Brògeal - Tuesday Paper Club

Falkirk’s Brògeal released their latest single, Tuesday Paper Club, recently. It’s accompanied by previous releases ‘Vicar Street Days’ and ‘Friday On Mind’, which will all feature on their debut album ‘Tuesday Paper Club’, released October 17th via Play It Again Sam.

*Banner image credit: Sam McGill

Artwork courtesy of TE-AM

If you’re going to invoke the greats like the Pogues, then, like Oasis did on ‘Definitely Maybe’ with the Beatles, the Stones, and T-Rex, you best come armed with heaven-sent melody. ‘Tuesday Paper Club’ does just that. This indie folk-punk riot sees frontman Aidan Callaghan deliver a vocal breakdown that sounds like Christy Moore fronting The Pogues in an inspired moment of songwriting.

Then, on ‘Vicar Street Days’, the official anointment to the throne of the finest new band around is made. Tinged Frank Turner’s romantic woes circa ‘Better Days’, the life-affirming stomp of The Wonder Stuff, and the earnest beauty of Billy Bragg drown the senses on this instant classic.

Wave upon wave of coming-of-age melody oozes from this ode to saying goodbye to a lost friend. Great pop song? Yes, but there's something more powerful at play. Defiance, via love and celebration, lights up this record as the most joyful eulogy ever constructed.

‘Friday On My Mind’ veers from the raw energy of Fontaines D.C. to the sharp hooks of The Ordinary Boys but never loses sight of its identity; this is no mere pastiche.

This EP marks a return to great melodic songwriting by life’s outsiders. Rebels have professed a lot of causes of late; they’ll achieve nothing without great songs, and Brògeal have them in abundance.

The world is theirs for the taking on October 17th.

Rolla - We Owe You Nothing

Manchester’s Rolla are set to release their second EP ‘We Owe You Nothing’ on Friday 7th March via Run On Records.

Artwork & image courtesy of Fear PR and Mamucium Design

On their debut EP ‘Nothing Less Than Everything’, Rolla largely shed their love of early Kasabian sonically and began to venture into the expansive world of The Verve. ‘We Owe You Nothing’ witnesses a stylistic return to their early singles ‘Thinking of Tomorrow’ and ‘Sweet Lullaby’.

The EP is bookended by ‘We Owe You Nothing’ (title track) and ‘The Slide’. It's less a return to this singles and more a cataclysmic earth-shattering display of how far they’ve come as a band. The former is beset with intoxicating violence via Luke Gilmore’s destructive basslines. The nods to ‘Fuckin’ in the Bushes’ and ‘666 Conducer’ give this chaotic joyride a sense of chest-beating glory that is impossible to ignore.

Gilmore doubles down on this hypothesis ‘The Slide’. His opening bass lines alongside the backwards guitars fade into the febrile psychedelia like a dystopian nightmare induced by speed. Dank and vicious landscapes emerge around the snarling roar of frontman James Gilmore which cause unnerving wall of sound.

Elsewhere, ‘It Ain’t Easy’ continues the mayhem with basslines menacingly funking like Mani era Primal Scream and on ‘Beautify Lie’, they mercifully change track with a more simplistic Richard Ashcroft crafted melody.

Rolla are currently on tour with Pastel. Do not arrive late!

Marseille – Godiva

Derby’s Marseille released their third EP ‘Godiva’ this past Friday via Bubblebrain Records. It follows 2023’s ‘The Dream Is Mine’, which led them to This Feeling’s stages at the Isle of Wight Festival and Y Not this summer. Can they maintain the momentum?

*banner image credit: Anya Maya Photography

Artwork and tour poster courtesy of Songbird PR.

Where the previous EP was primarily indebted to the Stone Roses and Ride’s jingle-jangle moments, ‘Godiva’ leans into The Verve and Ride’s heavier moments. ‘Monkey In The Middle’ continues this direction with a mesmeric power. The guitars now drive with Andy Bell’s purpose on ‘Leave Them All Behind’ in the early part, adding a mystique to Marseille’s allure. The shoegaze dissipates midway, and their love of the Roses comes back via the ‘I Am The Resurrection’ bassline and Squire-esque guitars.

Joe Labrum’s guitars begin as a jingle-jangle breakdown, soon become an all-encompassing ‘Resurrection’ meets ‘Champagne Supernova’ freak-out moment of glory! What prevents them from parody is the rampageous spirit of The Verve’s ‘Come On’. This is partly due to frontman Will Brown’s vocals during the climatic stages. Moreover, it’s the intensity which they impart as a collective. Full on and all ablaze, they maintain a relentlessness destined to play massive stages, not for the money but for people, togetherness, and immortality.

Where ‘Monkey In The Middle’ stared down the world with its psychedelic directness, ‘She Can Fly’, as the title suggests, has a more ethereal quality. Without losing a scintilla of heft, Marseille have managed to jab and move here with exquisite poise.

With The Verve’s debut album, ‘Storm In Heaven’, as a guiding light, ‘She Can Fly’ leans into the melodic power of ‘Slide Away’. With fleeting moments of driving shoegaze dynamism, the band pays homage to its influences before embarking on its rippling exploration.

Stepping on and off the power provides the perfect counterpoint to the psyche assault of ‘Monkey in the Middle’, which Labrum intercuts with rippling guitar magic that strays from Andy Bell to John Martyn with a drool-worthy effortlessness.

