Eagulls - Ullages

Yorkshire 5 piece Eagulls stormed into our consciousness in 2014 with their frenetic self-titled debut. In 2016, they have returned with a venture into post-punk and more withdrawn state of being.  

Albums often begin with a statement of intent, The Stone Roses’ ‘I Wanna Be Adored’ or Oasis’ ‘Rock n Roll Star’ for example. Eagulls have done just that on 'Ullages' with ‘Heads or Tails’. From the first second, the darkness and struggle descend like a ceaseless thunderstorm. Despite the call to ‘take a stab in the dark tonight’, this opener will not leave you feeling positive about any gambles taken.

This new approach comes with varying results. ‘Psalms’ is a damming indictment of our grey political times (not the past fortnight obviously) but, it lacks the edge to drive home this point. Its fine, not bad, and that is its problem. It doesn’t have the destructiveness of The Horrors’ ‘Three Decades’ or the pop prowess of The Cure’s ‘Just Like Heaven’ to land a flush punch.

When Eagulls manage to clash cultural styles into their work, they elevate themselves above their influences. ‘Velvet’ is by far and away the standout exponent. The production is brooding and lurks dangerously in the background whilst, the guitars echo the dreamy jingle jangle of Real Estate.

Driving ‘Velvet’ to higher heights is the vocal work of George Mitchell. The Robert Smith comparisons will be made but, the pain and darkness oozing from him in this tale of Cupid’s demise is remarkable.

Furthermore, Mitchell has that rare ability to drive the melody through his singing. The narrative shifts from line to line, sometimes within a line, all because of Mitchell’s capacity to convey a whole songs emotion into just a couple of words.

Unfortunately, Mitchell’s vocals don’t always impact with the same force. When the Echo & The Bunnymen influences come into play on ‘Lemontrees’ and ‘Blume’, Mitchell’s delivery lacks that star quality which shone so brightly for Ian McCulloch. Musically though, these tracks are a solid addition to this branch of the rock family tree.

On the surface, ‘Ullages’ will not glow as much as its predecessor but, like so many records, after a few listens, it will permeate its way into your soul. The doom and gloom starts to become a more beautiful state of being.

The greatest thing about ‘Ullages’ though, is the creative leap from the debut. So many bands make a death defying punk debut, then they make another and no-one cares. Eagulls’ foray into a post-punk will give the band room to breathe despite the varying results. Also, if they ever return to the sound of their debut, it will mean that much more for those who go on a journey to that destination. 

Recreations - Baby Boomers 2

It’s hard to believe that ten years have passed since Sam Duckworth’s debut album via the Get Cape Wear Cape Fly moniker was released. Duckworth now goes by Recreations and recently released ‘Baby Boomers 2’.

Duckworth has always been a consistent and prolific songwriter but, for our money, ‘The Chronicles of a Bohemian Teenager’ and ‘The Mannequin’ are classics. So, can ‘Baby Boomers 2’ get in amongst them? Yes, yes it can. It combines the youthful euphoria of the debut with the intelligence and melancholy of ‘Mannequin’ to set him on another great adventure.

The album opens with ‘Zones 9 & 10’ and, quite frankly, could end here too because, in the words of Triple H:

“I’m that damn good”

The effortless flow of the acoustic guitar and sun-drenched production meanders away like the Thames estuary from “Wapping to Barking to Thurrock towards the sea” which he mentions. The main highlight of this song, especially for a fellow lost soul in Essex, comes from the hope he offers. Duckworth is not content to grow up to be a commuter in London and rejects the financial district as it is today (an industry which employs a large proportion of the county).

Duckworth has painted the picture of an Essex where hope for change seems (and is) bleak but his genuine plea to look at your immediate surroundings in a different light to the status quo is remarkable. It offers achievable change for anyone wanting to make an imprint on the world.

