We review the new single ‘Raining For Days’ by London band MOSES.
MOSES – Guilty
MOSES - I Still Believe! Do You?
London’s MOSES have released their second album ‘I Still Believe! Do You?’. Making the trip back to Wolverhampton, they recorded once again with Gavin Monaghan (Shade, The Twang) at his Magic Garden Studio (except 'Caffy' and 'Pawns' by Ian Flynn).
Last time out, they served up a raw an album in every sense, emotion, power, and talent. Firecrackers like ‘Cause Got You’ and ‘River Thames’ were instant indie bangers. On ‘Joy’, ‘Waiter’, and ‘Crocodile’, they sought to try different things musically and lyrically. Brave yes, but ultimately, they were overshadowed by the aforementioned.
On ‘I Still Believe! Do You?’, they not only level up the more explorative tracks, but they also surpass their indie-punk roots at light speed. ‘Move On’, ‘Will’, and ‘Murderer’ are big departures from their roots musically. ‘Move On’ walks into Foal’s living room and says hi to ‘Spanish Sahara’ whilst offering a bolder vision for hope. ‘Will’ taps into the debuts dynamism but is far more courageous and audacious. The spoken word and intense dreampop guitars hover above the clouds until the eruption of defiance. They take ‘Hail The Thief’ to the fury of early Manic Street Preachers’ as they dig in, stand tall and attempt to change the world forever! Whereas ‘Murderer’, is laden with Johnny Cash guitars, Richey Edwards desperation, and Frank Turner’s sense of goodwill. It’s one thing to be angry and spit venomous hostility at the status quo. It is, however, a whole new ball game to do it poetically and still sound violent.
On all three tracks, frontman Victor Moses proves he is one of life’s rarest breeds. Defying the odds with rebellious integrity whilst simultaneously unifying souls with passion. He doesn’t just sing “A murderer that's what we need / To kill the hate to kill hypocrisy and greed”, he wrenches it from the gut if it’s his dying breath.
There are moments that act as a bridge between this new colossal sound and the debut. ‘That’s Who You Are’ has the cuteness of ‘Joy’ and the togetherness of ‘Basically’. However, this is the sound of a band coming to their peak of power. The twist and turns of the narrative, the Peace-esque noodling, and the stadium-sized explosion collide to spectacular effects.
On ‘The Last Kick of Melancholia’, they take their past to new creative highs what is, almost a mini rock opera. Part one pulls together the best bits of Peace, Little Comets, and Foals over the past decade. They descend into the chaos of ‘Popscene’ and the “cockney” mayhem of ‘Sunday Sunday’ before parading to the vast landscapes of The Who in the closing stages. Whereas, ‘Alone’ finds Victor in Rob Harvey mode. High pitched, enraged, and always beautifully melodic.
Most bands’ biggest asset in the build-up to the debut album is their sense of hope. It certainly was for MOSES. Ironically, on an album about hope, they leave this realm. ‘I Still Believe! Do You?’ is blessed with The Kinks’ storytelling, Blur’s chaos, Manic Street Preachers realness, and Blossoms’ pop sensibilities. One criticism could be, does it have the wayward genius of Fat White Family, probably not, but pulling from all those fields has landed MOSES with a second album of real quality.
*Image courtesy of Rocklands Artbeat
MOSES – Happy Birthday Payday
London’s MOSES have released their new single ‘Happy Birthday Payday’ via Space & I Records. Taken from their upcoming second album, it was recorded at Magic Garden Studios and produced by long-time partner Gavin Monaghan.
Image & artwork courtesy of Artbeat Promotions & Matei Parascan.
Right out of the gate the early rock ‘n’ roll of The Beatles is pummelled with the Stooges intensity. There’s a brashness and looseness a la Longpigs and 60ft Dolls creeping into their playing which allows frontman Victor Moses to play with his lyrical delivery more.
The rejection of a 9 to 5 life comes round for every generation. However, Victor’s sardonic take steers clear of cliché and will have Ryan Jarman and Alan Donohoe applauding from on high.
They’re in a sweet spot where they are us and we are them. Financial struggles are rife with inflation but, who really cares about the working classes in the arts? Not many! Without MOSES lyrical insights, the arts will continue to be plagued by the middle and upper classes. It’s not reverse snobbery; the struggle just has to be real.
