandcamp page.

On the whole it’s been OK. My family are safe as they can be, I’ve continued to work as a lecturer, and had the album release to keep me busy. Missing going to shows (and doing some ourselves!) Others in our business and beyond have had it far worse, so I cannot complain on missing out on a few simple pleasures. Hopefully we’ll be out the other end in some capacity soon.

What music are you currently listening to?

Been delving into the current crop of off kilter post-punk protagonists quite a lot.. Mush, Snapped Ankles, Squid, LIFE… and of course my good friends IDLES who’s upcoming album is gonna be amazing based on the recent releases. On the softer side, love The Orielles and Khruangbin at the moment. Also partial to the smoke-haze outer rims of current hip-hop like Kool AD, Shabazz Palaces and Standing On The Corner when I’m wanting a drowsier fix..

Musically, this is quite the shift. Was there a moment that sparked this for the band?

Ha, 27 years of hiatus! I get what you are saying, we’ve taken on a more textural approach these days, rather than the all out kitchen sink style of our younger years. Think the original TYS DNA is still very much there, it’s more of a progression than a shift. Where once we were all up front, now you have to dive in a bit more…

During 'A Thousand Yards - A Panglossian Momentum', you sing "you synchronise with something". The open ended nature of "something" feels like a message of hope; something that runs throughout the album. Was there a deliberate intention to rouse the soul?

Nice you picked that up, and yes, I think it was. I went for a different lyrical approach on the album, much more personal, internal, less observational of others. This particular track and its partner, Spandrels are both exploring the disconnect that can happen between people, almost unknowingly… but then realising it, and trying to fix it. So it is about hope I guess, the hope for a deeper and more meaningful connection that can get lost in modern day life.

Was "please let me know, how this ending unfolds / i want you to know we just can’t ignore this anymore" on ‘Spandrels’ a defiant reaction to a political moment?

Ha no, but as ever, I try and write so it can be open to the listener’s interpretation. This is the most personal song I have ever written, but think the sentiment can work in many ways. We have all been unsure of the future at some point I’m sure, and know when things need to be changed. It’s working out what to do for the best that makes it such a conundrum…


‘Sleepsound’ has the youthful buoyancy of TYS combined with the harder edges of your Deep Dreaming EP. Was this something you were looking to achieve?

The whole album was written with every song having a purpose, we knew what we wanted to present as a whole and needed to make the pieces to fit. Sleepsound wasn’t originally going to make the cut, we recorded another track for this ’slot’ on the album, but when we pulled it all together, Sleepsound emerged as the right fit. We might release the ‘other song’ at some point, maybe as part of an EP but maybe it’ll just stay as the one that got away. It’s really good though, so we’ll probably release it at some point!

Will we have to wait another 28 years for the next album?

Yes! We’ve slated the next album for 2048, which will be created and performed by our AR avatars! It will be available in brain implant format only! In truth, I don’t know. I think this is probably the last one. It feels fitting. We’ve scratched the itch, and we’re very happy with it, and it seems to have gone down very well, so might be best to leave it there. That said, myself and Giles are really enjoying writing together, and we’ve just written three new stellar songs, so……..

Interview with Andrew Cushin

Newcastle’s Andrew Cushin released his latest single ‘Wait For The Rain’ (full review here) last week. We caught up with Andrew recently, here’s what he had to say:

What music are you currently listening to?

I’m currently listening to a lot of Tom Grennan actually... wasn’t really a fan until now, also bang into James Bay. I’m still always jumping round to the old stuff like The Beatles and The Who.

Has lockdown been affecting your song writing?

I’ve written some great songs! (Other people’s words not mine haha!) In a way I’ve written some of my best lyrics whilst in lockdown ... it’s given me time to reflect on what’s been a mental first year in music!

How was it meeting Noel in RAK Studios? Did he offer you any advice?

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Noel was a proper geezer all week. Lovely bloke... I won’t have anyone slate him in my company after the week I had with him. The advice he gave me was priceless. Absolutely priceless ... he’s definitely a secret Newcastle supporter though.

Your current record, 'Waiting For The Rain' is a deeply personal record. Was it a hard process to record and write the lyrics?