‘Red Spex’ immediately follows this and paves the way to the pop music via electronic production which dominates most of the album. It’s a spritely track, littered with relevant social comment, aka, classic Duckworth. ‘Outdoor Type’ serves up a Block Party style Balearic synth alongside his trademark EMO-lite vocals to create an unique and incredibly engaging new style.

The house music styles continue to filter through on ‘Pipe Down’. The slow build of beats, acoustic riffs and bubblegum pop synths will conjure memories of Lemonjelly circa ‘Lost Horizons’. Behind the sonic bliss however, lurks a tragic tale.  As our protagonist earnestly pleads “Don’t you know you could have it all / all you ever dreamed off / all you have to do is keep it down / keep it down down down”, the images of gut wrenching and life changing break up become inevitable.

The way in which Duckworth changes gears on ‘Baby Boomers 2’ is ultimately its biggest success. For fans of alternative pop music, this album is perfect. It moves from downbeat electronic folk to Calvin Harris pop cutting lyrics and thus, is always intriguing. The track ‘Forgiveness’ is brilliant prototype for a single. It’s emotive, great strings, and lyrically, it will speak to people of all ages reflecting on life. For a man of Duckworth’s talents, it would be easy to put out an album of these tracks and become a superstar. Less is more though, and when you reach this track you are left stunned and then you move on to the next, and crucially, different piece of art.

The only way to conclude this review is to quote the rousing moments of ‘Zones 9 & 10’:

“All these years of stress have taught me this / That hope begins at home / I just wish that glint in your eye was there all the time” 

https://www.facebook.com/recreations2k/videos/10153576390806434/

Little Green Cars - Ephemera

The Dublin five-piece returned in March to release their second album ‘Ephemera’. The album title suggests this will only be of importance for a short time. However, the blending styles of the two vocalists suggest longevity more often than not.

The Stephen Appleby-fronted songs tend to have Fleet Foxes and Grandaddy sense of melancholy and beauty to them. Opener 'The Song They Play Every Night' sets the tone by decreeing 'If you don’t love me now / You didn’t love me before'. Set to a steadily increasing tempo and jingle-jangle guitars, it’s a bona fide indie winner.

‘The Garden Of Death’ continues on the same veil with the harmonies heavily influenced by the Fleet Foxes’ debut. There is a solid slice of The Shins served up too, this gives the song a genuine sense of purpose, rather than just showing off harmonies which, this kind of song can often fall victim to.

What also sets this song above the rest is, the conflicting styles and contrasts within. The defiance from the song’s lead character provides the uplift whilst the music pulls towards a gloomier state of affairs. That ability, to enjoy oneself despite the constant knocks, is something to heed.

The tracks sung by Faye O'Rourke on the other hand, have a far more immediate impact. This is because of one simple fact, O'Rourke is a powerhouse vocalist who combines the power of Adele with the indie-punk nodes of PJ Harvey.

‘Easier Day’, with its XX guitar riff witnesses O'Rourke set her vocals to stun. As the floaty riff holds the sound in a more mainstream indie realm, O'Rourke delivers a rage of angst and hurt as the story's lead laments her mother's reactions:

“It gets better, better, better / When I hear my mother crying in her sleep / It gets better, better, better / When I know that all the crying is for me.”

The problem with vocals so obviously great are, the tendency to just rely on them. This is fine when you’re Whitney Houston or Mariah Carey and your average fan just wants to hear an amazing set of pipes. In a band as talented as Little Green Cars, songs like 'I Don't Even Know Who' makes you think, where's the juxtaposition of sound etc. Maybe we are just being greedy.

The album closes with 'The Factory', and is the album’s best track. Everything the two singers attempted on their own combined on this record and it’s so much better for it. The innocence and fragility of Appleby take the lead for the most part, but, when they combine with O'Rourke, something magical happens.