Their love of the Roses loiters on the opener ‘You Don’t Belong To Me’ alongside the lo-fi driving fury of Oasis b-side ‘Alive’. The EP is victoriously sent off into the sunset by ‘If It Hurts Don’t Cry’. ‘Urban Hymns’ sprawling power unites with the majesty of ‘Champagne Supernova’ to make next summer all but redundant.

Marseille have proved time and time again that rock ‘n’ roll belongs in youth culture. Their time is now, and despite next year’s colossus returning, the future belongs to them.

Click the tour poster below for tickets to their upcoming shows:

Alex Spencer - There's Gotta Be More

Back in July, Manchester singer-songwriter Alex Spencer released his second EP ‘There’s Gotta Be More’ via Modern Sky UK Records. Following 2023’s eye-catching ‘One Step Forward’ EP, can Spencer maintain the promise?

Image & artwork courtesy of This Feeling & Modern Sky UK

Where former tracks ‘One Step Forward’ and ‘One Way Ticket’ leant into Jamie Webster and Catfish & The Bottlemen, Spencer’s debut EP showed on ‘Waiting For The Change’ that he would soon unfurl his own archetypal sonic, a clash of the raw and angelic.

The clashing styles inform most of the new EP in style. Opener ‘Love and Let Go’ beset with regret and bitterness, is soundtracked with Kyle Falconer fronting a Blossoms tune. On ‘Nightmares’, Spencer’s romantic regret threatens to spill over (“I don’t expect you to care but inside it’s a war”) as his demons take control. The Bombay Bicycle Club circa ‘A Different Kind of Fix’ percussion and the moonlit math rock noodling on guitar add the shades of light this all-consuming record needs to keep you afloat.

The title track, with its exploratory jagged licks, evokes the late 00s and early ‘10s indie sounds of Foals, BBC, Little Comets, and Two Door Cinema Club. Spencer exquisitely cuts through this with the directness of his label mate Webster and a smoky Elliot Smith drawl.

The newfound directness excels on ‘Fear Will The Kill Future’, giving the EP its moment of glory. Tom Clarke's righteous indignation is put through an Elliott Smith prism of purity and wistful inspiration with further flourishes of Falconer. Bands should draw battle lines; they should be clear and fought upon with violent passion. It’s a trickier prospect for solo artists. Without the gang mentality, there's a danger of a messianic complex clouding the situation. Spencer has developed an eloquent blueprint to lift others up and march forward with them on the EP’s closer.

Spencer opens the main stage at Bridling Spa for This Feeling’s second By The Sea festival this Saturday. He was chosen by Radio X new music guru John Kennedy. Click the image for tickets

LOCK-IN – On To The Next

LOCK-IN are set to release their debut EP ‘On To The Next’ on January 19th. The EP was produced by Curtis Elvidge of Ritual Sounds and recorded during sessions at Premises Studio in Hackney.

Artwork courtesy of Fear PR

In the latter half of 2023, LOCK-IN released ‘Easy’ and ‘Red Stripe Remedy’. They consolidate their position as one of the UK’s indie bands poised to break through by improving their archetypal indie-dancefloor sound. The former, at times, threatens to ignite into a Two Door Cinema Club party, but such is the emotional heft that it remains in its world-weary lane. It breeds a lonely but never detached sonic, where LOCK-IN have thrived best to date. Meanwhile, on ‘Red Strip Remedy’, they toss their hat into the ring of indie anthems about escaping the 9-5. What’s different about Lock-In’s submission to the genre is its emotive poignancy. As frontman Benjy Leak sings, “Lost in the 9-5, we only work to stay alive”, it’s tinged with a forlornness not seen with songs of this ilk before. It serves as the perfect reflection of the dire times we’re struggling through. When The Enemy sang ‘We’ll Live And Die’ in these towns, Tom Clarke conjured images of people still brimming with hope despite the decay.  ‘Red Stripe Remedy’, sixteen years later, demonstrates what it’s like to exist in those towns; six for a fiver being one of the only hopes left for so many.

LOCK-IN, before these two singles, were a fun band. Led in main, by frontman Benji Leak’s charisma and joyful cadence. Fun only gets you so far. Step forward, brother and lead guitarist Joe Leak. Joe’s choppy licks pull from Bloc Party’s ‘So Here We Are’ and The Wombats circa ‘Beautiful People Will Ruin Your Life’ and produce images of a forlorn soul dusting themselves down for another shot at glory. On ‘Red Stripe Remedy’ Joe harsher and more jagged licks allow the “what if” Graham Coxon joined Two Door Cinema Club to develop joyfully. His joyous guitar solo on the title track culminates this newfound confidence and intensity.

Whilst so many bands proclaim to be rock ‘n’ roll, they lose sight of its spirit whilst searching for that ‘Live Forever’ moment to change their lives. On the title track and ‘He Said She Said’, LOCK-IN rapturously live in the moment and, thus, lifts souls out of theirs. Nothing is more rock ‘n’ roll than that. ‘He Said She Said’ opens another avenue the band have yet to show. It has the feel of an OK album track that fans lust after as much as the singles (‘Slide Away’, ‘A New Decade’). Fiercely striving towards colossal status, the band has tapped into a power that will set crowds ablaze alongside the lighter indie-dancefloor moments.

Their biggest headline show at London’s Lafayette is shaping to be a launch-off into much bigger things on this showing.

Click the image below for tickets to their headline Lafayette show:

Half Captain – In The Firing Line

Devon via Lancashire’s Half Captain is the musical moniker for singer-songwriter Martin Burt. A total DIY project, Burt writes, records, produces and creates the artwork from his home studio.