I wrote the lyrics for “Waiting For The Rain” as a 15 year school boy, the chords and melody was written when I was 16 and I played it for the first time when I was 18 I front of close friends and family ... they couldn’t believe it was my tune and that I had hidden it away for the best part of 2 and a half years.

Interview with Springtide Cavalry

Kent’s Springtide Cavalry released their comeback single ‘Save An Old Soul’ last month. We recently caught up with them to find out what they have been up to.

What music are you currently listening to?

Kev: Soundgarden, Motorhead. Black Sabbath, The Allman Brothers.

Weeksy: Pearl Jam, Leonard Cohen, Paul Simon, ELO.

Sean: The Black Crowes, Peter Green, Freddie King, Idles

Andy: Monks road social, Teskey brothers, 

Baely, Jazz Morley...

Was there a moment or a song perhaps, that sparked the idea of getting the band back together?

Yeah, it started with me (Kev, Vocals/Guitar) and Andy (Drum’s) working on a new song, initially looking to start a new band. When we discussed putting a track out, I mentioned STC! Then we spoke to Weeksy (bass) & Sean (Guitar), we started rehearsing, more new songs came, then once word got out we got offers for some gigs locally and across the UK. So the ball started rolling quickly, until C19 hit everyone!

Has lockdown been altering your song-writing ideas?

Lockdown so far has been positive and negative! Positives are having time to focus on learning/practicing/writing, it’s also given us time to think about music, life, how to be relevant and working in 2020 when you have no idea what’s around the corner.

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Negatives is the fact you can’t play live which this day & age is really the lifeline of a band, especially when the real money is in merchandise and getting your music to people on the LIVE circuit. Also we selfishly LOVE playing in a band with each other as first & foremost we are all best mates !

'Save An Old Soul' has great urgency, has getting the band back together felt like a second chance not to be wasted?

That is definitely one of the many reasons, Also the time just felt right, it seemed to work for everyone and the more we’ve been active the more we want to achieve! We can not wait to be able to play live again!

What can we expect from the next two singles due out this summer?

Well they are both high energy, rocking tunes. Myself (Kev, Guitar/Vocals) & Sean (2nd Guitar/Vocals) both share out lead vocals on certain songs, so you can also expect that...

We don’t want to recreate the wheel, we are essentially a rock band that do our best to write good songs.

Is This My England?

What does it mean to be English? Is it a third Conservative Prime Minister since 2010, continuously banging the drum of “patriotism”? Is it anti-immigration, tax-avoidance schemes, elitist snobbery?

Or is it Jeremy Corbyn’s brand of patriotism; a nation with the aim of social justice, distribution of wealth and the rule of law operating in unison to create a better existence for all?

What’s clear, is that none of these people “get it”. Callous, empty gestures from the right in the guise of patriotism, while Corbyn’s patriotism was oft in question; too often he came down on the wrong side, and the working classes which he so desperately sought to represent, never felt like he had their back.

Gazelle’s latest single (‘Is This My England’), released for VE Day, calls bullshit on all sides; reminding the people exactly who they are and what they stand for. England isn’t Tommy Robinson’s, and it’s certainly not the property the soggy biscuits who frequented Eton.

It’s melting pot of cultures, ideals and lifestyles. It’s humble, charitable, hilarious. It made Mo Farah a knight of the realm, and Harry Maguire a sex god. It raised thirty-two million pounds for the NHS because a 100-year old veteran did laps of his garden (Captain Tom Moore, we are not worthy).

This single’s greatest quality, is nuance; that long-forgotten art form. Beautifully - but achingly - capturing England’s constant inward struggle with greed and selling itself down the river at every turn, this track is a look under the hood at the pace of change in this country with an inherent, but heartfelt, sense of regret.

This should be a breakthrough moment for Gazelle, creatively. With their foot off the gas for what feels like the first time, the result is sublime. In reality, it’s likely that this will be sadly overlooked. A working-class troupe sporting Fred Perry across their chests and Adidas Originals on their feet, singing about the England of old? They’ll do well to avoid being lumped in with the “Britain First” crowd.

