Fightmilk - Contender

London’s Fightmilk released their second album ‘Contender’ via Reckless Yes Records back in May. It followed the acclaimed punk-pop offering ‘Not With That Attitude’, could it stack up?

Images courtesy of Reckless Yes Records.

In 2020, they set tongues wagging with two astonishing singles ‘I’m Starting To Think You Don’t Even Want to go to Space’ and ‘If You Had Sister’. With Pulp’s ‘Do You Remember The First Time’ in its heart, examined those who continually make excuses for not saving the world. Witty and incisive lyrics are met with Feeder’s indie-rock immediacy on this explosive anthem! ‘If You Had Sister’ is a more sombre animal. Singer Lily Rae’s vocals ache with melancholy as toxic masculinity is explored. Lead guitarist Alex’s solo is a fine accompaniment to this troublesome anthem. The eruption of noise and fuzz exemplifies the pain and confusion of the protagonist with exemplary integrity.

To achieve classic album status, the album tracks running in tandem must also strive for greatness. ‘Banger #4’, ‘You Are Not The Universe’ and ‘Cool Cool Girl’ have said tracks. ‘Banger #4’ does exactly what it says on the tin! The guitars fizz with punk’s uniting spirit whilst Rae summons a fury to marvel at. For a generation given nothing but blamed for everything, Rae is their cultural leader. Defiant and blessed with stadium-sized punk sloganeering Frank Turner would die for:

“there’s more to life / than getting it right / you’re gonna be alright”

Their courage and belief in themselves and, furthermore, this generation, is a middle finger salute to the narrow-minded and, pick me up the downtrodden.

‘You Are Not The Universe’ is a stomping adventure to soundtrack a million coming of age stories. Ironically, they juxtapose this with a letter to a younger self to be more appreciative. Nevertheless, it remains a chest-beating, fall to the floor wild storm that demands your love. The melodic genius of Rae as she decrees “had ideas above my station / firing fury out into the dark” feels less advisory and more clarion call. Meanwhile, ‘Cool Cool Girl’, with the shimmering licks of Ash, eloquently and hilariously sarcastically, examines female bands become something they’re not:

“I’m interesting and I’m clever/ I’m always be a contender because I’m not like other girls”

It is though, in the closing stages where something truly magical occurs. Rae’s impassioned delivery showcases a raw power which, offers a blueprint to the outsiders, the underdogs, and the written-off on how to raise souls and save lives:

“I’m into wrestling / I’m clever / I’m always be bartender / because I’m not like other girls”

Among the punk anthems sits ‘Girls Don’t Want To Have Fun’. A Johnny Marr meets The Killers track to echo through eternity. Rae summons the heart of Kirsty McColl and the angelic torture of ‎Dolores O'Riordan on the reincarnation of ‘There Is A Light That Never Goes Out’. Beauty and sorrow collide in the orchestration and delicate guitar licks but, it’s Rae’s lyrics that provide the pin-drop moment:

“when we talk about dying it feels like a pipe dream”

Forget about Morrissey!

This album is nothing short of a triumph. It will bash your soul, break your heart and patch you up mentally, emotionally, and intellectually better than ever! In every sense a contender, especially for album of the year.

The Other Ones - The Other Ones

London's The Other Ones released their self-titled debut album at the end of February. It's now available on Reckless Yes Records.

No matter the discourse, they lay their souls bare on what shapes up to be the most honest record of 2021. 'On Top of Me' gets to grips with the everyday struggles of anxiety. The relentlessness of the guitars add layer upon layer of mental stress to the protagonist. However, slicing through the tension is a chorus to rejoice in. As singer Steph decrees “it's getting hard to breathe / everything is on top of me”, you'll find the unlikeliest of couplets to throw your arms aloft in jubilation!

'Out of My Head' explores the torment of a breakup that still lingers in the heart and mind. All should approach with caution as the line “I look in the mirror and wonder I lack”, will drop you to your knees. Meanwhile, on 'Money', they tackle long-term relationship apathy with behemoth guitars. Boredom never sounded this great before!

