The Moons - Pocket Melodies

The Moons followed up on 2014’s ‘Mindwaves’ with ‘Pocket Melodies’ at the back end of last year. After rehearsing live at Black Barnes Studio, they recorded it live in one day at Abbey Road’s Studio 2. Also backed with an orchestra, would this new method stack up to their previous work?

Their love of the Beatles hasn’t diminished. Some may see this as a positive, some may not. Through singer and songwriter Andy Crofts though, they have a creative who can summon melody at a snap of his fingers.  

Bass player Ben Curtis described the intro of ‘Rear Window’ ‘something that should be star Steve Pemberton in Inside No.9 and Reece Shearsmith’. The eerie piano intro develops into the albums standout melody. The crisp soul of Weller’s ‘On Sunset’ and the rustic romance of Ocean Colour Scene’s ‘Spark and Cindy’ are given an orchestral lift to something truly special. The chorus glides by carefree whilst, Crofts’ vocals hit a melodious peak that, only Liam Gallagher’s ‘One of Us’ has rivalled in recent times.

The recording of ‘Pocket Melodies’ was ostensibly working up unfinished songs from the back catalogue. Despite this, their brand of tuneful melancholy brings with it, a narrative of yesteryear and, on ‘Tunnel of Time’ (co-written with Weller) and ‘Where Are You Now?’, the lyrics accompany the sonic.

The former takes stock of the incredible ride Crofts has been on with The On/Offs, The Moons and Paul Weller. Finding his sense of belonging with bands and mod culture, Crofts has got to see the world and do things most of us could only dream off. However, as the tale’s protagonist drifts through space, a yearning to find a new belonging emerges. The acoustic Lennon strumming collides with sumptuous Mick Ronson solos and stunning orchestration to leave you thinking that family life is the healthy anchor to one’s adventures.

‘Where Are You Now?’ is blessed with George Harrison’s effortlessness and timelessness. Uplifting orchestration ambles on by unto a stunning Moody Blues middle eight. All the while, a child contemplates where a parent who left is now. Pensive but beautiful!

‘Pocket Melodies’ is like a group of friends meeting annually to get drunk. No matter the time apart, The Moons slot right back into a groove of great melody and warming embrace.

DMA's - Silver

The surprise package of the decade, DMA’s return to sprinkle hope and sunshine on the dreary UK winter skylines once more. Their latest single ‘Silver’, released via Infectious Music, is the leadoff single to their upcoming third album.

No one can touch Thomas O’Dell’s right now. His soft but intensely emotive vocals cut through every ounce of election bullshit we’re fed at present. The story, an almost a modern take on Nick Hornby’s High Fidelity, looks back on a failed relationship and how they consume the male protagonist’s mind years later.

The torment within the lines ‘It’s funny that I think of you right now / Knowing all the years that turned to clouds’ is agonising. It will set minds racing to the one who got away immediately and questions of how it all slipped away will lurk painfully.

Thankfully, through the soaring closing stages, they offer a chink of light:

“How do I redefine
All my love for you
I guess I look to the sun with you
How do I realise”

Their que sera sera moment will drag you from unatoned realms to sun-drenched climates instantly.  

If there is a sweeter sound than The DMA’s, by all means, let us know, we bet you’re wrong!

Miles Kane: Electric Ballroom, London

Dressed resplendently as Kevin Rowlands, Liverpool outrider Miles Kane strode onto the Electric Ballroom, reminding everyone the difference between mortal an immortal.

The joyous funk of ‘Coup De Grace’ brought The Smiths classic ‘Barbarism Begins at Home’ to life until Kane’s anarchic vocals took it to away to something more visceral. The venom remained high on the classic ‘Inhaler’ and ‘Come Closer’. He is unstoppable in this mood!

It is however, on the poppier moments where his ability to hold a crowd in the palm of his hand truly shine. With help from Jamie T, he takes the Camden crowd on a roller coaster of emotions on ‘Too Little Too Late’. On the acoustic version of ‘Killing The Joke’ and slow building ‘Colour of the Trap’, he united the crowd in an almost hymnal singalong.

Everything came together on the soaring pop majesty of ‘Rearrange’. Kane’s ability to channel 60s pop past into something vibrant, sexy and violent was at its peak here.

With a huge support slot alongside Liam Gallagher imminent, the jury will be out on who is the best frontman of today!

The Velvet Hands: Live in London

“Everybody's looking for last gang in town
You better watch out for they're all comin' around”

Falmouth’s The Velvet Hands kicked off their intimate sold out tour off at London’s Roadtrip & The Workshop this past Tuesday night.