The truth is, however, that they should be lauded for treading the path of literary legends William Blake, George Orwell and John King. Patriotism, is not blindly following your government into one dead end after another. Nor is it stoicly backing their opposition. Sometimes, the most patriotic thing of all, is to question everything.

THIS, is patriotism. And Gazelle, get it.

Helplessly Hoping

In 1969, Crosby, Stills and Nash began their first steps into music history with their self-titled debut album, recorded with the legendary Paul Rothchild. Amid the heavyweight hits was ‘Helplessly Hoping’.

Described by Stills at the time as ‘a real country song, as opposed to all those plastic Hollywood country songs by plastic country groups I read are happening now.’ It would later go on to be released as b-side for ‘Marrakesh Express’.

As the revolution of ’68 faded, they delivered the purist of country songs; isolated and longing for better days.

It’s easy to see why Massachusetts based Ryan Montbleau & Tall Heights have hooked up once more. Seeking their idols sense of friendship and togetherness in these days of lock-down is a rare moment of serenity and hope.

For the most part, it’s a like for like cover. Why would you rearrange greatness after all? However, proving that all the great days don’t lie in the past, they exquisitely deliver solemn, almost King Creosote piece of orchestration. It captures John Williams’ genius as Luke, alone on Tatooine, knows a better life lies on the dangerous horizons he surveys.

Double Release: Nobodies Birthday

Nobodies Birthday are a five-piece rock ‘n’ roll outfit from Reading. They consist of Dom (vocals), Jimbo (lead guitar), Steve (rhythm guitar), Brendon bass guitar) and Tom (drums).

At the end of 2019, they released the anthemic ‘Clouds’ and featured in our New Band Spotlight section (full article here)

Last week, they released not one, but TWO singles. Let’s check them out:

No Place To Hide

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The aptly named title is evoking memories 00s indie-punk bangers. The earnest stomp of Pigeon Detectives meets the Cribs’ ability to turn out a raucous riff. This isn’t just rehashing the past. Jimbo’s guitar parts are scintillating pieces of escapism. Get your faces at the window, take your partners hand and dream of sunnier climates!

Drift Away

‘Drift Away’ is gloriously ambitious. Despite insular nature of the world’s problems, they’ve reached for the stars. Heartfelt euphoria washes the pain away as they reimagine the vast landscapes of Soundtracks Of Our Lives.

At points in the verses, they tap into the sauntering melodies of The Courteeners. It anchors their dreams alongside us mere mortals. However, the song sky rockets out of the galaxy with unashamed ambition in the closing moments. This is the sound of a band on the cusp of great things.

*Banner image courtesy of Benji Walker

The Road to Wembley

“If you’re all about the destination, take a fucking flight”

He’s right - Frank’s always right - and the 13th of April in 2012 was the climax of a rise unlike any other. No airplay. No TV appearances. Scant column inches. No matter – your boy Frank will sell out Wembley Arena, anyway. One in the eye to all those who said no to him, and two fingers up from of us who banged the drum to achieve success. Fuck ‘em!

*Images courtesy of Gregory Nolan

*Images courtesy of Gregory Nolan

Seven years on, it’s a feat that still beggars belief, not to mention one that remains largely unchallenged. From his Nambucca residency, where many would turn up for Beans on Toast, Frank hotfooted it all the way to Wembley. Folk-Punk-Rock doesn’t do this. To see the above grace the stage with Dans Le Sac vs Scroobius Pip and Uncle Billy; even a mother couldn’t be this proud. His was, she joined on stage to play the harmonica!

That Friday the 13th was Spooky. Twelve-and-a-half THOUSAND people crammed into a corner of North London to shake a world whose obsession was largely with that of b-list people and pastimes. This was about love, last minutes, and lost evenings. The dreamers, the habitually optimistic, were given everything rock’n’roll promised and more: hope, freedom, togetherness, glory, and love.

For everyone who was lucky enough to be at Heaton Park to see The Courteeners massive shows, or has designs on Gerry Cinnamon’s absolute monster at Hampden Park next summer - just remember – it was Frank who kicked those doors in. Every decade has its own Spike Island. This was it.