Away from the gut-wrenching honesty, they remain confessional but, with a more nostalgic tinge on 'Forever Young' and 'Wasted Youth'. The former is particularly poignant covid preventing society from forging new memories to cherish. The Other Ones have expertly delivered the youthful exuberance where anything felt possible here. The goth guitar solo lifts their musicality to another plane and finesses the sentimental outlook. However, this is a band on a journey and, in the closing stages, they ignite another solo which is rock 'n' roll's bombast at its finest. It lights up the album with a blank canvas for their souls to fill with colour once again.

'Wasted Youth', with its hellish riffs pulsating basslines relives the formative rebellious years as though it was a diary entry until the euphoric present-day ending. The gear change to at the end becomes a heart-warming note to a younger self whereby, all the chaos, mistakes, and dissent are encouraged. Anything less is an insult to youthfulness.

This album is the kind of which young souls should obsess over every lyric and pour over the inlay. It's one to reawaken the angst and become a dear friend to any older jaded souls too. Intelligent, raw, and emotive, it doesn't just tick all boxes, it shatters them!

*Image courtesy of Keira Anee Photography

Fightmilk - If You Had A Sister

Last Month, London’s Fightmilk returned with their latest single ‘If You Had A Sister’ via Reckless Yes Records.

Having built a solid reputation on the underground as a budding pop punk outfit, this offing marks a big shift in direction but not unwelcome. Lily Rae’s vocals have been a huge hook from day but, now, Stevie Knicks’ stardust emanates from her soul.

This is effortless pop worthy of early Madonna via Wolf Alice, Ash and ‘Tusk’ era Fleetwood Mac. It’s the perfect vehicle for its heavyweight message. Rae eloquently highlights, at best, the casual offense women have to tolerate all too often. Sadly, as the song grows to its crescendo of crashing drums and sublime solo, its apparent this is a worst case scenario of domestic abuse.

This new approach has catapulted their new album into the eagerly anticipated category for 2021. Few can walk the tightrope of integrity and bombast, Fightmilk just took an assured stride onto the said rope.

Order of the Toad – Lady's Mantle

With their second album due out this autumn, Order of the Toad have returned with their lead single Lady's Mantle. Released via Gringo Records and Reckless Yes, it is digitally released on all platforms now.

The supergroup of Gemma Fleet (The Wharves) and Robert Sotelo (Upset The Rhythm) and Christopher Taylor have returned with their unique styles to traverse topics such as past lives, conception and fate.

Gloriously pastiche, they evoke the Syd Barret, Fairport Convention and Jefferson Airplane on this exploration folk-cum-psyche adventure. Yet, via Fleet's vocals, they manage to fresh enough to warrant the alternative music lover of today's attention. She splices in punk of her label mates Bugeye and a resilient but cute level of pop heaven.

Definitely ones to look out for this fall. Their music is available on their Bandcamp page.

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.  

Bugeye – When The Lights Go Out

At the end of last month, London’s Bugeye, released their latest single ‘When The Lights Go Out’.  Reunited with Paul Tipler (Idlewild, Placebo, Elastica, LIINES) in the studio, the single is available via Reckless Yes and, will be followed shortly by their debut album ‘Ready Steady Bang’.

With the filth and sexiness of The Stooges in their hearts, Bugeye unleash a ravishing disco punk anthem. The quirks and class of peak Sleeper and ‘Modern Life Is Rubbish’ era Blur combine with their indomitable punk spirit.

They always had the feel of a band you would love live but, not necessarily buy the record. Here, they have shown just what risk taking pioneers they are and, can go on to be.

The hugely anticipated debut is due out 10th July. Not to be missed.

Eilis Frawley - Never Too Emotional

Berlin based percussionist Eilis Frawley (Party Fears & I Drew Blank) recently released her debut EP ‘Never Too Emotional’ via Reckless Yes Records.

Bold and distinct, Frawley has combined a unique blend of spoken word and the Avant Garde pop of Flying Lizzards and tUnE-yArDs. Despite the left field approach to music and production, Frawley has anchored her lyrics in the hot topics of our time.