This has the hallmarks of Blur coming of age on ‘Modern Life Is Rubbish’. This is the sound of a band in tune with its people. Does a band impart empathy better than MOSES? Probably not!
They will be on tour in February:
22 Liverpool, The Jacaranda
23 Leeds, The Vinyl Whistle
25 Bristol , The Crofters Rights
Ticket links at https://mosesofficial.com
Moses – That’s Who You Are
Images courtesy of Mike Radulescu
London’s MOSES have followed their innovative single ‘Move On’ with ‘That’s Who You Are’. Produced yet again with the legendary Gavin Monaghan at Magic Garden Studios.
MOSES frontman Victor Moses has, for some time, had an ability to produce poetry that befits a punky underdog spirit. They’ve gone beyond this now. It’s triumphant, heartfelt, and full of characters and narrative thousands will line up behind to follow!
The courage of ‘Cause You Got Me’ remains but now, confidence and universality are rushing through their sound. MOSES are shackle-free and unafraid to take creative risks. From the gentle opening to the closing 70s rock riffs or the wall of sound, this is a single packed with charm and energy that daytime radio playlists cannot ignore.
As gigs reopen, we defy you not to cling to his insatiable delivery of “Wait Out / Wait Out / The Storm will be over”.
They will be going out on tour later this month:
21/08 London The Grace (14+)
03/09 Birmingham Sunflower Lounge (16+)
09/09 Brighton Prince Albert 18/09 Manchester Gullivers
25/09 Leeds Lending Room
06/11 London Ghost Road Fest
Ticket links; https://mosesofficial.com/
MOSES – Move On
London outfit MOSES have returned with their new single 'Move On'. Collaborating again with producer Gavin Monaghan at Magic Garden Studios, the single is released today.
The song opens with the epic line “this road in my way / it’s my whole life”. Thoughts of their defiant debut album immediately return. However, sonically, they're back with a brand new sound to match their romantic spirit.
Indebted to Foals' career defining 'Total Life Forever', they take their tales of love and rejection to vaster landscapes. As a result, the opening line becomes embittered as much as it embraces songwriter Victor's affinity with euphoria.
The move away from bombastic punk hooks to a groove-based style feels well suited. In closing stages, there are attempts to align said grooves with their early, more robust sound. This avenue is one which, if they land successfully, conjures images of bigger and more raucous live crowds.
*Images courtesy of Mike Radulescu.
There re-arranged tour dates are:
21/08 London, The Grace
03/09 Birmingham, Sunflower Lounge
09/09 Brighton, Prince Albert
18/09 Manchester, The Castle
25/09 Leeds, Lending Room
MOSES – Almost Everything Is Bullshit
London’s MOSES released their debut album on Friday 17th April. It couldn’t be better named either, ‘Almost Everting Is Bullshit’. via Anti-Fragile Music.
Artwork by Ana Ban Ana
After a well-received EP in 2016, they followed it up three good singles in the following eighteen months. Pre-2010, they would have been signed, financially backed and received airplay. Alas, XFM died, BBC6 grew tired, and labels entrenched themselves with middle of the road solo-artists to save costs. The fact this is album is released then, is a triumph of MOSES resolve.
That suffering is on show during ‘Waiter’. Long shifts and a growing sense of isolation clearly put strains on the relationships of songwriter and singer Victor. Timing is everything in the arts, MOSES has endured mistiming but, ‘Waiter’ right on cue with the world separated from each other.
The heartache and despair of ‘Waiter’ Is countenanced by the compassion and tenderness on ‘Joy’ and ‘Crocodile’. ‘Joy’ decrees “im sure one day I’ll have everything I’ve wished for”, a simple but glorious reminder to keep going. Especially to the current young generations of the UK. Industry after industry, CEO’s choose profit over people and race to the bottom gleefully. Opportunity is ceasing to knock but MOSES grabbed it anyway! Meanwhile, ‘Crocodile’, is joyously childlike. Pushing away life’s stress, they funnel early Dr Feelgood through the playful side of Coxon on ‘Modern Life Is Rubbish’.
‘You Need L’ follows similar themes of relationships being and life ambitions being so close yet so out of reach. Unlike the ‘Joy’ and ‘Crocodile’, the sonically traverse darker realms. As Victor sings “As your down, you need love”, a special frontman is emerging. Said messages are nothing without integrity. The delivery is not only on point, it will drag you into the emotional trenches but, he will lead the fightback out of them! Couple this with the genius awry solo and the anxiety levels are cranked!