The “people left behind” phrase is becoming one that is all too familiar while the current political landscape remains the way it does. It’s an accurate concept, though, with elitists masquerading as men of the people they exploit. Not unlike the music industry; the more the media fractures into various niches, the more the truth becomes dispensable. More and more people are forced into margins as Television and Radio augment reality to fit their own narratives.

One such instance came from my former career in Music TV. In a meeting where blood spewed from eyes, arguing in 2007 that The Enemy and The Courteeners were the real deal and Scouting for Girls and Hoosiers were shameless drivel. I lost that argument. Truth became disposable long before that fucking bus! However, with Frank, and later with The Courteeners, I, the alternative community won the war!

How the name of fuck did it happen though? Easy. You make your own luck, that’s how. Frank celebrated his 2000th show this decade. In his 18 active years gigging, no one has worked harder or shown more endeavour. His criminally underrated debut album, ‘Sleep is for the Week’, came at a time when those who arrived too late for the Britpop bus were patiently waiting on the voice of their generation.

Tales of drunken woe, emotional heartache, and family strife cut deep, with searing honesty lighting up lives that had been forgotten in excess. Turner’s four albums up to that moment in 2012 continually found ways to ram home the point that Beatles mania had finally bitten the dust, and with it, the 90s hangover his fans had had to endure.

So in tune with this generation’s angst and hope is he, Frank could have walked on stage, simply raised a fist in the air, and bellowed “We have won!” - and still walked off a god. But he’s not an A-Level philosophy student, and nor is he a wanker; he is an artist and a poet, and a damn fine one at that. Sonically worlds apart, the spirit of bands like Pulp and Suede loomed large that night in North London. The outsiders, the write-offs, the freaks, and everyone in between came together as one to sing every syllable as though their lives depended on it.

Yes, the old model of “making it” is gone. Yes, the new one is shit. But, when the victories come, they taste sweeter and they live longer. There aren’t many things that unite the people of this country anymore, but you can still give them two things they all love; music, and an underdog.

What metal music fans endured for decades had come for the mainstream of alternative music, kicked to the sides, and told to fuck the fuck off. Arguably, it was the best thing that ever happened, pathways emerged online from those who cared so much it woke up them at night. Yes, we all need stitching back together somehow, and yes, a lot of the ill-informed gatekeepers are still running the show but, clearly, their grip has loosened.

We all manned the barricade that evening, it was together that we made the world shake. When it stopped it was haunted with the ghost of Frank Turner. A folk-rock punk god that not only bucked the system, he bucked it for generations to come to enjoy. When Gerry Cinnamon plays Hampden Park next year, raise a glass to Frank. When your favourite band you never hear on the radio sells out an academy venue, just remember, Frank kicked the doors open for them.

“there never was no god”

Or is he called Frank!

*Images courtesy of Gregory Nolan

5 Bands You Should Know from 2010s

Bands and artists who just don’t quite hit the big time, its our bread and butter. Their dreams are ours, when they hang up the guitars, a little part of us dies.

That is, until we realise, we’re going to keep on fighting their corner. So, here are 5 bands we hopelessly fell in love with during the last decade who didn’t (or haven’t yet) hit the big time.

The Crookes

Sheffield sweethearts The Crookes a band of great poetry and adventure, they were always better read than you but inspired us to follow in their romantic footsteps.

All four albums, and their EP ‘Dreams of Another Day’ were littered with American road trip escapism and Richard Hawley romanticism. They peaked with the album ‘Soapbox’, a stonewall classic that never was!

In a decade where Morrissey increasingly soured the teenage memories of The Smiths, the world should have turned to The Crookes. It’s easy to see why Lammo picked them for his 25 at 25 radio feature.

Theatre Royal

Medway’s Theatre Royal, the only band here to be still be going, are, pound for pound, the greatest pop band in the world right now.

With the sun drenched majesty of The Go-Betweens firmly in their hearts, they released four albums this decade. Whether it’s the spritely numbers ‘The Story of My Life’ or the downbeat affairs like ‘Standing in the Land’, everything they make is single worthy.

Pop hook after pop hook their recent singles collection could have been 50 deep. #

Stay tuned for a new album this year.


The Heartbreaks

Morceambe’s The Heartbreaks were the feral pop to The Crooke’s masterful pop adventure. No less in quality, they had rock n roll’s desperation permeating their journey.