On ‘illusions’ she tackles the stresses of projecting our best selves on social media and simultaneously neglecting the nourishment of the soul. Better still, rather than offer clichés about living for the weekend, Frawley offers up a savage indictment of how over worked and pressured we are:

“One free evening and we ruin our livers to forget”

Meanwhile, on ‘intellectual men’, her feminist outlook shines bright. The minute-long intro is a warped and deranged array of synths and emphatic drums. Seemingly the rage boiling within before, Frawley calms herself to deliver a beautifully sarcastic attack on the so called enlightened men.

‘leave the house’, is not for the faint hearted. Frawley deals with mental health and feelings of isolation. As a friend offers advice without any sense of understanding, the anxiousness and loneliness of the protagonist grows more intense.

‘strangers’, no less awkward and innovative with its percussion, offers up the EP’s moment of true beauty. The beauty of the synths, at times, is worthy of rave gods Orbital. This tale of a romance fading is delivered with a truly unique musical outlook.

As is, most of the EP. Frawley is jarring and difficult and that, that is why she is so brilliant and rewarding.

Captain Handsome - I Am Not An Animal

Lily Rae lit up 2018 when her band, Fightmilk, released their debut album ‘Not With That Attitude’. Now, she is striking out on her own under the moniker Captain Handsome. Today, she releases her debut EP ‘I’m Not An Animal’ via Reckless Yes.

Themes of both, light and dark, permeate the best work here. On ‘Annalise’, the ambition of The Decemberists ‘The Crane Wife 3’ hooks up with the raw pop prowess of Kid Harpoon’s ‘Late For The Devil’ as, Rae delivers bubble wrapped gift of beauty and melancholy.

Earlier this month, she put out ‘Halloween’ (full review here) as the lead single. The sinister strings build so much tension they should come with an anxiety warning, that is, until the release of the last chorus. What was once Rae’s deluge of sadness, becomes triumphant, an amusing footnote in a life clearly turned around.

Though ‘Halloween’ has a cathartic feel, ‘Dolly Parton’ lands you right into the mire. It’s soul crushing all-night vigil for one. Through the stunning orchestration and, Rae’s sublime Kirsty McColl-esque vocals, she explores a painstaking night home alone pondering poor choices.

On the title track, McColl’s inspiration again looms large. However, she goes much further and heightens her sense of fragility. So much so that, it allows both beauty and danger to circulate like angels and demons. Although the song builds like an epic Embrace single, its awkwardness, lends itself to the introverted brilliance of Frank Black and Graham Coxon.

This is, with perhaps the exception of ‘I Wish I Had a Dog’, a masterful EP. Whist we all break at times, Captain Handsome show how to plummet and, then recover!

Captain Handsome - Halloween

Captain Handsome is the eagerly anticipated side project of Fightmilk singer Lily Rae. Her latest single ‘Halloween’ is out today on all digital platforms and, will be followed by the physical release of the EP ‘I Am Not An Animal’ on 31st January via Reckless Yes.

From the opening strums of the guitar, you just know something brutally honest is coming. Rae, speaking about the track said “Halloween’ is part ode to Goth Christmas (the best day of the year) and part hardcore whinge about parties going wrong. If you've ever ended up as somebody else's funny story, I hope you manage to exorcise it and move on rather than putting horror strings into a three-minute lo-fi mope.”

Is it wrong to disagree? The sense of a soul crushed on the line “I had a bad time on the bathroom floor” at a party is something to rejoice in. If it’s never been you, you’re simply not living life romantically or dangerously enough.

The sinister strings build so much tension they should come with an anxiety warning, that is, until the release of the last chorus. What was once Rae’s deluge of sadness, becomes triumphant, an amusing footnote in a life clearly turned around to great success.

The tragic is magic. Let it in!

Reckless Yes currently have membership for the year open - included is all their releases this year, plus a load of other benefits and the knowledge you're supporting independent artists. The Captain Handsome EP is available to all members now and there's even an option to join Last Night From Glasgow at the same time and get all their releases too. More here - http://recklessyes.bigcartel.com

Eilis Frawley – Illusions

Berlin based percussionist Eilis Frawley (Party Fears & I Drew Blank) releases her debut single ‘Illusions’ from her forthcoming EP via Reckless Yes Records.