In 2021, Half Captain put out ‘Lost Covers’, an album of Doves covers, as part of a Mental Health UK charity campaign. Bridging that work with this EP is Burt’s version of ‘The Last Broadcast’. Doves gently tumbled from high to low, allowing Jimi Goodwin’s voice to fray with anguish. Tackling this head-on would be disastrous for even the well-intentioned. Burt, mercifully, takes things down a notch into a half-life witching hour that the EP rarely deviates from. His slight smoky drawl adds a pained integrity to the tumultuous lyrics that a song of this magnitude deserves.

Half Captain succeed when residing in the wee hours. The title track’s elegant but forlorn guitars chime like a lo-fi Slow Readers Club. The down-temp sonic allows for the pained lyrics to take a stranglehold on this journey of brutally pained acceptance:

“Nothing feels like it’s good enough / falling in and falling out of love / put the brakes on to make it stop / this is life now”

Despite the morose plea to “make me disappear”, his Goodwin via Bernard Sumner vocal brings him to the surface to decree “Don’t turn take your back on the ones you love”. It allows just enough light to prevent the darkness from becoming all-encompassing.

On ‘As Long As Everything Is Alright’ and ‘Accidental Strangers’, an autumnal beauty emerges alongside the moonlit guitars and production.  The former taps into the aching shoegaze of Daniel Land and Engineers, Noel Gallagher’s sense of fading away, with nodes of Depeche Mode’s gothic production. ‘Accidental Strangers’, however, an ode to outsiders (“We’ll take the world on you and I”) delves into the morbid beauty of The National. If ‘In The Firing Line’ were our protagonists at their lowest ebb, ‘Accidental Strangers’ is their road to recovery. Down, but not out, they’re “accidental strangers, accidentally out of time”.

At points, the EP is emotional ice. Musically, lyrically, and spiritually, there does come a much-needed thaw. The journey from dark to light is measured but impactful as those whose music furiously spirals out of control.

Saloon Dion – Muckers

Bristol’s Saloon Dion released their debut EP ‘Muckers’ at the end of May via Mucker Records which they followed with a triumphant support slot with Opus Kink at London’s Village Underground. Banner image courtesy of Felix Bartlett.

Artwork courtesy of Super Cat PR

Since the mid-10s, there has been a gluttony of post-punk bands from the UK delivering good albums. Simultaneously, there has been a dearth of rock ‘n’ roll bands producing great singles but rarely getting a chance to record an album. The Ven diagram of the two has a sparse middle. A reflection of the polarising times we’ve lived through.

Bridging the gap though are Saloon Dion. ‘I Don’t Feel’ and ‘You Want More’ traipse on either side of the divide. Tom Simpkins and Taryn McDonnell deliver the showmanship flourishes of Andy Bell and the driving riffs of Peter Hayes through the desolate power of Shame.

‘Heaven Sent’ continues to splice the indie-rock ‘n’ roll greats with modern-era post-punk. The choppier elements of Johnny Marr’s ‘The Right Thing Right’ and ‘Generate Generate’ are given the raw venom of Shame and The Murder Capital. Modern post-punk is littered with spoken word moments but, here, it’s shrouded in smoky psyche riffs which amplify this tale of financial health care spiralling out of your control for a loved one.  

‘Happiness’ again taps into Marr’s scintillating solo era playing which allows frontman Dave Sturgess’ vocal to rumble. It’s a pairing that is pulling alternative music worlds together without creative compromise.

Saloon Dion haven’t nailed it, yet! However, they can claim to have the balance of chest-out confidence and fist-aloft righteousness well ahead of the pack and should be lauded for it.

Click the image below for tickets to their upcoming London show:

Rosellas - Somewhere Inbetween

Manchester’s Rosellas have released their new EP ‘Somewhere Inbetween’ via This Feeling Records. The EP was written by the whole band and produced by Oliver Shillito. Image and artwork courtesy of Fear PR>

Former singles ‘Switch Off’ and ‘Hideaway’ catapulted Rosellas to the front of the pack of The UK’s band scene in recent months. Their smooth rock ‘n’ roll pre-pandemic began to spark with a directness that didn’t demand attention, it took it. On ‘Switch Off’, they bridge that older sound to their new fire with an effortless that leaves no one behind. Frontman Drew Selby slots into a vocal groove honed on the likes of ‘Slowdance’ and ‘Common Ground’ but, now a brash, desperate sense of purpose looms lyrically and sonically.

This compulsion is doubled down on ‘Hideaway’. Selby’s vocal more urgent, willing to fray at the edges is partnered with the more celestial moments of The Verve’s classic ‘A Northern Soul’. With Shillito at the helm, they’ve found a space to sprinkle the psychedelic nuggets of the Byrds and Shack alongside their newfound sprawling power.

‘Bare Your Soul’ and the new single ‘Come Alive’ tread similar paths structurally, culminating in Selby’s sublime guitar parts. The former unites the more immediate moments of ‘The Second Coming’ with the melodic supremacy of ‘Urban Hymns.’ As Selby decrees “so come on, speak it easy” images of Haigh Hall, Knebworth, and Heaton Park glint in the eye. Ollie Appleby’s basslines create a tumultuous fog that allows Euan Mail and Selby’s guitars to emerge in a visceral blaze of glory.

The EP closes out with a glimpse of what is yet to come from this fine band. ‘Thunderstorming’ goes beyond the immediacy of teenage kicks and explores the world of Oasis b-side ‘Shout It Out Loud’ with hints of Neil Young’s ‘Cortez The Killer’. It witnesses the band moving into MOJO's front cover territory.

