Ash – Darkest Hour of the Night

Today marks the release of the Ash’s new single ‘Darkest Hour of the Night’. It’s taken from their upcoming compilation ‘Teenage Wildlife’, a compilation spanning their 25-year career.

Described by head honcho Tim Wheeler “a ray of light to pierce the darkest night of the soul – a redemptive anthem for a new decade,” it is their funkiest single to date. Lyrically, it’s a helping hand of the canvas. Get up and dance, everything will be OK permeates throughout.

It’s in the vain of Blossoms’ pop masterclass ‘Your Girlfriend’, it will stomp its way into your heart like their Phil Spector inspired classic ‘Candy’. Resplendent with handclaps, horns from Rubblebucket and sumptuous backing vocals, it’s clear Ash are still masters of the alt-pop single.

Roll on Valentine’s Day and the release of a truly remarkable back catalogue.

Blossoms - Cool Like You

Blossoms’ breakthrough in 2016 was somewhat surprising, arising at a time when new bands weren’t a part of the mainstream. As a result, the anticipation for ‘Cool Like You’ has been sky-high. Not only because they are indie’s leading light, but, if they fail, the door opened for other bands, may close once more.

All fears are allayed; ‘Cool Like You’ is wave upon wave of melody. Vocally and synth-based, the hooks just keep on coming. Drenched in 80s pop, Blossoms have hit a groove that surely will carry them to glory.

Opening tracks ‘There’s A Reason Why (I Never Returned Your Calls) and ‘I Can’t Stand It’ are dialectically soaked in melancholy and sunshine like The Railway Children’s classic ‘Every Beat of the Heart’.

On tracks like ‘Faithful’ and ‘How Long Will It Last’ however, there is a sense Phil Collins has joined The Killers. It strays so close to the watery hallmarks of Stock Aitken and Waterman they are in danger of losing all credibility.

Art is only great when it moves you to the point of shock. This is not that. It is, however, a good alternative (ever so slightly) pop music. ‘Cool Like You’ is as much an indictment of the times as the polemic of their naysayers Sleaford Mods. It signifies just how far alternative music has had to shift its foundations to be commercially viable.

Nevertheless, that door, have it opened wider? Yes. Why? Melody, melody, melody! Even at its blandest, ‘Cool Like You’ delivers undeniable pop hooks. Furthermore, it calls in to question their peers’ ability to match them. Can The Blinders and Avalanche Party et al channel their substance a melody so good, radio controllers find it impossible to ignore?

Blossoms – Getaway

When discussing the new single from Blossoms at TT towers, the following derogatory comment was made:

“It’s a step towards generic chart fodder”

This writer however, feels this is extremely harsh. The musical components maybe more middle of the road than ‘Charlemagne’  and ‘A Hot Kiss’ but there is a bigger picture to consider, the debut album as a body of work.

The broad appeal of ‘Getaway’ should be viewed as a positive. For when the album comes out, it will provide a depth and difference to the album. Also, is it not the job of a single to be radio friendly and entice listeners in to the album?

The NME recently asked Richard Ashcroft whether the success of ‘Urban Hymns’ and Oasis drove the alternative into the mainstream. His response was:

“But we do it better. You can get as many songwriters in a room as you want for your new talent show contest winner, it’s never gonna sound like a great Noel Gallagher song sung by Liam, it’s never gonna reach ‘Live Forever’, it’s never gonna be [Verve song] ‘Lucky Man’. We know that.”

(full article can be read here: http://www.nme.com/features/richard-ashcroft-a-legend-returns-the-full-nme-cover-interview)

He’s correct. The collective ‘we’ here is music lovers. In a band or a fan, we have a bullshit detector and Blossoms do not fall foul of it. They should be backed up by the alternative world for being brave enough to write something commercially viable with substance. This kind of symbolism matters.

The synths used on ‘Getaway’ have enough risk in them to aid the ridiculously catchy melody. This juxtaposition is lacking in far too many bands today.

Obviously, there are acts out there like The Fall who continually produce great music without straying towards the mainstream areas of the industry. However, can a change in attitudes be made on the outskirts? Possibly, but, it can’t help to kick against the pricks once in a while.