Bold and distinct from the off, Frawley has combined a unique blend of spoken word and the Avant Garde pop of Flying Lizzards and tUnE-yArDs. Despite the left field approach to music and production, Frawley has anchored her lyrics in the everyday.

She tackles the stresses of projecting our best selves on social media and simultaneously neglecting the nourishment of the soul. Better still, rather than offer clichés about living for the weekend, Frawley offers up a savage indictment of how over worked and pressured we are:

“One free evening and we ruin our livers to forget”

This is a rare piece of alt-pop. It’s accessible and weird simultaneously. It is absolutely ripe to freshen up BBC6 Music.

Mark Morriss - Look Up

Mark Morriss releases his 4th solo album ‘Look Up’ on 20th September via Reckless Yes Records. The Bluetones frontman is relentless on the live circuit but, four years since his last album (The Taste of Mark Morris), is the magic still there?

Fortunately for Morriss, the world flipped upside down politically and served his muse well. The Stevie Wonder-inspired ‘All The Wrong People’, hilariously bashes the insane machinations of Trump aka the “big blonde hippopotamus”.

Live favourites ‘Rimini’ and ‘Roll Away’ follow similar paths. The former, written the day of the Brexit result, ended a year-long bout of writer’s block. Full of sci-fi charm, Morriss deals with the shock of the referendum result. His ability to get across the aching feeling of loss in your homeland is remarkable.

‘Roll Away’ though, is another animal. Morriss, returning home from a Bluetones rehearsal, heard Anais Mitchell and Martin Green’s song on the radio. Struck by its message about refugee’s plight, re-recorded with stunning effects. With the Today Programme reporting daily on migrants crossing in dinghy’s, Morriss’ vocal brings home the haunting tragedy of those without.

Unsurprisingly, the record is littered with pop instincts, a hallmark of The Bluetones and his solo career. ‘Holiday of a Lifetime’, written by a campfire with his children, contains an elegant simplicity and beauty reflecting those surroundings. All the while, a nagging sense of a forlorn reality awaiting end feels inevitable.  

The wholesomeness fades on ‘The Beans’. Morriss’ lyrical wit and savagery take aim at a tumultuous relationship. Meanwhile, on opener ‘Adventures’, Morriss twists and turns from country-folk to Roxy Music and Dexys via the sublime Saxophone work. Again, Morriss deals with the Brexit conundrum: examining the isolation it caused so many reasonable-minded folks to endure.

Not only is the magic still prevalent, but it’s also flourishing. ‘Science and Nature’ is, for our money, Morriss’ pinnacle. ‘Look Up’ is full of creative risk-taking which rivals

*Image courtesy of Ben Meadows

Mark Morriss – The Beans

The Bluetones frontman is on a roll at the moment. Not only are The Bluetones ‘Singles’ and ‘Science and Nature’ albums in the Vinyl top 10, his killer single ‘All The Wrong People’ has been going great guns (available here). The Hounslow Prince (is it too late to make that stick?) is back with an instant classic in the form ‘The Beans’.

You’d be forgiven for thinking this is a ‘Luxembourg’ era single. Infectious as ‘Never Going Nowhere’ and savvy like ‘Fast Boy’ and ‘I Love The City’ firm proof Morriss still has the magic.

Morriss’ lyrics are so often overlooked but, no one deals with relationships better. This, a seriously troubled one (“who cares / if you throw me down stairs”) is negated with so much humour that, it’s only the XTC via west coast 70s solo that brings home that, this is a personal experience.

‘The Beans’ is released on 23rd August via Reckless Yes Records.

Mark Morriss - All The Wrong People

The Bluetones frontman has returned with a new solo single ‘All The Wrong People’. It is the lead single from his upcoming fourth studio album ‘Look Up’ (out via Reckless Yes Records).

With Steve Wonder’s ‘Higher Ground’ firmly in view, Morriss allows his pop instincts to flourish, arguably to the finest degree since 2003’s ‘Never Going Nowhere’. There are hooks oozing out of this at every turn. The piano licks, sauntering drums, and the wah wah guitar combine to re-imagine 70s funk and soul to glorious effect.