The Rosellas have begun a new chapter on this EP. Their inclination to reflect thoughtfully is now dancing with the kind of rock ‘n’ roll that the UK yearns for on big stages. It’s only a matter of time.

Marseille – Freedom EP

Derby’s Marseille made huge inroads into the hearts and minds of British music lovers on their recent sold-out tour. To cap it all off, they release their debut EP on the 5th May. Banner image courtesy of Paul Dixon.

Artwork courtesy of Mr. Shaw

The title track ‘Freedom’ is lit up by drummer Tom Spray’s drumming. What begins as a glorious nod to Tony McCaroll’s spiky drumming cascades into something far more flamboyant that Reni would rejoice in. It allows frontman Will Brown to slide into the limelight with his angelic rock ‘n’ roll star vocal. Brown gives the record a soaring sense of destiny but, through his beauty and fragility, lets the masses into the world of Marseille, which is becoming untouchable talent-wise.

On the latest single ‘Thinker’, the love of Oasis turns to Noel’s ‘Masterplan’. Rock ‘n’ roll isn’t here to reinvent the wheel, it is, however, a great tool to reignite old flames as Oasis did so well with Slade and T-Rex on ‘Definitely Maybe’. Blessed with sumptuous guitars and big key changes, they tap into Gallagher’s penchant to unite big crowds with even bigger universal sonic.

Former single ‘Only Just Begun’ steps back into a hazier realm. As weightless as ‘Twistarella’ and freeing as Shambolics’ ‘Dreams, Schemes, & Young Teams’, they’ve conjured images of ‘Sally Cinnamon’ flirting with The La’s and DMA’s. Vocally, the band has stepped up with harmonies enhancing what was, already a rich sound. As Brown decrees “I don’t want to be that guy”, he emits a level of emotion not seen by him before. His soul, for a fleeting moment, is left exposed and vulnerable. This level of openness and generosity of feeling is so often wrapped up in angst and rage. Brown and co have encased it with lysergic licks of love which breed hope and togetherness.

EP closer ‘Lost and Found’ finds a sweet spot between DMAs and Oasis. It allows for their sun-kissed instincts to connect with the raw pop-rock power of ‘What’s The Story…’. Lennon Hall’s power chords give this an urgent, almost desperate quality that Owen Morris’ reckless soul would surely smile through studio glass at. Hall’s rhythm is met by Labrum’s innate ability to stand on the shoulders of guitar giants. As carefree as The View’s debut he unleashes a sprawling melody that Lee Mavers and John Squires will marvel at.  

Indebted too much to the past? Possibly. There is so much joy and emotion emanating from this EP it’s near impossible not to be enamoured with it. Always pastiche, never parody, Marseille can fly the flag of their heroes with pride.

This Is War – Rotten

Liverpool’s This Is War return this Friday with their new EP ‘Rotten’. Recorded at Faktory Studios with The Verve’s Si Jones behind the mixing desk, it will be released via Bubblebrain Records. banner image courtesy of Chloe Randall.

Artwork courtesy of The Songbird HQ

2022 was a great journey for This Is War and their fans alike. A single every month, a year-long advent calendar of fine rock music. From ‘Autumn Savage Rose’ to ‘Weekend’, consistent outsider rock anthems were delivered. If this was all they ever made, it would stand proud and long in record collections. Arguably the hardest-working band in the UK, there would always be more! Can the EP stack up to last year’s quality?

Bridging the 2022 run of singles to the EP is the title track ‘Rotten’. The punk guitars of The Clash and The Pistols come out fighting before, This Is War’s innate ability to find something euphoric in a moment of abrasion emerges once more.

Last December saw the band support Razorlight frontman Johnny Borrel in their home city. Time well spent as Razorlight’s early flourish of greatness surfaces on ‘No Pressure’ and ‘Waves’. The sharp biting licks of ‘Up All Night’ are reimagined for This Is War’s indomitable stomp. The poetic hope of ‘Vice’ and the jagged glory of ‘To The Sea’ are reborn via Johnny Roberts hope filled guitars. ‘Waves’ at times, trips along with the joy of ‘In The Morning’ but continuously fades into something more despairing. There could be no better no sonic to light up the lives of working-class people in times of hardship. No matter how hard we try, there’s always another bill fucking you over! Despite this reflection, ‘Waves’ is also blessed great ambition in the closing stages. It brings the power of U2’s ‘War’ through to 2023 with aggression that demands your respect.  

When BRMC made ‘Howl’, something in the rock ‘n’ roll cosmos aligned, the acoustic guitars which seemed so ill-befitting on paper became their natural domain without them losing any outsider credentials. On ‘Promised Land’, This Is War treads a similar path. The acoustic guitars have found a place between Penny Lane and The La’s and shimmer like a memory of The Roses at their peak. Frontman Paul Carden’s vocals are so often a venomous punk rock weapon for people to unite behind a mesmeric. So many frontmen would just soften the delivery, Carden retains his Dylan-esque power but couples it with a pearl of forlorn wisdom to conjure images of Ronnie Lane and Ronnie Wood telling their younger selves what they know now.  

This is a huge step up in quality for This Is War. Their talent as musicians have gelled with their penchant for punk and rock anthems to produce timeless music. 2022 was a good year for the band by anyone’s standards. The step up in class is perhaps best personified by the acoustic version of last year’s ‘Mona Lisa’. What was gritty and fiery melts into a George Martin-produced classic with Mick Head on guitars.

This is War will playing the Kick Out The Jams stage at the Brighton Mix Up (free entry) next month:

Shambolics - U Serious Boi?