The Clash had a gang mentality, The Libertines had it and now, The Velvet Hands have it! Despite the rock n roll, the punk fury and the icey coolness of the vocals, they have warm embracing nature. It’s so inviting that, on the modern classic ‘Party’s Over’, the raucous crowd invite themselves on stage for a dance.

On the debut album record, The Strokes influences were plain to see. Live though, they transcend their NYC heroes. As the BRMC inspired ‘Sick of Living’ catches fire, their welcoming spirit permeates the sweat drenched room. What Richard Hawley does via pop couplets and enriching arrangements, The Velvet Hands are doing with garage punk rock.

New singles ‘Don’t Be Nice To Me’ and ‘This Feeling’ also go down a storm. The word is out! The former, a Cribs meets Strokes banger is the pick of the bunch with its ecstatic closing moments!

Brace yourself Britain, you’re about to get new national treasures!

*Image courtesy of Craig Taylor-Broad

The Velvet Hands – This Feeling

Fresh from supporting 2019’s all-conquering heroes Fontaines D.C. and the omnipresent Liam Gallagher, the Falmouth four-piece are back! Their new single ‘This Feeling’, is released on 27th September via Jam X Recordings.

If previous single 'Don't Be Good To Me' was a solid jab, 'This Feeling' is a massive right hook! The brazen NYC rock n roll of The Strokes collides with the Danish punks Iceage. The results, slice of pure devilment.

Despite the chaos, there are moments of pop majesty. The Howlin’ Pelle Almqvist meets Julian Casablancas back ‘n’ forth vocals recreate the Pete and Carl dynamic for a drunken night out in 2019.

Nevertheless, it’s the intensity that overshadows everything here. Pete Shelly may have left this mortal coil but, his soul lives strong and furious in the The Velvet Hands.  

There some moments of real pop majesty lurking within here. The early Libertines back n forth vocals being the cream of the crop. However, it’s the intensity of it all that overshadows everything. With the spirit and the joy of the Buzzcocks in their hearts, it’s to visualise the assault they put upon their kit in the studio.

The Crooks - Now Then

For many Oasis fans, including Noel Gallagher, they wish upon a parallel universe. One where 1997's 'Be Here Now' had undergone extreme quality control.

Well, that wish might just have been granted in the form Chesterfield's The Crooks. Cut them and they will bleed DMA's via the extravagance of Oasis circa 1996 to 1998 but, crucially, without the self-indulgence on their latest EP ‘Now Then’.

'Grey Man' has the lone wanderer feel of Noel's solo masterpiece 'Riverman'. Here though, he walks upright with youthful enthusiasm. The psychedelic guitars of Stee and Mods are the perfect platform for frontman Jacko to execute his Liam Gallagher via Thomas O’Dell (DMA’s) vocals. As Jacko decrees “bring me back to the wonderland”, music lovers over the age of 30 will have their youthful ambition restored whilst this generation runs amok to secure it for them.

The Oasis via DMA’s style continues throughout to wonderful effect. ‘All Isn’t As It Seems’ is a lyrical update of ‘Live Forever’ or The Enemy’s ‘Away From Here’. As the chorus of “I want to live my life away / I’m sick of doing it your way” images of huge festival crowds singing arm in arm come rushing to the fore. Meanwhile, on ‘Champagne & Caviar’, the parallel universe strikes. Oasis’ ‘It’s Getting Better Man’ is cut down to 3mins of scintillating solos and the hunger of ‘Definitely Maybe’.

When they do strike for the stadium rock sound on ‘Rocket’, it comes with the anguish that rock ‘n’ roll needs to truly matter. With a punk spirit in its veins, ‘Rocket’ is the sound of people trying to make ends meet and enjoy themselves. All the while, an Etonian racist and Pro-Privatisation of NHS dickheads battle it out to rule over us. The sheer guts and desperation of ‘Rocket’ can be all things to all people. It’s a clarion call to the jaded and a helping hand to those on the canvas. It’s uniting spirit is a reminder that rock n roll will never die.  

Despite the comparisons to DMA's and Oasis, this is not just a re-hash. The Crooks are very much one step backwards, 2 steps forward sonically. It’s the spirit they evoke on ‘Now Then’ that shines brightest. It’s as though they put Shane Meadows in charge of producing ‘Be Here Now’ to give it the brutal reality check it needed. The results, heady and pure rock n roll.

Friday 2nd August marks our 8th birthday. Come down to the New Cross Inn for a night of great live music. Tickets available here:

The Velvet Hands - Don't Be Nice To Me

With a huge Liam Gallagher support slot in the bag, Cornwall’s The Velvet Hands return with their new single ‘Don’t Be Nice To Me’.