It’s not all shades of light and dark though. There is plenty of room for bangers. Live favourite ‘River Thames’ scraps and punches its away to glory. It reawakens the lyrical wit of The Ordinary Boys debut album and, for the first time in a decade, shines a light on the prevalent working-class spirit many will have you believe doesn’t exists there anymore.
‘Cause You Got Me’ is begging to pummel your consciousness. Souls need to be cleansed in big, drunk crowds braying for life-affirming moments of magic on live stages. Then, just when audiences can’t take the adrenaline any more, ‘Findings’ will chime and best friends young and old will hug like never before.
For anyone who hasn’t been on their journey yet, this album will serve you well. A raucous and often tumultuous journey, but never without hope. As madness festers, let them guide you back to the light.
*Image courtesy of https://weareboutique.co.uk/
MOSES – Basically
At the end of February, MOSES stepped out of the studio with Gavin Monaghan once more. The results:
Art work by Ana Ban Ana. The 8th collaboration between the two.
Guitar hooks.
Bass hooks.
Vocal hooks.
This is alt-pop music. Except, it isn’t! BBC6 has become too middle aged and Radio X, well, outside of the Gordon Smart and John Kennedy, we have no idea what they’re attempting. They need shaking by the young working classes.
MOSES, for 2 years have sought to bring people together with songs of solidarity and love. For the first time lyrically, they strike out. Taking aim at society’s trolls, they place the target firmly on themselves and, for the want of better words shout:
“come and have a go if you think your hard enough”.
MOSES have hit upon their greatest bass line to date. Funky punk grooves pave the way for frontman, Victor, to sprinkle his unique vocal magic over.
The la la la’s and the yeah yeah yeah’s are begging to howled back at the band on their upcoming headline shows at Lending Room March 28th (Leeds) and ULU April 11th (London).
*Image courtesy of Mike Rădulescu
MOSES – Who Needs The Money?
In 2018, London’s MOSES burst onto stages, desperate and frantic to show you their energy with ‘Cause You Got Me’ and ‘River Thames’. Then, in 2019, the antidote to their joyous rage came. The raucousness faded into an overspill of love.
The last outing though, ‘Who Needs L’, began the tying of all things together. The warmth of the lyrics, the mayhem of the 2018 guitars united in their most challenging song to date.
Here though, the deranged guitars are kept on a leash; threatening to break free but never do. Instead, a different beast is freed. The boisterous solo is like a rabid animal destroying all that stands in its wake. This is the sound of the mainstream being told to fuck off.
This is MOSES’ time!
*Artwork courtesy of Ana Ban Ana
MOSES: Live at Water Rats, London
London’s MOSES signed of 2019 with a home city gig at Water Rats. It has been another year of great singles, and crucially, real creative growth.
Then, mid set, the bombshell was dropped. Frontman Victor announces lead guitarist Rory is playing his last show with the band. Two years ago, MOSES were very much a band that had a great frontman. On this night, they were tight as fuck, and it was Rory dying on his MOSES sword in glory.
Maybe it was supporting The Blinders in 2018 that turned the corner for Rory. Their slot with the Manchester/Doncaster three piece, all of equal greatness, returned MOSES to Cro Cro Land this past April ablaze. A spiteful punkiness permeated their rock n roll credentials to take them to another level. This power, was out in full force at Water Rats.
To date, MOSES have been a band who have been one paced. Luckily, it was always full tilt and exciting. ‘King Size’, ‘Cause You Got Me’ and singalong anthem ‘River Thames’ were all prime cuts of this energy. However, they’ve never fully done Victor’s song writing justice.
Now, with ‘Joy’ and ‘Findings’ in their live arsenal, they have the ability to take you on his emotional roller coaster. As he sings “give me hope, give me love, give me something that can help me find you” echoes of U2’s ‘Still Haven’t Found What I’m Looking For’ fill the room. His sense of loneliness in a city as overpopulated as London, is the modern day equivalent of Andrew Lincoln’s career defining performance as Egg in ‘This Life’.
What the future holds for MOSES post-Rory remains to be seen but, if this is all it was going to be, its how you sign off in style. It was Ali Cook scoring a ton in his last for England. With the growth shown in 2019 in the studio, it would be one hell of a waste though.