Shambolics release their debut EP ‘U Serious Boi?’ this Friday via Scruff of the Neck Records. It was recorded at Glasgow’s 7 West Studios and produced by Chris Marshall.

Image & artwork courtesy of Sonic PR

Pre-pandemic, Shambolics were making huge inroads into our hearts and minds with Johnny Marr licks via the DMA’s and Fleetwood Mac. They looked destined to break through like Blossoms and The Lathums with alt-pop gems such as ‘Dreams, Schemes, & Young Teams’ and ‘Sandra Speed’. The time away has done nothing to dampen their spirit but has given them time to reflect upon their sonic.

‘U Serious Boi?’ witnesses the band playing with fuzzy guitars and synths for the first time. Former single ‘Take It Or Leave It’ taps into a hooks of Blossoms and early Madonna then builds a groove around its undeniable bassline. Frontman Darren Forbes delivers a vocal hook so good that Stock Aitken and Waterman will be wondering how they missed it. On ‘Like A Breeze’, Forbes taps into his archetypal infectious Fife vocal as the fuzzed-up guitars bounce along like Ben Folds Five to the chorus.

Lyrically, the Shambolics have always had protagonists of a fragile stature. The frail nature of our heroines witnessed on ‘Sandra Speed’ and ‘Love Collide’ were lit up with great heart and soaring melody. A principle that serves them well on ‘Living In The Shadows’. Delicate beginnings lure souls from the darkness as they point out demons are only ever temporary. The build is gentle and cautious, reflecting the integrity and empath of the band to the plight of others in troubled times. The solo is powerful but brief, just the merest of lights shone to offer hope without ever being self-congratulatory. Elsewhere, the strings lend a cinematic Bacharach quality, bringing further tranquility to proceedings.  

On ‘Never Gonna Change’ and ‘What’s Going On Your Head’ the band reignites the fire of the pre-pandemic singles. The former is alight with the guitars of ‘Queen Is Dead’, ‘Some Girls Are Bigger Than Others’, and ‘Boy With The Thorn In His Side’ are given a Lee Mavers (The La’s) and Pete Reilly (The View) makeover. ‘What’s Going On Your Head’ has hints of glam-rock as the devilish guitars build to the finest solo to date. With The Lathums currently on top, both tracks are serving them notice as the Shambolics will surely surpass them sooner rather than later.

Where they’ve explored new textures they haven’t achieved the greatness of the sound we know and love. However, there are elements in those tracks that have teeth and which, if they can unlock fully could enhance their repertoire no end.

Click the image below for tickets to their upcoming tour:

Rolla - Nothing Less Than Everything

Manchester’s Rolla recently released their debut EP ‘Nothing Less Than Everything’ via Golden Robot Records. It was recorded at the iconic Rockfield Sudios with Nick Brine (Oasis / Stone Roses) producing and Gareth Nuttall (The Lottery Winners, The K’s) mixing.

Image and artwork courtesy of Fear PR.

Recent singles ‘Ease My Mind’ and ‘Hey You’ chart a debauched course as they seek out the undiscovered. On ‘Ease My Mind’ Nick McCabe’s sense of exploration links with Serge’s sprawling dynamism on this tale of extracurriculars. While ‘Hey You’ is more nuanced, its power remains equally as feverish. Frontman James Gilmore harnesses the more melodic moments of Tm Meighan’s time in Kasabian alongside a venom not yet seen. The demonic nature of Richard Ashcroft on ‘This IS Music’ and ‘No Knock On My Door’ ooze from his soul whilst his brother Luke’s bass throbs with the grooves of criminally underrated ‘Gravity Grave’. Luke McConnell and Tom Paddon’s guitars have that hissing power of Oasis’ live presence circa 95-97 but, with the deft touches of McCabe. The latter’s influence looms much larger creatively as the band takes you on a journey without a destination to free your soul. The yelps of ‘Rolling People’, the howling furore of ‘A New Decade’, and the perilous defiance of ‘Come On’ unite on what is, as close to pure art as rock ‘n’ roll can sound.

On ‘Explain Yourself To No One’ and ‘What Kid’, they find new ways to soar. The psychedelic howl of Noel’s Union Jack guitar at Maine Road in ’95 and the venomous attitude of Ashcroft at Haigh Hall or Meighan in the 00s roars back to life on these febrile tracks. The former culminates in chest out, nose to the table set of BRMC guitars circa ‘Whatever Happened TO My Rock ‘n’ Roll’. On ‘What Kid’, Gilmore delivers a vocal to enter him into the history books as he nestles in between Tom Meighan and Peter Hayes (BRMC). This swirling cauldron of psychedelic aggression threatens to overspill into pure violence but, lyrically they embed the protagonist with heart and an underdog spirit that us mortals can live through.

Amid the chaos and rebellion, Rolla have delivered a moment of unity on the drugged-up ‘When Life’s Thunder Striking’.  They tap into the soaring orchestration of their peers The Institutes on this tale of melting away from life’s pressures. As sweet as a classic Embrace single and emotive as Ashcroft on ‘Space and Time’ or ‘Weeping Willow’, they’ve given a new generation that last-minute FA Cup final winners are still a possibility.

‘Nothing Less Than Everything’ is the sound of a band who have stared mortality in the face and told it to fuck off. There’s an ease with sex, drugs, and violence not witnessed in some time flowing through them. Defiance oozes through their veins as much as their obvious talent. Strap yourselves in, it’s going to be one of hell of a joyride to those arenas!

Click the image below for tickets to their upcoming tour.