It was an exhilarating two album ride, featuring a duet with Edwyn Collins and singles out on the impeccable Fierce Panda. Their devil meets mainstream guitar pop style, championed by Lammo, should have been bellowed out in the UK’s academies y drunken crowds!


Bo Ningen

All hail Marc Riley’s incredible 7pm slot on BBC6 for bringing Bo Ningen into our lives. The Japanese outfit, based in London provided some of these decades truly death defying psychedelic moments of rock music.

We will never forget their show at Dingwalls in 2013. A mind blowing set of psyche, noise rock and punk!

Standard Fare (& Emma Kupa)

Sheffield’s Standard Fare and, latterly the solo project of singer Emma Kupa redefined what indie-pop could be this past decade.

For so long, it was the cute and wry genre. When Kupa’s unique vocals burst on to the scene, it became dangerous, fragile, and intriguing. Yes, the cuteness remained, but it was the shot in the arm it needed after end of the 00s trashed it with Scouting for Girls and Hoosiers.

Embrace - Refugees

The tens, a decade like no other since the 1960s. The arse fell out of the industry, record deals died, and a shot for working class glory dramatically fell by the wayside and reality TV reigned supreme for a way out.

This was a decade that threw out some wonderful moments but were under documented. In this series, we look back at the ones that mattered most. Rock’n’Roll found a way.

Embrace – Refugees

One of the 00’s most unlikely moments came from West Yorkshire’s Embrace. Three albums in, no-one expected anything from their fourth ‘Out Of Nothing’. What they got was a stunning piece of euphoric indie rock, launching them to the heart of a burgeoning scene of newbies (The Killers, Bloc Party & Kasabian).

Surprising as this was, it was only seven years on from their classic debut ‘The Good Will Out’. Their self-titled album was eight years on from the critical failure of ‘The New Day’, this album was surely just something to put out for loyal fans right?

What came to pass, was the rebirth of their awe inspiring anthemic melodies, radiating their love of the Bunnymen and New Order. Predominantly written by guitarist Richard McNamara, lead singer and brother Danny canned 50 of his own songs upon hearing the demo. At the core of this album’s success was the lead single, “Refugees”. The power this song possessed not only won them a place back in the hearts, but more crucially the minds, of the UK’s alternative community.

All the hallmarks of the band’s agony/ecstasy dichotomy were there, but this time sonically reimagined with post-apocalyptic rave drum loops, adding a touch of life and death drama the subject matter so rightly deserved. There is no sense of any sort of happy ending until Danny’s vocal in the latter stages of the track; even the euphoric uplift of Richard’s early chorus leaves the listener with a sense of woe.

The power of this New Order meets Embrace epic, comes crashing home lyrically in the second line:

“Like Bonnie & Clyde except we don't die tonight”

Does another monostich encapsulate the liberal decline of the UK more this decade?

In February 2013, BBC3 sketch show ‘The Revolution Will Be Televised’ took to the streets to ask “have we forgot about Syria?”. It was great satire but, sadly the reality was far worse. After the disastrous anti-democratic intervention in Iraq, Britain had lost its stomach to do the right thing in foreign lands. What was once a sympathetic land, had become one where it increasingly only likes white faces. When thirty-nine dead Chinese refugees were discovered in a lorry in Thurrock, the story barely ran for a week in the British media. Where was the outrage? Where was our heart? Grenfell, Windrush, the examples in this decade go on!

Embrace’s ability to rouse their fans is often taken for granted, often taking them elsewhere. Only here, the journey is very different. Anchoring the conscious in the Syrian conflict, the band shed light on just how the UK had let itself down. The honesty of the self-reflection of the way we casually ignore war zones and genocide takes integrity to another level:

“And my only defence is the worst of me / Out in the open for all to see”

‘Refugees’ could and probably should have been for this decade, what Cars’ ‘Drive’ was to the 80’s.