Morriss’ lyrics’, are not often in the social comment bracket. However, with the world pulling itself apart, Morriss’ adopts a reflective stance many of us have when agitators of the world frequent the TV. In this instance, Trump, aka “big blonde hippopotamus” is the target. It may seem a juvenile quip but, in reality, this is how most reasonable people react to the colossal oath every time he tweets racist bile. It’s all that can be done to cope and Morriss has mirrored this with aplomb.

Having heard the jaw-dropping ‘Roll Away’ and the sun-kissed ‘Rimini’ at live shows, ‘Look Up’ is shaping up to be the pop album that truly matters in 2019.

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

Ghost//Signals – A Bag For Death

Newcastle-based four-piece Ghost Signals have returned with their new single ‘A Bag For Death’. Much like Fierce Panda’s Sad Boys Club, they are making waves with their Cure inspired pop music.

Vocally, Rick Lanning has a great ability to impart elements of so many of the 00s greats. Its Preston (The Ordinary Boys) at his pop finest, there’s the fluidity of Joel Stoker (The Rifles) and the warmth of Liam Fray (The Courteeners) circulating throughout.

Musically, it unashamedly reaches for glory with The Cure as its foundations. It has the hallmarks of The Rifles and The Courteeners at their freest flowing. Setting such an awe inspiring sonic to a tale of toxic masculinity in society still burying its head on mental health is highly commendable.

Already a must see in act in Newcastle, Ghosts//Signals look set to achieve wider success with this heartfelt portrayal of a universal problem.

Dont forget our 8th birthday party extravaganza, tickets available via the image below

Japan Review – Juno

Adam O’Sullivan formed Japan Review five years ago and, now, after several members have come and gone, has settled into a writing partnership with Dom Ashton on their new EP ‘Juno’.

Pop simplicity and drone-rock or noise-gaze are not things that marry well together often. On opener ‘Soviet Happy’, Japan Review have come pretty close. O’Sullivan’s lo-fi vocals have a lazy Lou Reed style and the main riff saunters along like The Horrors in a good mood. The droning psyche howl at the beginning gives it a much needed ‘anything could happen’ feel before the sumptuous Depeche Mode synth hooks come in to melt even the coldest of hearts.

The 5am lo-fi feel flows throughout the EP. ‘Say Hi To Juno’ effortlessly floats on by with the eloquence of Beach House. ‘Sealand F.C.’ has a raw demo of Lemonjelly feel to it whilst ‘Inertia’ has hazier mood.

‘Inertia’ signifies a bright future for Japan Review. It’s reach for something more life affirming will evoke memories of all-nighters with your best friends where, tomorrow, nothing will ever be the same again. It’s like a stripped back TV On The Radio making a Velvet Underground record in the 21st century.

‘Say Hi To Juno’, treads a similar line. The revolving synths soaring through pain and elation simultaneously. They have Mogwai’s ability to torture and nourish the soul in one achingly blistering piece of art.

If Japan Review show as much ambition live as they do on this EP, they’re going to be wowing audiences for a very long time.

*Image courtesy of Edward Green

Mark Morriss: Islington Academy, London

The Bluetones frontman returned to London’s Islington Academy this past week. He is arguably the hardest working live act in the UK. Forever touring and dazzling intimate crowds with wit and charm.

With a new album in the pipeline, the quest to blend the new with the classics was always going to be the biggest test. Whilst it’s great to hear the pop classics of ‘Cut Some Rug’ and ‘Bluetonic’, it’s the heartfelt ‘Rimini’ and ‘Rollaway’ that strike the biggest chord. The roots of Crosby Stills & Nash shine through here and, with his unique pop vocal, converting fans of yesteryear to the present seems inevitable.

The prowess of ‘If’ and ‘Never Going Nowhere’ hit a sweet spot with the crowd but, flittering just behind was the mystery of ‘Duchess’ and the bewitching nature of ‘It’s Hard to Be Good All the Time’.

The balance between old and new was still skewed towards the old among Morriss’ faithful. There were, however, moments when the crowd’s nostalgia dissipated and a new focus began to emerge. Let’s hope this was the first step to Morriss's renaissance he clearly deserves.