The Lunar Towers - Hurry Up and Wait

The Lunar Towers are a four-piece hailing from Cheltenham and now residing in London. They consist of Rory Moore (bass/vocals), Joe Richardson (guitars/vocals), Rob Sewell (guitars/vocals), and Bradley Hillier-Smith (drums).

Rory and Joe met by chance in a French class at school and bonded over music, Oasis t-shirts, and Morrissey haircuts. They have recently recorded with The Moons frontman and Paul Weller multi-instrumentalist Andy Crofts, a sure sign of genuine talent.

After the singles ‘Wire’ and ‘Happy As Larry’ were picked up by Shindig magazine, Radio X, and BBC Introducing in the summer, they’ve returned with their debut EP ‘Hurry Up and Wait’. Here’s our track-by-track review:

*Images and artwork courtesy of The Songbird HQ

‘Hurry Up and Wait’ is available to buy on their Bandcamp page.

Plastic Glass Towers

The rippling guitars of Derby peers Marseille can shimmer on the darkest of winter days. Not content with bringing the sunshine to grey landscapes, they have Teenage Fanclub’s innate ability to conjure an escapist momentum to revel in.

There’s a ramshackle beauty to Sewell’s vocals which evokes Pastels’ Creation Records era. The abrasive yet beautiful delivery gives them a joyous us versus the world sonic!

Pillar 2 Post

This time out, Richardson takes the vocal lead which transforms the bands sound. Blessed with the smokiness of Elliot Smith, the lo-fi drawl of Lou Barlow, and the joy of The Orchids’ James Hackett, It allows their sunny disposition to roam free.

The sumptuous guitars meander with the effortless beauty of Lawrence in his Felt days and the folk-indie magic of Belle & Sebastian. What prevents them from becoming just another indie band with a nice jangle is the directness of the solo. It brings Teenage Fanclub and Goa Express into play which broadens their horizons and therefore, future excitement exponentially.

Southern Love

With The Byrds in their hearts, they set sail for the Laurel Canyon. McGinn’s guitars and crosby’s soulful vocals are reimagined to a scintillating effect. The urgency is instant. The vitality is necessary! This is rock ‘n’ roll at its absolute best. Desperate to set the soul free from its trappings via art and integrity.

Back To You

Vocally, Moore has found a sweet spot between the abrasive Pete Shelly and The Jacques’ Finn O’Brien. What makes him more special is the re-homing of the punk spirits in this gentler sonic.

The guitars have the warming glow of Richard Hawley in a parallel universe where he joined forces with Strangelove and Luke Haines to conjure an awkward yet endearing form of crooning.

Pastel - Isaiah

Manchester’s Pastel release their second EP ‘Isaiah’ EP this Friday via Spirit of Spike Island Records. Produced by Afflecks Palace frontman J Fender, it follows the success of their ‘Deeper Than Holy’ EP released back in 2021. Can it follow up on the early promise?

The previous EP demonstrated a love of the Verve which they have doubled down on here. The title track ‘Isaiah’ is steeped in Nick McCabe’s magical swirling guitars that beckon tonnes of dry ice on a huge stage for them. Frontman Jack Yates angelic vocals give the astonishing sonic a human touch, allowing us mortals into their world. ‘Escape’, written after a hefty acid trip, has the melodic hallmarks of ‘Weeping Willow’ and ‘Space & Time’ and the explorative splendour of ‘Blue’. The sumptuous slide guitars are destined for iconic status.

Their time with John Squire at Knebworth was clearly well spent. On ‘S.O.H.O.’ the ‘Second Coming’ and ‘Do It Yourself’ strut comes out to play. Great and immediate hooks combine with Yate’s Chris Helme vocals to bug everything out.

On ‘Two Fools’ however, the promise builds but does not arrive. Whilst the hiss of Owen Morris’ Oasis production lurks and the vastness of ‘Urban Hymns’, its tails off without landing a killer moment. That is a testament to the quality elsewhere that your hopes are raised song upon song.

*Image courtesy of Fear PR

Pastel’s remaining live date of the year is:

November 20th - Preston, Crosstown Festival

The Native – Looking Back

Plymouth outfit The native recently released their debut EP ‘Looking Back’ via This Feeling Records. It comes off the back of the Reading & Leeds Festival and appearing on Soccer AM. It was produced by John Cornfield (Oasis / Stone Roses) and mixed by Grammy Award-winning Adrian Bushby (Everything Everything).

Some bands thrive on the fringes. They can tear up the rule book and conjure a new scene from thin air. Then, there are bands like The Native. They come fully formed destined for the centre ground. Not enough for the punks but, everything to who believe in headline togetherness of The Killers or a Coldplay.

The Devon band have real intent on creating something epic before their time is up. On the latest single ‘Looking Back’, they race to the centre ground of indie-pop. They condense down the euphoria of Embrace and try to motor skywards. Whereas, ‘Blindside’ tunnels into hearts with bombastic drumming keeping it on the right side of credibility.

There is a brief moment on ‘If Not Now, Then When?’ where they strip it all back and stray into the world of acoustic guitar blandness. Without the age behind them to crash into life’s failures, it doesn’t land the depth this kind of song needs to succeed.

However, when they let their youthful exuberance of the leash on ‘All Or Nothing’, taps into the emotive power of Starsailor and eloquence of the DMA’s. Similarly, to Snow Patrol’s breakthrough, few will be able to ignore its beauty and Edge-esque solo

You'd be forgiven for rolling your eyes if this was a band three albums deep. The fact is, this is a debut EP and The Native have emerged with a decent swing at mainstream indie. With the chancellor on a path to destruction, mercifully, The Native offer a flicker of light as they hint at Editors’ haunting qualities, Blossoms pop instincts, and The Railway Children’s rueful melodies.