On ‘This New Day’, the band’s archetypal contrast of light and dark dissipates into the warmest of glows. Great for fleeting moments, it had everything an Embrace fan could wish for. Huge hits. Arena tours. But when the sun set for that final time, and the radio went dead, it all felt a bit…hollow. People needed that comeback album. They needed Embrace. Britain needed to be united in pain and in the misery of its own undoing. Then, and only then, could the nation accept the ecstasy in the McNamara’s chorus.

They needed Refugees. 

Top 30 Albums of the 2010s

30, Recreations – Baby Boomers 2

(Read full review here)

29. Johnny Marr - Playland

28. The Go! Team – Rolling Blackouts

27. Public Service Broadcasting – The Race For Space

26. Bon Iver – Bon Iver


25. Asylums – Alien Human Emotions

(Read full review here)

24. The Horrors - Skying

23.Reverend & The Makers – Mirrors

22. Gaz Coombes- Matador

21. Orbital – Monsters Exist

20. Embrace - Embrace

19. Get Cape Wear Cape Fly – Young Adult

(Read full review here)


18. The Vaccines – Come Of Age

17. Tame Impala - Currents

16. Theatre Royal – We Don’t Know Where We Are

15. Whyte Horse – Promise I Do

14. The Claim – New Industrial Ballads

(Read full review here)

13. DMA’s – Hills End

12. Wolf Alice – Visions of a Life

11. Ryan Adams - Prisoner

10. IDLES – Joy As An Act Of Resistance

9. The Blinders - Columbia

(Read the full review here)

8. Arcade Fire - Suburbs

7. Prodigy – No Tourists

(Read our feature on Keith Flint here)

6. Jake Bugg – Jake Bugg

5. Frank Turner – England Keep My Bones

4. Daniel Avery – Drone Logic

3. Mogwai – Hardcore Will Never Die

2. Primal Scream – More Light

1. The Crookes – Soapbox

Top 30 Albums of 2019

1. The Claim – New Industrial Ballads

It’s been 30 years since their debut ‘Boomy Tella’. Countless fans will have pondered what might have been had they got a bigger break back then. We defy them not to see this 30 year wait as positive now. Integrity in tack, The Claim have delivered a pop music masterpiece. (full review)

2. Desperate Journalist – In Search of the Miraculous

Sometimes, on third albums, there is a sense of all or nothing for bands. They chose all in. This is a post-punk ‘Rumours’. This is the rarest of tightropes walked, where cutting edge meets accessible pop music and is credible. If Fleetwood Mac signed off their careers with this album, the world would lose its shit at ‘Satellite’ being the new ‘Go Your Own Way’ or ‘Argonauts’ as the new ‘Songbird’. (full review)

3. Cellar Doors – Cellar Doors

There are moments of sublime pop majesty. 'Prism' sees singer Sean Fitzpatrick deliver an angelic Paul Weller vocal circa 'English Rose' vocal amid an eruption of Kasabian's 'Reason Is Treason'. The sex and danger of Fitzpatrick's guitar playing on 'Sirens' should hopefully banish the banal dross of Arctic Monkeys for good and, on 'Frost', they have an anthem for the ages. Complete with Depeche Mode's darkness, Neu's motorik, and the lightness of early John Squire guitar playing, 'Frost' is a haunting psychedelic pop behemoth. (full review)

4. The Membranes - What Nature Gives…Nature Takes Away

There is a real sense that they have left every ounce of their soul in the recording studio for this release. The intensity and the struggle is tangible at times and, it should be serially recognised! (full review)

5. Nick Cave - Ghosteen

Stunning. From start to finish! Stunning!

6. Death of Guitar Pop – In Over Our Heads

Ska pop executed like this is undeniable.

7. The Murder Capital – When I Have Fears

Fontaines have stolen the plaudits, but, for our money, this Dublin band are the best of the burgeoning scene in Ireland.

8. Ian brown – Ripples

Turning inwards and lo-fi like ‘Unfinished Monkey Business’, Brown has delivered an array of alt-pop songs sprinkled with magic and post-roses angst.

9. Fontaines D.C. – Dogrel

It’s hard to argue with 6Music’s choice of album of the year. From playing the Good Mixer to selling out Brixton Academy next March, what a charge of glory!

10. The Twang – If Confronted Just Go Mad

As the album grows, it becomes apparent, this is perfect blend of update and re-connection rather than Ziggy to Aladdin Zane reinvention.