2018’s debut album ‘Party’s Over’ got people talking excitedly about the four piece but, such was the Strokes influence, question marks loomed over future successes. Could they break free from their heroes shackles being the main one.

‘Don’t Be Nice To Me’ is a big stride away from their NYC idols. It’s a short sharp upper cut to their peers and the drivel in the charts. With the warmth of Palma Violets and the angst of Shame, they have found their sweet spot.

This free flowing piece of rock rebellion is going to cause some serious beer spillages on indie dancefloors this summer!

Friday 2nd August marks our 8th birthday. Come down to the New Cross Inn for a night of great live music. Tickets available here:

Liam Gallagher: Ally Pally, London

Ally Pally, last week, was ventured to with a big sense of trepidation to see the immortal one, Liam Gallagher. The last Beady Eye gig at Brixton was only 3 quarters full, the stardust was fading. So, would this be a giant karaoke set? Will he be killing the memories of youth culture at its finest?

Fears were not put to bed on arrival. Ally Pally acts more as a wankers paradise than a gig venue. More people were queuing for a 15 quid burger than a pint. Then there was the support acts, Kyle Falconer, once great in The View delivered a bland set. Was this an omen? As for Rat Boy, give it up, just become a Jamie T tribute act, least then they can play some good tunes.

However, 'Fuckin' In The Bushes' drops, and there he is. This last great colossus front man. Enigmatic, angry, and disdaining of what he purveys. As “I live my in the city” leaves his lips all reservations float away. Yes, these are Noel’s songs, but without Liam, Noel would be still be polishing Clint Boon’s organ.

The opening pace is relentless, like Roy Keane tearing lumps out of Alfie Inge Haaland in his pomp. As a result, 'Paper Crown' becomes a welcome break. As do all the ballads of his new album. If there was a ‘mic drop, exit stage left’ moment, it was ‘For What It’s Worth’. The apologetic and defiant ode to brother Noel unites this packed crowd in a way that, previously only his brother could.

‘Rockin’ Chair’ was the only time Noel was missed, as the acoustic solo was butchered. Nevertheless, as soon Liam steps to the mic, the Lydon via Lennon vocal makes this blip irrelevant. No matter the song, no matter the writer, this crowd is one big Jager bomb boshing, bank card scratching party.

As you were!

Liam Gallagher - As You Were

“Gonna take you off my list of to do’s / Gonna sing my soul / Shake of these blues”

The opening lines of ‘Bold’, says all you need to know about Liam Gallagher’s comeback. It’s confessional, heartfelt and, to quote the god like Alan Partridge, Liam has “bounced back”.

Anyone who lived through the 90s will have been worried by Liam’s solo album. He embodied so much that was great in the epoch, another lacklustre effort would render him redundant cultural capital.

As the album kicks off with ‘Wall of Glass, the alarm bells ring. It’s that faux chaos comeback single that plagued Oasis for so long (‘Hindu Times’, ‘Lyla’ and ‘Shock of the Lightning’). However, from ‘Bold’ onwards, a remarkable, almost psychoanalytic approach to his character is explored.

Most striking in this respect is ‘For What It’s Worth’. An apologetic ode to brother Noel set to Oasis via ‘Let It Be’ strings was always grabbing headlines. It’s the honesty that shines brightest though. Calling his brother out on his calculated media persona to accept his apology and get the Oasis juggernaut back on the road is a story that writes itself.

The lyrical directness befits Liam’s vocals far better than the hazy psyche of latter day Oasis and Beady Eye. Whether it’s Lennon via Lydon snarl on the bluesy rock n roll ‘Greedy Soul’ or the angelic ‘Paper Crown’, Gallagher’s confessional style has the effect of healing wounds and defying the odds far more than “Gold and silver and sunshine is rising up / Pour yourself another cup of Lady Grey”.

This is yet again exemplified on ‘You Better Run’. An attack on bands and artists who are just happy to be at the party. Liam reminds everyone that being an outsider is something that you live and breathe. It’s not for Chris Martin to write fair trade on his hands. It’s not for James Bay to put on a hat. It’s not for Ed Sheeran to pick up a guitar. It's not for Radio X to have an all male line up. It’s not for Pitchfork to wank themselves silly over an obscure German industrial influence on a Radiohead album and then slate Liam for being inspired by T-Rex.  

When the ‘Supersonic’ documentary came out, it felt the perfect end point for all things Oasis. It encapsulated everything that youth culture and youth culture could achieve. Like a Smiths reunion, it would detract from the power of being young and dampen their greatness. But, when Liam sings “Let's leave the past behind with all our sorrows / I'll build a bridge between us and I'll swallow my pride”, the emotional side of any Oasis fan will find it tough to argue.