Essentially, 'Ephemera' has repeated the successes and failures of their debut 'Absolute Zero'. There are some stand-out moments which, inevitably will win lots of favour at festivals this summer. Unfortunately, there is some filler as well. The difference this time round is, that the bar has been raised significantly. The weaker tracks rival the debuts middling to good tracks and the highlights comfortably eclipse the likes of 'Harper Lee' and 'The John Wayne'.

The Coral - Distance Inbetween

The boys from the Wirral have returned after a six year hiatus to release their 6th studio album ‘Distance Inbetween’. Previous efforts ‘Butterfly House’ and ‘Roots & Echoes’, whilst good efforts, were not great so, is ‘Distance Inbetween’ worth the wait?

A return of oddness to their production to supplement their god-given talent of crafting pop songs is back and, as a result, is their edge. They stray into pastures new as well, experimenting with prog rock styles inside three and four-minute tracks.

Leading the charge are the tracks ‘Connector’, ‘Chasing The Tail Of A Dream’, and ‘Million Eyes’. It’s a tough call as to whether the production or James Skelly’s vocals add the more sinister tones to ‘Connector’. In four minutes, The Coral have opened their album with dark psychedelia, haunting prog, and quality melodies.  

Shining through the mesh of darkness is ‘Miss Fortune’. For any band starting out today, this is a fine example of what years of dedication can bring. It is simultaneously fresh and familiar, weird and accessible. This is how to create an identity and cement it into pop culture.

Not content with just reaffirming themselves to the world, The Coral have set about introducing key aspects of prog into their pop songs. ‘Beyond The Sun’ uses spellbinding organs, allowing this track to float away into the ether. Meanwhile, ‘Distance Inbetween’ pays homage to Dave Gilmour’s archetypal Floyd sound with a slow build and superb solo release.

This is a fine return from the Wirral outfit. To remain pop-friendly and ‘out there’ is a credit to their talent and work ethic. This is laudable in an era where most play it safe as the money is scarce to be seen.

Sunflower Bean - Human Ceremony

Hailing from Long Island and Manhattan, Sunflower Bean released their debut album 'Human Ceremony' on Fat Possum Records last month and TT is here to check out the hype.

The opening three tracks are bizarre, to say the least. They don't lay down a marker of what they hope to achieve. The opening moments of the title track 'Human Ceremony' provides the only glimpse of what is yet to come. Most of the opening tracks feel like a lacklustre nod to Pond circa 'The Pond'.

Then, finally, on 'This Kind Of Feeling', emerges a sense of who Sunflower Bean are and what they are good at. This first emergence of a Zeppelin-style riff ignites the album and when it's spliced with a more experimental style, it provides a great juxtaposition for Cumming's vocals.

'I Was Home' vocally, is akin to the Subways with the back and forth between Cumming and Kivlen. Kivlen's ability to produce magical dirge on the axe a la Queens of the Stone Age gives them more depth than their English counterparts. Again, there are some lush notes of bugged-out guitars too. It’s a combo that isn't effortless as yet, but it comes mightily close and is clearly a niche they are going to own.

A big section of the album pays homage to The Cure. 'I Want You To Give Me Enough Time' in particular, is sonically The Cure through and through. The production and guitars trickle along like 'Lullaby' which is apt as, Cimming's vocals are beautifully dreamlike.

Sunflower Bean's debut ultimately, doesn't live up to the hype. This isn't because the opening three tracks don't add anything. No, it’s because one minute there is a great blend of Zeppelin and Byrds in the psychedelic phase and the next is an amalgamation of The Cure and Real Estate.

They have recorded both styles well but you can’t help but feel that committing to one style solely would achieve great things on the record. This is one hell of the platform to be springing from though and in Kivlen, they have an x-factor with his guitar playing.

Public Access TV - On Location

Traditionally, bands from New York are effortlessly cool and Public Access TV are no exception to the rule.

'On Location' opens with a riff you better expect to hear all summer long. Sitting somewhere between the Buzzcocks and The Strokes, this riff will lift your hopes and conjure thoughts of sunnier times instantly.

