Bugeye - Ready Steady Bang

South East London’s Bugeye are set to release their debut album ‘Ready Steady Bang’ on July 10th. Produced by Paul Tipler (Idlewild/Elastica/Placebo), it will be available via Reckless Yes.

After their line-up changes and signing to Reckless Yes, their quality levels soared. They began taking risks in the studio with Tipler and, they went from a band who worth a trip to Camden to, one with an eagerly anticipated album.

Staying true to themselves, their archetypal sound remains the bedrock of this album. Former single ‘Don’t Stop’ takes the fury of The Pixies and the pop of Blondie on what is, the definition of a sexy as fuck record. ‘Breakdown’ and ‘Shake and Bake’ both open with the warped seaside synths of The Horrors’ ‘Primary Colours’ before descending into a tale of debauchery. Meanwhile, ‘Blue Fire’ collides the funk of Chic with the dirty garage rock of The Strokes

Despite the musical influences of the US flooding this record, there is something quintessentially English at play. Cynical and dark relationships with booze and partners are often at play. ‘When The Lights Go Out’ launches you into the middle of a tale of alcohol torment via Supergrass circa ‘Life On Other Planets’. ‘Nightlife’ is an unreleased Blur gem that swirls in the haze of weekend escape.

On ‘Sunday Monday’, they have added themselves to London’s pantheon of socially observant writers. The wit of Albarn, the integrity of Weller, and the effortless cool of Frischmann are all present on this instant classic.  

Often, debut albums are a myriad of influences and a sign of what is to come. Bugeye though, having been touring places like the Astoria since 1999. Despite the long hiatus, they have hit an undeniable groove that DM’s are begging to stomp along to.  

Jetstream Pony: 100 Club, London

Hailing from Brighton and East Croydon, Jetsream Pony are an indie super group, consisting of Beth Arzy (Trembling Blue Stars/Luxembourg Signal/Lightning in a Twilight Hour) on vocals, Shaun Charman (The Wedding Present/The Popguns/The Fireworks) on guitar, Kerry Boettcher (Turbocat) on bass, and Hannes Mueller (Endlich Bluete, The BV's) on drums.

They opened up the Valentine’s Day Sarah Records reunion at the 100 Club last Friday. Despite the annual celebration of love, they delivered some joyously melancholic indie. ‘I Close My Eyes’, with its Byrds-esque jangle and Arzy’s knowing and tumultuous lyrics, ignite the set.

Meanwhile, during ‘It’ll Take More Than Friday’, Boettcher’s bass playing takes the hooks of The Prisoners and threatens to overspill in a riot but, Arzy’s lush vocals simmer everything, just!

The ante is upped again on set closer and, latest single ‘Yellow Pills’. This was the sound of band hitting cutting loose. It took the throbbing intensity of The Membranes and the pop splendour of Phil Spector.

It was on ‘Had Enough’ where the set climaxed though. The Cure meets The Fall intro should have been enough. The spikiness colliding with shoegaze’s beauty was, one of those rare moments of cultures clashing that make live music the ultimate art form.

Jetsream Pony (and The Hannah Barberas) are supporting Even As We Speak at the Lexington on March 28th.

*image courtesy of Richard Weir

Useless Cities – How To Feel

Self-professed miserabilists Useless Cities returned last month with their latest single ‘How To Feel’. Produced by Paul Tipler, (Placebo / The Horrors / Idlewild) they have taken their brand of indie to the next level.

Tom Argent has taken the destructive guitars of Shame’s debut album ‘Songs of Praise’ and given them room to breathe. This slower, more melodic approach moves away from Shame’s angst and, into a more pensive realm. Once Corneila Bent’s keys come into play, the beauty levels are significantly raised.

The duo repeat this pattern on vocal duty too. Argent has a fragility that’s sits between Tom Smith (Editors) and Ian Curtis. As he sings ‘it’s a nice dream’ about the start of a romance, you can’t help but feel he expects it to come crashing down. Then, like an angel, Bent glides in to sprinkle affection and restore the hope for this burgeoning relationship.

Be sure to check them out at Werkhaus (London) on the 14th November.

Blood Red Shoes - Get Tragic

It's been five years since Brighton duo Blood Red Shoes released an album. A relaxing break? Time off to start families? Not this band. Ten years touring, only breaking to record, resulted in a bitter fall out. Laura Mary-Carter jetted off to the states to write pop songs for the likes of Rihanna, meanwhile, Steve Ansell went on a massive bender.

After reconciliation, they bonded over how laughable their lives became in the interim period. This forms bedrock of the lyrics on 'Get Tragic'. However, what they hadn't counted on, was the endless run of bad luck. Break ups, broken bones and evangelical villagers (yes, you are reading that correct) caused further delay. 'Get Tragic' is very much a tale of, what goes down, must go up again.

Carter's broken arm led her to play more keys and synths than ever before. Whilst many bands five albums in labour to a new sound, Blood Red Shoes organically moved towards theirs throng necessity.

On 'Nearer', the big riffs have been swapped for an offbeat solos and thudding synth hooks which create a Dubstep-esque sense of dread. In years gone by, Carter's vocals were synonymous with punk and post-punk. Now, there is a devilment permeating her delivery. Now we understand how Luther feels when Alice turns up!

This new approach has given them more grooves than ever before too. 'Beverley' is a dark and twisted take on Blondie. On 'Howl', the albums stand-out, everything has been thrown into the mix. Carter's vocal is comfortably the best hook of her career. Meanwhile, the melodic sexiness of Goldfrapp unfurls into a distorted glam rock fury. It's furious crescendo is a glorious sonic scream into the abyss.

For any old school fans, the old riotous instincts still prevail. 'Mexican Dress' and 'Anxiety' have the hallmarks of 'It's Getting Boring By Sea' and 'I Wish I Was Someone Better'. The aggression remains on 'Mexican Dress', an almost BRMC dirty rock n roll affair. The filthy display of riffs and synths conjures a tension and isolation that is not for the fragile of mind.

It may have been a personally tumultuous time for the band but, boy has it paid off. So many bands this far into their careers alienate their base when they start taking risks. Blood Red Shoes have produced the blueprint on how to do it.

*Image Courtesy of Sonic PR