With hooks aplenty, and, younger audiences alive with excitement for DMAs, Gerry Cinnamon and The Shambolics, not only is The Twang’s return well timed, it seems heaven sent to unite generations of outsiders. (full review)

11. Daniel Land - The Dream of the Red Sails

The older one gets, the harder it becomes to believe in anything, let alone heroes. Daniel Land is a hero. To write an album amid political bile and personal turmoil is an achievement in itself. To trawl through your own personal history and relationships and not be filled regret is something us mere mortals can only dream of.

The binary disposition of Brexit positions is so prevalent it’s hard to ever find an answer for anything. 'The Dream of Red Sails' is the third way. It is the leadership we so desperately need. (full review)

12. The BVs – Cartography

A stunning array of indie-pop.

13. Mark Morriss - Look Up

Not only is the magic still prevalent, its flourishing. ‘Science and Nature’ is, for our money, Morriss’ pinnacle. ‘Look Up’ is full of creative risk taking which rivals. (full review)

14. Skint & Demoralised - We Are Humans

How effing marvellous is it to have them back? Abbot’s lyrical prowess has grown significantly in stature. The perfect polemic for a terrible year.

15. W.H. lung – Incidental Music

If anything, their debut was a let-down. The early singles were so exciting, that the rest of the album couldn’t quite match them. It’s still a class act for a debut album, one you must own.

16. Hot Chip - A Bath Full of Ecstasy

Fifteen years on from their debut, the London outfit delivered their best album yet.

17. Liam Gallagher – Why Me Why Not

For the most part, Liam has channelled his love of George Harrison and its paid off. Significantly better than his debut and, in ‘One of Us’ has written a classic.

18. Chemical Brothers – Geography

The Dust Brothers has done it again. They continue to forge new paths from their ground-breaking beginnings.

19. Frank Turner - No Mans Land

Though punk maybe his spiritual home, folk is where his true mastery lies.

20.  Moon Duo - Stars Are Light

A seriously impressive reinvention of all that they are.

When you hear a band, like Moon Duo, famed for a strand of music for so long are ripping up all they know, alarm bells ring. To return with a new style of such quality and integrity, is not only remarkable, it’s just plain showing off. More please! (full review)

21. Sleeper - The Modern Age

At every turn on ‘The Modern Age’, Sleeper have added something to their armoury. The guitars are beefier, the synths crisp and the psyche new. For all the charm they carried in the 90s, they are no-one’s understudy’s anymore. This feels like the record they were born to make. (full review)

22. Richard Hawley - Further

Not everything lands on ‘Further’ but, few can match the beauty of the highs Hawley can still summon in his early 50s. When he enters into his reflective and poetic groove, it’s impossible not to fall in love with him all over again. (full review)

23. LIFE – A Picture of Good Health

Dangerous throbbing psyched up punks. The deadly lyrical venom and genuine performance of them is thrilling!

24. Tallies - Tallies

Undoubtedly, fans of Postcard Records and Sarah Records will find this album an affectionate homage to their youths. For newer fans, we urge you to use Tallies’ album as a jump off point into the past. (full review)

25. Red Rum Club - Matador

Ultimately, 'Matador's cons are so few they pale into significance. This album is so well stocked in bangers that; it has potential of a two year run on the album charts. (full review)

26. Ride – This Is Not A Safe Place

Another fine album from the Oxford outfit post comeback. We implore you to see it live, it goes up several levels!

27. The Night Café – 0151

Unabashed indie from Liverpool. Serious ones to watch. The world is at their fingertips.

28. The S.L.P. - The S.L.P.

Serge’s side project, at times hits insatiable highs (Trance) but, at others (The Youngest Gary) falls short of his high standards.

29. Submotile - Ghosts Fade On Skylines

Fans of shoegaze, noise-rock, drone-rock and so on will inevitably dig this album. It probably won’t make the upper echelons of their record collection though. Nevertheless, it’s attempt to re-introduce pop hooks into the fold has to be admired in divisive Brexit times. It begins to blur people’s hard lines force them back together. (full review)

30Scandinavia - Premium Economy

It may have taken Scandinavia five albums, but it would appear they have found their sweet spot. Pop hook after pop hook invade their punk or jingle jangle tendencies. This is definitely an album to sound track the rest of the summer. (full review)

Shiiine On Weekender '19

The hangovers and comedowns have just about faded nearly two weeks on from this years Shiiine On Weekender. All we’re left with now is, an aching feeling that 2020 is just so far away.