Adding to this, singer John Eatherly's vocals are of the classic garage rock persuasion. The almost monotone nature allows him to switch from nihilistic to euphoric as if its the most natural thing in the world.

It's easy think there is no space left for anything new these days. One look around the festivals in the UK and its Noel Gallagher and Coldplay everywhere and the shit heap V Festival has gone fro the drivel of Bieber and Rihanna. However, this 4minute record will renew your faith in alternative pop music.

It is inspirational, escapist, punch the air and spill your pint greatness. In the words of the great Grace Petrie 'Be strong / Be resilient / Be young / Be fucking brilliant'.

Stick In The Wheel - From Here

After The Beatles came the Sex Pistols, after Oasis came The Libertines and now, after Mumford & Sons come Stick In The Wheel to rejuvenate the folk genre.

No one could have predicted the dizzy heights Mumford & Sons, Noah & The Whale and Laura Marling would take the nu-folk scene to. Headline slots at Glastonbury and several smash records later, folk music needed a return to its grass roots and this debut does just that.

'Seven Gypsies' will have fans of Richard & Linda Thompson's work drooling. Nicola Kearey’s cockney-cum-traditional English folk vocals deliver an innocence and danger simultaneously. This is a slice of folk music dowsed in punk.

'Me n Becky' is tale of looting during the London riots with dispiriting consequences. There are clear folk tendencies with the use of accordion and drums but, this could easily be fronted by Jamie T. There is a danger and desperation to this track which could see it rise to cult classic status if pushed by Radio X and BBC6.

There are several instances of 'From Here' tackling varying social injustice. Best of all is 'Common Ground'. It uses an acoustic hook to lay the foundations for Kearey to snarl ‘The softest hands have sealed the feat / The roughest ones would never make’.

'By The River' is a glorious slow building number. The Celtic folk influences give it grandness and stature worthy of Aragon charging into battle at the Black Gate.

'From Here' may not have set out to give folk music back to the common man ordinary but it’s achieved it. The combination of traditional folk and an essence of punk gives the album a real edge that Richard Thompson fans are certain to enjoy.

It’s the perceived injection of punk into well-worn folk music sonics, ‘Me n Becky’ in particular, which give them a relevance and impetus which few can match at presence. 

The Crookes - Lucky Ones

The Crookes are always a difficult band to review because they’re better read than any journalist. We might read Kerouac, Thompson and Ginsberg, they embody them. 2014’s ‘Soapbox’ introduced a darker tone to their repertoire with the introduction of Depeche Mode synths but, ‘Lucky Ones’, witnesses a return to their romantic pop music roots.

The Crookes have always been expanding on their archetypal romantic rock n roll sound since their debut. ‘Lucky Ones’ continues their journey with synths but this time, its into a world of lo-fi pop music.

‘Roman Candle’, at its core, is nothing the Crookes hasn’t done before. It’s light, dreamy and infectious but, the use of synths definitely takes them to pastures new. Without sounding like New Order, they embody the spirit of their Manchester peers with this carefree record.

The notion of escape and being on a journey is rife throughout ‘Lucky Ones’. There is an overarching sense they have escaped Sheffield for Route 66 in an open-top Cadillac. ‘No One Like You’ allows anyone to picture such a scene with a loved one and ponder how great life can be at times. The slight gravel in Waite’s vocal towards the end will have men yearning to be him and women falling at his feet.

‘The Lucky Ones’ acts as precursor to this road trip.  Our hero is determined to convince their partner in crime that they could be the lucky one. This is track has the same remarkable quality Oasis’ ‘Live Forever’ had. This type of songwriting is a gift for bored office workers and tradesmen alike. It gives a visualisation of dreams, hope,s and plans for freedom.

