Columbia – Embrace The Chaos

During Lockdown, there was almost nothing to cheer about. Andrew Cushin and Columbia were musical exceptions to that rule. Last week, Cardiff’s Columbia released their debut album ‘Embrace The Chaos’. Could it deliver on those escapist singles and cement their place as a great rock ‘n’ roll band?

When bands look to the classics, the fact is 99% fail. Those bands may capture their essence but, they lack one of their own. Columbia are in the 1%. Although imbued with the past, they are rooted in the here and now emotionally and that is what sets them apart.

Former singles ‘Glory People’ and ‘Waiting For You To Believe’ are fine exponents of the past that connect in the modern-day. On the former, guitarist Ben Rowlands has found a sweet spot that pays homage to Richards, Squire (Second Coming/Seahorses era), and the hypnotic riffs of early Oasis & BRMC. This is a statement of intent! Columbia determined, destined even, to be their equals. More importantly, through the shimmering loops and escapist solos, they will take us, mortals, with them. Whereas, on ‘Waiting for You To Believe’, Decadent guitars join forces with the most robustly defiant vocal you’ll hear this year. In frontman Craig Lewis, there is a raging bull smashing away at the gate for freedom. Not many can carry the devilment of these guitars, in this instance, the guitars just about latch on to his behemoth spirit. When he wrenches ‘took too much and took it again’, the dark glow inside you will brighten. Whilst we care for his health, vulnerable but bullish rock stars are a depleted force.

After just ten seconds, a knowing wink comes from the lead guitar. Something special is imminent! Little gold licks flirt their way through this tale of debauchery. Then, from heaven, comes the divine solo. As though Richards’ devilment made its way into Stephen Stills’ soul in his Manassas period. Dark and satanic, it’s escapism at its best!

Now, although different tone, a love of Kasabian also lurks on the album. Kasabian’s debut album of punked-up synth grooves comes out to fight on ‘I’m On Fire’. Sonically different, of course, but, Lewis’ vocals chime with the destructive power of ‘Club Foot’ whilst Rowlands’ furious Stephen Stills guitars collide with the fraught nature of ‘Ovary Stripe’. ‘Keys To The Kingdom’ on the other hand, takes the febrile ‘Reason is Treason’ to the edge of Oasis’ Knebworth sized glory. Craig Lewis pulls back on the snarling temerity and lets bassist Sten inject the violent disarray. His funky-punk lines allow the fire of Kasabian and The Music to come to the fore as, yet again, guitarist Rowlands taps in 70s stadium excess to joyous effect.

There is an astonishing intensity to this album. Even when the pace lets up on ‘All The Streets Are Silent’ and ‘Devil On Your Shoulder’, the clarion call remains. In the album opener ‘Fall Into The Sun’, they have delivered one of rock music’s great statements of intent. The spirit of their hometown heroes’ Stereophonics early work comes out to play with the debauchery and despair of ‘Bring It All Down’ and the fury of ‘Holiday in the Sun’.

The Phonics come out to play again on ‘Something More’ and ‘Devil on your Shoulder’. The former, is, no less than a seismic change in pop music. This is the sound of ‘Last Nite’, ‘Somebody Told Me’ or ‘Dakota’ sticking their hand up and saying “we’re the fucking top 10 now”. The guitars roar towards the best sunset you’ve ever seen. Every time The Rifles and The Enemy fought and lost for the recognition they deserved feels worthwhile as Columbia makes their guitars glisten alongside Kelly Jones-esque vocals on circa ‘Madame Helga’ and ‘Rainbows and Pots of Gold’. ‘Devil on your Shoulder’ finds itself beautifully in ‘Billy Davey’s Daughter’ territory as it humbly closes the album out. Rather than a tale of tragedy, Columbia eloquently proclaims you’re never out of the race, you just have to keep going.

24hr news and social media have busted the myth of being a rockstar. The era of idolising excess and womanising is over. Good riddance! However, with it (bar Liam), went confidence and a swagger in the frontman. Millions of us lead ordinary lives. Boring lives. Often without hope. Step forward, Craig Lewis.

Lewis gives birth to the new rockstar. Never taking a backward step, his unwavering belief in his ability lifts you closer to a promised land not seen in a while. Crucially, empathy leads his vision. No sneering, just a helping hand through the fog:

“Embrace the chaos as the silence invades your mind / When we walk into a storm I know we’ll be fine / We are the glory people shine / we are the glory people yeah”

Somehow, they have reimagined the Stones, Stereophonics, Oasis, and Kasabian into something new on this debut. A life-affirming set of songs that will smash whatever stands in its way. For once, we alternative types beg the gatekeepers to put up barriers. It’ll only be that much sweeter when Columbia destroys them!

Columbia – Where Did It All Go?

Liverpool's Columbia returned in May with their debut music video for “Where Did It All Go?'. It follows the death-defying single 'This Life' and looks set to light up stages sooner rather than later.

There's a temptation for fledgling bands to overplay their hand on a slow-building epic. For Columbia however, they've straddled a tightrope of The Verve and Oasis with an effortless that is irresistible. The optimism of the acoustic guitars and the soft Scouse vocals step out of the shadows, humbly but assured.

Before long, frontman Alex Sheppo lets his vocals growl whilst all around him rock 'n' roll ecstasy unfurls. Sheppo leads them to the promised land but, then guitarists Jay Sweeney (lead guitar), Tom Comer (rhythm guitar) transcend music altogether. The guitar licks and solos have hints of Craddock, Gallagher, and McCabe but, their spiraling brilliance owes no one nothing.

Together, Columbia have not only found their sound, but they've also found a nation's. One that needs a release from lockdown and my, haven’t they provided it!

Columbia – Fat Catz

Liverpool’s Columbia have followed the up death defying ‘This Life’ and The Verve-esque ‘Nothing Left For Me’ with their new single ‘Fat Catz’.

Emerging from the sewer, ‘Fat Catz’ is dank and dirty, it’s the party you’re afraid of but know you must be at. Venomous guitars from the Manics combine with the viscous but melodic aspects of The Cult. All the while, Jonny Eccleshall’s bass and Jay Culkin’s drums combine on to create the hallmarks of a ferocious dance track. Jagz Kooner and Eddy TM must remix this!

Their third release has once again, sonically, shown off another side to the band. Lyrically though, they remain constant. Their tales of working class life anchor their outlandish tunes and are all the better for it.