To ease the pain, here are our top 5 highlights from the weekend. Please don’t troll us, we really did love everything about the weekend! Except Phil, he says we’re all c**ts.

 

Jon Mancini

Classic after classic, rave, acid house, Ibiza anthems and stupendous remixes flooded Reds dance floor. No-one played this weekend without technical proficiency. What set Mancini apart was, his ability to tap into the soul of this festival and its people. By the time he dropped Electronic, the room was ready to fall in the floor and die in a state of sheer happiness. May he always be at Shiiine!



Gazelle

The Shiiine On family continues to grow with new bands each year. Having the Inn On The Green free from the main stage on Saturday was a great touch. Big crowds for every band, more importantly, crowds of music buying generations to hopefully fund the new wave.

Taking full advantage was Leicester's Gazelle. The most aptly named band of the weekend, who among us wasn’t wearing a pair!

Along with mainstage openers Ivory Wave, they have had great run of singles in 2019. Looking like a gang and as free flowing as The Rifles and The Courteeners, they channel Richard Hawley’s Blake-esque lyrics through a flurry of great choruses and solos.

Despite the smell of feet (the room, not theirs), their everyman rock n roll blew away Friday's cobwebs with aplomb.


Sice

What a comeback. No live performances since 2005, Sice returned with a couple of gigs this fall. Neither would have compared to the huge crowd he drew on the Centre Stage. Humble, and full of love, Sice was visibly taken aback by the crowd he drew and, their reaction to the Radleys classics he played.

 The Radleys were always full of adventure musically, however, to hear their songs stripped back was one of the cutest and most adorable things known to man. ‘I Wish I Was Skinny’ was jaw dropping, ‘Fairfax’ was heart-warming and, during ‘From the Bench at Belvidere’, Shiiine On possessed a hymnal quality like no other.


Embrace

Doing exactly what it says on the tin, they lift you up, inspire you and release you into the ether a better person!

Euphoric from start to finish, their beauty continues to reign supreme. With a classic record in each of the last three decades, they are becoming Indie’s Cliff Richard, here’s to ‘20s.


The Popguns

 As a teenager of the Britpop, Shiiine On offers up several bands not yet discovered. Each of our four trips as unearthed a band that has stolen my heart:

2016 - Thousand Yard Stare

2017 - The Orchids

2018 - The Train Set

This year’s lucky winner was Brighton’s jangle gems The Popguns. Their effortless pop music warmed the arctic seaside conditions effortlessly. If there is a better sound to fall in love to than theirs we’d like to hear it.

The Blinders: Live at the Ritz

This week marks the release of The Blinders' limited edition live album. Recorded in their adopted city of Manchester, at the iconic Ritz venue, it will be out via Blood Records.

On hearing this news, we were immediately taken back to May 2nd 2017, the first night we saw the band. We went out for the emerging Sisteray, we left emotionally shattered from The Blinders.

This was more than a gig! It was art, it was drama and exciting as fuck.

Frontman Thomas Haywood strode on stage in a John Motson over coat and face paint. Meanwhile, bass player Charlie McGough looked like Nick Drake and strutted like Wilko Johnson.

All images courtesy of Blood Records & Sam Crowston

All images courtesy of Blood Records & Sam Crowston

They had the style. Did they have the substance?

You bet your life they did!

Haywood was the embodiment of Cobain, Morrison, and Blake. The guitars were stinging pieces of psyche via punk. For the first time since The Libertines, a band were in the present, reflecting life as we knew and hated. It was to be adored.

Two years on, they are inevitably a better live band. Tighter, harder, and wiser, this live album is a no brainer of a purchase. If you have never seen or heard them, we cordially invite you to the hoodwink society.

Visit Blood Records to get your copy:

https://www.blood-records.co.uk/current-release/