Treasures of Mexico – Burn The Jets

Medway’s Treasures of Mexico returned earlier this year with their third album ‘Burn The Jets’ (Spinout Nuggets). Following their 2018 indie-pop masterpiece ‘Everything Sparks Joy’, it has vocal contributions from Jetstream Pony’s Beth Arzy and was recorded at Jim Riley’s Ranscombe Studios.

Image and artwork courtesy of Spinout Nuggets.

Five years ago, ‘Everything Sparks Joy’ cut through a Brexit-dominated landscape with the indie pop-perfect ‘Supercute’ and resplendent ‘Avalanche’. Remarkably, in 2023, society feels worse than it did back then. Client media, concocted culture wars, and eye-watering interest rates have flooded our lives. Can the Treasures of Mexico save us from the gloom once more?

Leading the charge are ‘Days With A “Y” In’, ‘Beaming’, and ‘Servant To The Seasons’. The former leans into the indomitable spirit of their former band The Dentists and the formidable guitars of Norman Blake roaring their way to the light. The hazy lo-fi tinge gives proceedings a sense of agitation yearning to break free, which the ecstatic organ solo does with gusto. ‘Beaming’ gently dazzles like Real Estate playing Byrds songs. On ‘Servant To The Seasons’, despite the moments of distrust and doubt (“id like to say we’d be ok but that depends on you….here we are again”), they conjure a melody doused in gorgeousness. Bob Collins' jingle-jangle guitars inject the lush world of Felt with a dose of Mood Six and The Fanclub’s urgency.

Mark Matthews’ exemplary ability to manoeuvre darker discourse alongside Collin’s joyful playing continues on ‘Halo’. Matthews’ sarcasm (“I see you polish halo”) descends into bitterness in the second verse:

“I see you feeding your ego / I feel you trampling over me / Your arrogance running free”

The angelic Cocteau Twins-esque keys are accompanied by guitars which swell with frustration to bursting point. ‘Halo’ is so subtle yet masterful in highlighting a relationship's bespoke nuances and how they fracture and repair.

Then, on ‘Monday Morning’, Treasures of Mexico find a career-best song. Matthews’ vocal hits upon an elegance and reverence in this tale of a lost soul. As Matthews decrees “you’ve lost that loving feeling and what you believe in”, you can feel an embracing arm around the shoulder through his tired but loving notes. Matthews goes on to dissect the protagonist’s precarious life with such affection and aching beauty that few will be tear-free as he sings:

“you had a heart of gold that gave so much, but someone melt it down / took all you empathy, they stole your smile and turned it upside down”

Collins’ astonishing solo follows to blow melt even the coldest of hearts. He should be a national treasure! Emotive. Escapist. Ecstatic.

Three albums in, Treasures of Mexico show no signs of tailing off. ‘Burn The Jets’ is a heartfelt slice of guitar joy that all should bask in.

Click the image below for tickets to see them, The Claim and Jasmine Minks in Brighton:

The Shop Window - A 4 Letter Word

Maidstone outfit The Shop Window released their second album ‘A 4 Letter Word’ at the end of November via the impeccable Spinout Nuggets imprint. It was recorded Raffer Studios in Kent, produced by Callum Rafferty, and features Sarah Records icon Beth Arzy (currently of Jetstream Pony & Luxembourg Signal) on backing vocals on four tracks.

‘A 4 Letter Word’ is avail;ble to buy on their Bandcamp page.

At several points ‘A 4 Letter Word’ finds a way to reimagine their love of indie’s angelic past for the modern day. Former single ‘Lighthouse’ s guitars imbue the angelic sheen of The Mock Turtles and through Carl Mann and Simon Oxlee’s vocals, the glorious rumble of Teenage Fanclubs comes alive. Whereas opener ‘Eyes Wide Shut’ finds the Medway’s beat traditions caress the hushed beauty of The Railway Children. Its laid-back stomp builds to a sumptuous wah-wah solo on this tale of wonder and exploration of the soul.

‘On That Feeling’ and ‘Maid of Stone’, they take their Medway indie for an away day to Manchester. The former finds them in Stone Roses territory but, one where the icons had adopted a folksy sonic to their Byrdsian rock ‘n’ roll. As Mann decree “When I Get That Feeling I'm alive / Hold on to the moment now it’s right” the agitation of the Roses’ lack of new music subsides. The Shop Window have found a way to make that explosion of colour from 1989 sound sage and meaningful in middle age. On ‘Maid of Stone’, they rekindle their youth in Maidstone where dreams were made and lost. Like ‘On That Feeling’, it has a wisdom to it, a sense that they have come full circle, have come home. In doing so, the heavenly paisley guitars of early John Squire and more pertinently Andrew Innes circa ‘Sonic Flower Groove’ flood the senses in much the same way their peers The Shed Project have done so adeptly.

Manchester’s heritage surfaces once more ‘Circles Go Round’ and ‘Lay of the Land’. ‘Circles Go Round’ is undeterred by their youth passing. The spirit of ‘Teenage Kicks’ has soared to the surface on this great homage to The Smiths. ‘Lay of the Land’ find is the most interesting piece on the album. Vocally, Mann adopts Damon Albarn’s smoky drawl as the band adopts Blur’s brief involvement with the baggy scene. As the chorus climbs to a euphoric state, the guitars take on the warped world of The Cure, occasionally offering a DMA’s lightness before the deranged glitch re-emerges to signify that, although their souls remain free from that era, life has changed and taken its toll. A truly remarkable sonic take on life’s responsibilities taking grip.

Former Aberdeen singer Beth Arzy appears on four tracks and shines brightest on ‘Dancing Light’. The hallmarks of Deacon Blue and REM’s great alt-pop flirt with Buck and Marr’s guitars whilst Mann and Arzy create the nearest thing to vocal beauty since The Cocteau Twins.

The Kent outfit have lit up a bleak year with this gentle yet defiant indie-pop record. Everywhere you turn there are nods to the 80s and 90s but, with astute sonic updates. Lyrically, they accept nostalgia less as a noose and more as a bridge to their untamed teenage selves and thus, provide endless tales for their souls to relive in the modern age.  

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