*Images courtesy of Fear PR

The Native’s upcoming live dates:

OCTOBER 

15th - Live At Leeds 

NOVEMBER - WITH BASTILLE 

14th - Brussels, Forest National 

15th - Paris, Salle Pleyel 

16th - Luxembourg, Den Atelier 

18th - Frankfurt, Am Main Jahrhunderthalle 

19th - Cologne, Palladium 

20th - Berlin, Verti Music Hall 

The Skinner Brothers - Lonedon EP

Not resting on the laurels of ‘Soul Boy II’, London’s The Skinner Brothers have returned with their new EP ‘Lonedom’.

Images & artwork courtesy of Fear PR

here is our track-by-track review:

Lonedon

Frontman Zac Skinner’s vocals should be iconic by now. On this latest offing, he has the gruffness of beans on Toast, the insolence of Jamie T but, crucially it’s his soul-boy persona that shines brightest. Theirs an air of the 80s wide boy donning the finest Fila jacket sipping G&T’s surveying the chancers who know better to cross him.

Despite the coolness of the record, their anxiety permeates throughout as our protagonist struggles to belong in London. The big smoke is a vibrant joyous place full of choices if you can afford it. For anyone slipping financially, mentally, or emotionally, it can be a pressure cooker waiting to blow. The Skinner brothers take those infectious laid-back licks of The Astors and the chilled bombast of Eddie Floyd for a walk along desolation row. The solo that blasts out twice takes the band to another level altogether. The Coral’s ‘Magic and Medicine’ unites with Miles Kane’s dreams of rock star status to conjure a perfect blend of isolation and toxicity.

The Mellow

It may lack the 100 overdubs but, it embodies Ashcroft’s sense of freedom on ‘Urban Hymns’. Spikey lyrics, stoner melodies, and escapist guitars unite to create bugged-out rock ‘n’ roll for the 4am finishers.

Loaded Gun

Jamie T’s guttural glory combines with a Fatboy Slim–esque riff. This is gloriously unhinged debauchery set to unite groups of mates on both triumphant and failed nights out for a generation. It has a raw sense of adventure destined to be a catalyst for another wave of bands.

Make It Count

The effortlessness of Peter Bjorn & John and Foster The People flirting with the lo-fi magic of Ian Brown’s unfinished Monkey Business.

The Skinner Brothers are on tour throughout October:

OCTOBER 

1st - Manchester, Neighbourhood Festival 

2nd - Blackpool, Bootleg Social 

4th - Southampton, Joiners 

5th - Southend, Chinnery’s 

6th - London, O2 Academy Islington 

8th - Cambridge, Mash 

9th - Guildford, The Boiler Room 

10th - Oxford, Bullingdon Arms 

12th - Edinburgh. The Caves 

14th - Stockton, KU 

15th - Live At Leeds 

Priestgate - Eyes Closed For Winter

Yorkshire’s Priestgate recently released their debut EP ‘Eyes Closed For Winter’ via Lucky Number Music (HMTLD / Walt Disco).

Here’s our track-by-track review:

Bedtime Story

If The DMA’s made a Cure record, this would be it. Dream pop-psyche flirting with the lighter gothic moments of Robert Smith’s eyeliner magic. Frontman Rob Schofield switches from a popper Farris Badwan in the verses to the broken gruff soul of James Geard (Sissy & The Blisters) or Alexander "Chilli" Jesson (Palma Violets) in the pain-ridden end.

Darkness loiters lyrically throughout:

“All I really wanna do is sleep / That's the only thing that belongs to mе”

Our protagonist worryingly losing agency is a brave and bold discourse for such a young band to tackle but, a triumph remains!

Eyes Closed For Winter

They’ve taken The Maccabees ‘Feel To Follow’ to the edge of The Horrors’ psychedelic landscapes.  

Both walked the tightrope of creative and commercial success with aplomb. Priestgate has effortlessly moved into this territory on the title track. Melodically soaring throughout, frontman Rob Schofield toys switches from angelic to anthemic alongside the life-affirming guitars of Connor Bingham and Isaac Ellis.

Credits

Real Estate’s bliss and Ride’s pop alt-pop sensibilities ignite this dreamy affair. Schofield’s vocals nestle in between Robert Smith and Harry McVeigh which elevate The Horror’s ‘Primary Colours’ keys and the sumptuous guitar hooks.

The lysergic joy of Afflecks Palace is pumped full of Walt Disco’s new wave playfulness to create a bona fide alt-pop track for the ages.

By The Door

The crowning jewel of a truly incredible debut EP.  The Maccabees ‘Given To The World’ collides with A Flock of Seagulls on this epic adventure. As Schofield sings “leave your secrets by the door / what ya bring them here for”, a darker abrasive world opens up for them.

It’s here their penchant for great melody soars the highest. The juxtaposition of Cure-esque hooks and fractious relationships is a collision Priestgate should revisit over and over for our pleasure.   

The Chase - Not the F*cking Game Show

Nottinghamshire’s The Chase have been on a roll the last 12 months. Brothers Tyler (frontman) & Dion (drums) along with cousin Luke on bass and James on keys have notched up support slots with The Rifles and The Skinner Brothers.

They recently released their debut EP ‘Not the F*cking Game Show’. Here’s our track-by-track review:

Black Cloud

Raucous garage punk sitting between The Stranglers and The Velvet Hands. James’ great keys light up this explosive affair alongside the scintillating guitars.