There is so much to admire with every Crookes album and ‘Lucky Ones’ is no different. Yet again they have expanded their sound without losing sight of their inner poet which makes them great. The essence of The Smiths and 50s rock n roll is still core to their beauty but now they diversified towards other greats such as Depeche mode and The Cure.

‘Lucky Ones’ might not be their best album but now their song writing is delving into broader themes for hope and escape, the chances of bigger audiences surely await.

Night Beats - Who Sold My Generation

Seattle’s Night Beats have made a break from the garage psyche pack early in 2016 with ‘Who Sold My Generation’, here’s why.

The garage-psyche scene in recent years has produced some great stuff but often its formulaic which, is probably the biggest reason we don’t hear enough of it. Night Beats have set themselves apart by edging towards sound that is broader rather than mainstream but, one which could reel in more casual guitar music fans. This is a bold move in an era when Ty Segall is an underground God.

Night Beats’ more refined sound within the noise and confusion of garage-psyche emanates from ‘Power Child’ and current single ‘No Cops’. Importantly, they both offer crisp vocals for fans to unite behind at live shows.

What Blackwell does well on ‘Who Sold My Generation’ is allow everything time to develop. This will hopefully begin to pull in the more casual fan and subsequently suck them in to the freaky world of garage-psyche.

‘Sunday Mourning’ is a fine example of this bcause of its slow build to a distinct escapist ending. The build-up is akin to the work of The Bee’s on ‘Octopus’ which sets a foundation for Blackwell to shred like Steve Craddock. Furthermore, there is an entrancing bassline which brings Oasis’ ‘Fuckin In the Bushes’ to mind.

Any fans of Miles Kane’s debut album will love ‘Power Child’. The mod hook is so catchy you’ll be desperate to get this on at house party’s to impersonate Jimmy from Quadrophenia. The Dan Auberch vocals complement the epic Segall via Peter green solo.

Many genre obsessives will be comparing various tracks to The Seeds, The Electric Prunes and The Creation on this album from a negative standpoint. Sadly its what happens with this kind of music. Our response to their negativity is so what? There is more than enough originality here to see Night Beats reap the rewards that 2016 has to offer them. 

Savages - Adore Life

In 2013, Savages announced themselves in a big way with their debut ‘Silence Yourself’. It wasn’t as the next big thing or a parody of 90s rock hedonism. No, it was as the most necessary band of the decade. Their searing moodiness and enamel stripping guitar playing was so immediate that, any long term plans seemed out of the question.

All classic albums begin with a track which creates a platform for everyone to blindly follow their heroes into battle with. ‘The Answer’ just does that with 3 minutes of filthy punk rock. Despite this, it’s the more refined guitar solo which sets the tone for what is to come. ‘Adore Life’ is the sound of a band outrunning the tumultuous sound of their debut.

Lyrically, the album broaches the age old subject of love. Interestingly though, it hones in on the darker facets of the discourse. ‘Adore’ is a modern take on The Smiths’ ‘There Is A Light Never Goes Out’. It’s a melancholic ballad a la PJ Harvey which hits euphoric heights when Jenny Beth sings ‘I understand the urgency of life / In the distance there is truth which cuts like a knife / Maybe I will die maybe tomorrow so I need to say / I adore life’.

What makes ‘Adore’ a great song is the harrowing landscape it operates within. Its impossible to not think of Ian Curtis or Kurt Cobain’s tragic suicides as Beth sings ‘If only I had been more shy / and hid every tear I cried/ If only I didn’t wish to die / Is it human to adore life?’

The more far-reaching output continues on ‘Slowing Down The World’. Killer bass lines and guitar riffs have not been issue in their career to date. Here though, they allow their post-punk style room to breathe. The main guitar hook has a Television circa ‘Marquee Moon’ feel whist the slower but equally aggressive basslines are reminiscent of BRMC.

The up-tempo tracks also have a more accessible quality to them this time round. ‘When In Love’ instantly brings to mind Joy Division with its undeniable hook and sense of desolation. The way it has you on tenterhooks waiting to explode but never does is exhilarating. Time with Bo Ningen is time well spent it seems.