*image courtesy of Ana Ben Ana
MOSES – You Need L
London’s MOSES have returned today with their new single ‘You Need L’ via Anti-Fragile Music. Recorded at Garden Studios, they once more stepped into the recording booth with the legendary Gavin Monaghan.
If ever there was a band ready for a slot across mainstream airwaves, it was MOSES. Always scintillating and emotionally uplifting live, they have continually delivered the goods for 18 months. Now, on ‘You Need L’, they have delivered their most creatively daring single to date.
Lyrically, it’s so delicate, whilst all around them is warped psyche-punk mayhem. If ever there was a musical indictment of the times, this was it! In 2018, they put out the eye catching ‘River Thames’ and ‘Cause You Got Me’. Raucous and lovable indie-punk, nothing new, but right in a slot of high quality anthems to be loved. Here though, they’ve said “to hell with that” and made academy sized singles sound underground and deranged.
Just as you expect a clichéd thrash of the guitars, they pivot away to pastures new. It’s more challenging and interesting than all of their previous infectious work. Prime example being the dystopian ‘oooooooohhhhhhhhhs’. It’s not as spiky as IDLES and not as Melodic as The DMA’s but, there’s a tightrope being walked here that deserves equal respect.
They round of another captivating year at the Water Rats (London) Friday 22nd November. Expect a warped frenzy of a party!
*Image courtesy of Ana Ban Ana
MOSES – Findings
For the best part of 2018, London’s MOSES were churning out anthemic but punk led singles. Earlier this year, changed tack with ‘I Think You Worry To Much’ to provide a shimmering pop song. Their latest single ‘Findings’, again leans towards the alternative pop world.
With the whimsical aspects of Coldplay and Snow Patrol in the 00s pomp at play, MOSES have delivered a slow building number in that vein. This is no indie rehash though. There something so beautifully fragile about MOSES and frontman Victor in particular. As leadership implodes and institutions crumble, MOSES (among others) continue to deliver great pop art and somehow, they do it with kindness.
*Image courtesy of Ana Ban Ana
Friday 2nd August marks our 8th birthday. Come down to the New Cross Inn for a night of great live music. Tickets available here:
MOSES - I Think You Worry Too Much
Moses are steadily becoming the success story with which all bands knocking around pub back rooms should take inspiration from. At the brink of splitting, they came back with the kick ass indie-punk singles 'Cause You Got Me' and 'River Thames' in 2018. They've since been signed to These Bloody Thieves and are soundtracking Rio Ferdinand's film '90 Minutes'. Good things do happen to good people.
They're back again with their new single 'I Think You Worry Too Much'. A much more laid back affair than their previous efforts. Adorable and infectious, the early work of The Kooks springs to mind. As ever with MOSES though, an integrity and earnestness shines through their work, setting them apart from their peers. The tag 'lifer' was invented for people like MOSES. Whether it be Brixton Academy or Water Rats, they will bring the honesty shown on this single to anyone who does or doesn’t care.
Musically, this is the first time we have seen the London outfit move away from their Art Brut meets Blur crash bang wallop sound. Everything about this single hook laden. The Funk of the bass and the glam-stomp drums clear the pathway for anthemic chorus and the almost dreampop jangle of guitars.
In times of such division, MOSES might just be the tonic of togetherness to knit us all back together again.
*Image courtesy of Ana Banica
MOSES – River Thames
Things are afoot for London’s MOSES. Their recent single ‘Cause You Got Me’ took their monthly Spotify plays from 1.8k to 193k. They supported the UK’s hottest band The Blinders and now, they’ve returned with their new single ‘River Thames’.
Produced by the legendary Gil Norton (Pixies & Foo Fighters), ‘River Thames’ kicks politicians’ banalities about “communities being left behind” into, well, the river! At its core, is a belief in people, a romanticism in their lives, a song writing trait that has drifted away in recent times.
The sound of the underdog is so often, one of kicking and screaming at injustice (and quite right too). Here though, they’ve bypassed that and gone straight to euphoric victory. It’s a Sunday league football win, it’s a prank on your best mate. This is the re-emergence of believing in ordinary people and ordinary things as the greatest subject matter on earth.
*Artwork by Ana Ban Ana
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