I'm the Man

Tyler’s vocals have the deranged but melodic joy Frederick Macpherson (Les incompetents/Spector). The power he emanates alongside the stomping drums and violent guitars feels like the single comeback Oasis always attempted ‘Heathen Chemistry’ until the end but never landed.

The bluesy stomp teases The Stones’ devilment out of BRMC’s wayward souls and yet, there is a togetherness oozing from this record. One which is going to set ablaze live audiences.

Live to Die

Great synths take the band towards an indie-punk rapture. Taking all the best bits from Maximo Park, Spector, and The Cribs they lift off to a destination unknown but one you’ll be hell-bent on finding.

Set The World To Rights

Despite the frenetic pace to the EP so far, musicianship worthy of session artists has lurked. Here, with pace mercifully slowed, they showcase just what they’re capable of when they let everything breathe.

Melodies worthy of Crowded House are taken to the sun-setting rock ‘n’ roll of Soundtracks of our Lives. Despite the center-ground here, the vitality of the sound is not diminished. Urgency pours from their sweat like fine wine!

La La La

The Dead 60s ‘Ghostface Killah’ collides with early Ordinary Boys on this psychedelic ska anthem. Volatile like The Coral’s debut, they prove that, no matter what the genre, they are unpredictable, melodic, and ready to take the alternative scene by the scruff of its neck!

In The Queue

A sign of their quality that this ramshackle throwaway affair carries more melody than most alt-bands we saw at Glastonbury this weekend.  

Andrew Cushin - You Don’t Belong

Not content with recording with Noel Gallagher, Geordie sensation Andrew Cushin has been opening for him on some massive outdoor gigs this summer. Cushin has released his debut EP ‘You Don’t Belong’ to mark the celebration. Written but Cushin, it was produced by Jason Stafford and recorded The Libertines’ iconic Albion Rooms studio in Margate.

To date, Cushin has released a litany of melancholic tales blessed with Gallagher’s key change joy and soulful lyrics. ‘You Don’t Belong’ for the most part, buries his past and departs on a bombastic carnival ride.

The title track and ‘Yeah Yeah Yeah’ fly out of the traps. The former peacocking across the stage with a glam stomp to get awaken the senses. The absence of a killer solo lets down the guitar hook, Cushin vocals, and its energy. An absence that is remedied on ‘Yeah Yeah Yeah’. The pop-mod immediacy of Ocean Colour Scene’s ‘Goodbye Old Town’ is met with a joyous solo that sounds like Stephen Stills joined ELO.

Stills’ penchant for debauchery and infectious rapture is rolled out to full effect on the Noel Gallagher-inspired ‘Catch Me If You Can’. Cushin spectacularly finds a way of pulling in the dynamism of ‘Keep on Reaching’ and the wonder of ‘Revolution Song’ into the hedonism of Stills’ guitars.

Cushin returns to his archetypal sound on ‘Runaway’. A track was written on the fly in homage to Gallagher’s ‘Supersonic’. Cushin paints tortured souls like no other and, as the exceptional stargazing production soars, his soul falls into the gutter:

“You drink yourself to death / just like you always do / like the wind used to”

Although it leaves you hollow and despairing, the heart will remain full for this is a young man reminding us all that a working-class hero is still something to be!

*Image courtesy of Sonic PR

The Clockworks - The Clockworks

The self-titled EP from Galways The Clockworks will be released on 1st April (no seriously) via Alan McGee’s label It’s Creation Baby.

Here’s our track by track review:

Endgame

Being directionless in a world gone fuck up has never sounded so great. Frontman McGregor’s vocal cadence radiates “4 Real” carvings in the arm it’s so vital; every breath, note, silence sounds like the key moment in the best film you’ve ever seen.

Previously, their guitars have been in two camps. ‘Can I Speak to a Manager’ and ‘Bills and Pills’ were a great homage to 00s icons The Rakes, The Cribs, and beefed up Good Shoes. Then, in ‘Enough is Never Enough’ something changed.  Brutishness pervaded their punk as they traversed far more desolate landscapes.

Image and artwork courtesy of Sonic Pr

Here, they have married up the two to create the next wave of UK punk. It’s fired them into the brace of Shame and Fontaines DC, arguably surpassing them. Especially when you consider McGregor has found a way to sit between Henry Dartnail’s (Young Knives) slightly high-pitched growl and the warming punk of Grian Chatten (Fontaines DC).

Money (I Don’t Wanna Hear It)

It’s felt an age since social commentary and great characterisation were a part of our lives. There has been great polemic of recent times but, ‘Money’ goes further. It unites the town crier with the poet and is destined to reel in fans from all strands of the alternative world!

Feel So Real

Almost a year to the day since this was first released and its prose feels more needed now than then. The disgusting Spring Statement that neglected millions (becoming a habit Sunak!!!) are lit up perfectly. McGregor’s lyrics scour London life, consuming the good, the greed, and the destitute.  It feels like Welsh, King, and Niven have formed a three-piece punk band with one objective, righteous angst!

The Temper

Not many punks can strip down to acoustic guitars and maintain the quality levels. The Clockworks do not struggle here. The passion of ‘England’s In The Wars’ and the playfulness of ‘D’Ya Wanna Be Spacemen’ offer up a moment of calm but incisive lyrical joy.

Images of Pete and Carl filling time between stage collapses or Brett Anderson sitting on the edge of the stage without a mic come racing to the fore as, this acoustic affair sways with Blake-esque poetry.