As the album draws to an end, there is a potential glimpse at where Savages are going next. ‘Surrender’ and ‘T.I.W.Y.G’ introduce musical styles not seen before. The apocalyptic production on ‘Surrender’ creates a kind of electro-post-punk vibe which, as PiL have proven, has endless creative avenues. ‘T.I.W.Y.G’ is the kind of fall-to-the-floor dancefloor banger that The Music or Radio 4 did so well in the mid-noughties.

‘Adore Life’ is an album that delivers on the potential of the debut and explores new realms and thus, offers yet more prospects. Savages are, without doubt, a great band and should be obsessed over by teenagers, and reawaken their parents’ youth simultaneously. Go. Buy. This. Record.​

Suede - Night Thoughts

Before 'Bloodsports' was released in 2013, the band and fans had been apart for 11 years. It reminded everyone that it was okay to look, feel, and be different still. With the loss of their hero Bowie a week prior to ‘Night Thoughts’, it suddenly became imperative that this feeling remain alive.

On paper, this is a wet dream for Suede fans. The album and song titles suggest their darker side has been tapped. God bless, because no one does shattered Bohemia like Brett Anderson.

This is never more evident than on ‘Outsiders’. Glorious memories of ‘Trash’ come flooding back as Oakes fine riff rattles around with an air of desolation. It may be a tale of fetid romance but the closing repetition of outsiders is far more formidable. It serves as a familiar clarion call, which the marginalised will always be glad to hear.

The rest of the album may not live up to the outstanding quality of ‘Outsiders,’ but it has enough to resonate with loyal fans. ‘No Tomorrow revives the Bowie-esque glam, while ‘What I’m Trying To Tell You’ delves into the guitar parts of the ‘Coming Up’ era.

‘I Don’t Know How to Reach You’ allows Oakes to sparkle once more on the album. Interestingly, though, it takes a more introspective path. The melody throughout and the guitar solo are more akin to Noel Gallagher or Johnny Marr’s recent solo efforts. Anderson builds the tension and anguish of the protagonist in verse, thus allowing Oakes rare extended guitar solos that are steeped in emotion.

‘Night Thoughts’ shines at times brightly but too often deviates from this level. It never strays into poor territory, but some of the slower efforts don’t add to the narrative for what is clearly a fine effort in songwriting by Anderson. 

Victoria Hume - Closing

Victoria Hume released her new EP 'Closing' on the 15th January. Her previous efforts have been beautiful affairs so, how will this body of work fair.

As soon as the pianos begin on 'Miles Away', you know something special is about to unfold. Sitting somewhere in between Sandy Denny and Joni Mitchell on the scale of great female singers, Hume delivers a gentle but incredibly meaningful vocal.

possibly on the new album, coming this autumn... thank you to Andy Hamill on bass.

'Ungoverned' proves that political song writing doesn't have to be rabble rousing polemic all the time. She sets the tone with opening line 'Government abandonment / these people don't care' and goes on to deliver haunting messages about refugee neglect and a political system which views human life in financial figures.

'Lanterns' is the only anomaly on this otherwise sophisticated EP. What starts out as melancholic Richard & Linda Thompson track, alters its destination for a piano led Bat For Lashes via Bon Iver number before changing gear again in the closing moments. The creativity here cannot be denied but it is a difficult listen.

The EP closes with its finest moment, 'Wild Wind'. Again she defies alternative music protocol. Usually, messages about taking you chances and being brave are left to all male bands full of teenage angst. Hume however, proves that no matter the age or gender, life is there to be lived and to fight against its traps of boredom and apathy.

'Closing' often has beautiful cinematic qualities to its music. It’s poignant, grand and understated all at the same time. What's remarkable is Hume's ability to make her vocals fit around these tropes to add to the beauty.

This may not be a full album but at seven tracks long, this will be in the running for album of the year unless lyricists out there significantly up their game in 2016.

Pete Astor - Spilt Milk

Any fans of Astor's early work with The Loft and The Weather Prophets will be delighted with his return to the jingle-jangle indie spectrum. After two decades of more experimental music, 'Spilt Milk' is a welcome return home.

The opening two tracks, 'Really Something' and 'Mr Music,' could easily be part of the Kinks’ greatest hits collection due to Astor’s fine vocals. 'Really Something' is a simple and beautiful number that will have fans of Real Estate drooling.

'Mr Music' is the star act on this album. Astor nails the Kinks classic 'Waterloo Sunset' vibe so well that you'll believe you have heard this song a thousand times before on first listen. ‘Mr Music’ is more than just a Kinks pastiche though. Astor’s skill of supplying wit, charm, and melancholy in character within a song gives him a great identity.

Astor’s sombre route continues with ‘Perfect Life,’ which has a healthy dose of Ian Brown’s ‘Deep Pile Dreams’ about it. Switch off mentally, and you'll mistake this for a love song. Dig a little deeper, and the sarcasm and bitterness come to the surface as a partner continually lets an unwanted third person into a relationship.

'Oh, You' closes the album with more straightforward pop brilliance. The opening riff is similar to Lemon Jelly's classic hook on the 'Staunton Lick' and as the track meanders along it conjures memories of Belle & Sebastian's glorious 'Boy With The Arab Strap'.

With the deaths of Lemmy, John Bradbury, and Bowie within two weeks, Astor's foray into his past delivers richness and warmth much needed in the alternative music community. They say timing is everything, and this mid- to slow-tempo pop music is the perfect tonic for the recent swelling of sadness.

Paul Smith & The Intimations - Contradictions

'Contradictions' is the 3rd solo effort from Maximo Park frontman Paul Smith. On this occasion he has the hired help of Peter Brewis (Field Music), Wendy Smith (Prefab Spirit), Rachel Lancaster (Silver Fox) and Andrew Hodson (Warm Digits).

Smith described the record as 'an alternative pop record' to the NME last year and for the most part, this is true. What it demonstrates more is, Smith's prowess as a lyricist as he reflects on love and life.

Maximo Park fans tentative of Smith's solo work should dive in with the second track 'The Deep End'. It's a perfect bridge between what the two try to achieve. It has the classic indie guitar sounds of New Order and The Cure combined with the nostalgic melancholy often featured here. The production has the blissfulness of Bloc Party's 'So Here We Are' which is a great juxtaposition to Smith's confession that 'all my dreams are contradictions'.

Former single 'Break Me Down' continues in this vain. It is the perfect vessel for Smith to wrap his distinctive North East vocals around. The fragility Smith reveals here is where the real beauty lies though. The line 'break me down / It wont be hard' acts as the nail in the coffin for the relationship Smith is reminiscing upon as a lost opportunity. We are all for the Liam Gallagher standing fearless on stage but, the sense of 'what might have been', especially with a loved one is something more of us can emphasise with.

Perhaps the finest lyrics of Smith's career to date appear on 'All The Things You'd Like To Be'. The use of poetry paints brilliant grey landscapes of Smith's North East roots. The chorus of 'the office blocks of asbestos rocks / the corporation that fed the family' depicts the world which most us fall into to survive superbly. Not content with a great chorus, Smith's verses are littered with industrial reference points where he and a lover discuss what their ambitions were. This is without doubt a triumph of working class song writing and one that should be lauded from the rooftops.

Sadly this album only stacks up for the first 9 songs. The final four tracks fall a bit flat and ironically, you are left with a feeling of what might have been. The pop sounds dissipate and whilst the lyrics have their moments, they lose their impact without the power of the music to back them up.

Nevertheless, put the blinkers on and stop the album after 'People On Sunday' and you are left with a solid to good indie album with with some great lyrics.