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.

Theatre Royal - Locked Together On The Lines

Objectivity is a great thing but, fuck that, this is the single of the year! We knew it as soon as their album ‘And Then It Fell Out Of My Head…’ came out in March this year.

This is a true story of front man Oliver’s Nan discovering two dead bodies Chatham’s war memorial. One a sailor, and the prostitute, they lay “locked” as one may well imagine.

Vocally and lyrically, the human touch shines through on this tragic tale. The second verse opens with ‘a silent face / ', such bleakness has not been shrouded in pop majesty since The La’s ‘There She Goes’.

The blending of such grey English characters and landscapes with the colourful paisley guitar playing and indie harmonies is joyous and should be celebrated across the land. 

The double A-sdie also includes ‘All I Need’. A short emotive blast of English pop music. Fronted by guitarist Robert, this luscious romantic ode is further proof that intelligent pop music must have its place in the mainstream.

Iridesce – Carved In Stone

The Camden outfit just go from strength to strength. ‘Carved In Stone’ has adopted emotive melodies of Editors, Chapel Club, and The National and channelled them through a beacon of togetherness.

So many people are turned away from the term Britpop. Yes, it had some ugly sides, what scene doesn’t. Ultimately, it was a period where earnest song writing brought working class people together. Iridesce clearly have that spirit on this showing.

It’s not for the chin strokers of the world, this a song to immerse yourself in. Let the soaring vocals and guitars wash over you like a cleansing power shower on the worst of hangovers.

BRMC – Little Thing Gone Wild

Last time out, BRMC were, by their high standards, coasting with their album ‘Specter a the Feast’. This return single though, sees them at their dank and furious best.

As the drums thud in the intro, Hayes and Levon-Been vocally stride back into ‘cool as fuck’ territory. Their deep, Jim Reid via Ian McCulloch drone screams sex and throbs danger which, combining with the blustering guitars is a heavenly match.

Genre wise, they’ve not strayed from dirty garage rock sound but, when it’s delivered with such pulsating urgency, it’s impossible to be critical.

Shed Seven – Room In My House

“There’s room in my house for love and affection”

As there is in the hearts of thousands of Sheds fans rapidly selling out their biggest ever UK tour. Bigger news than this though, they’re back with new material for the first time since 2001’s overlooked ‘Truth Be Told’.

So, does their new single bring a mature jazz enthused sound ready for coffee shops? God no! Thankfully, it bristles with the swagger of their 1996 album ‘Maximum High’. Middle age has brought a rich depth to their archetypal sound though. The influence of soul via the thunderous guitars of Stone Roses’ ‘Second Coming’ rips its way through this banger.

Quite where they found these guitar parts and solos from in middle age we’re not sure. Fuelled by youthful angst, escapism, and a sense of utter debauched chaos, this is the soundtrack to all sticky floored indie night clubs this weekend!

So often with older bands, they explore the niche avenues of their influences to keep themselves amused, meanwhile, the sales dip and live crowds bugger go for a piss and leave disgruntled muso’s behind them. Shed Seven however, are firm proof that, if the magic dries up, leave the song writing alone until it returns. If this single is anything to go by, the album is likely to be of their highest quality, much like Martin Rossiter’s (Gene) ‘Destination of St Martin’ in 2012.

Daniel Wylie's Cosmic Rough Riders - Scenery For Dreamers

Daniel Wylie may be 58 but, his soul remains as carefree and poetic as any teenager yearning for escape. ‘Scenery For Dreamers’ is Wylie’s 8th studio album and is littered with sun drenched avenues to explore and fall in love with.

You could be forgiven for thinking opener, ‘Rope (Everybody Lies)’, was a breezy pop song with its infectious ‘ba ba ba ba’s’ and, musically it is. Lyrically though, darkness prevails as the protagonist kids himself to cope with depression.

The ‘ba ba ba ba’s’ in question, act as a magical defiance and keep a lust for life motoring. Encased in 70s Californian rock n roll guitars, and with the line ‘could have gone under but dragged myself up’, it’s hard to view this as anything but heroic.

Wylie’s vocals have always been infectious but, on ‘Lucky Find’, they reach new peaks. The ‘Cortez The Killer’ opening mushrooms into pop nirvana as Wylie channels his inner Steely Dan and Brian Wilson to absolute perfection.

Negating its way through most of the album are the guitars of the Neil Young circa ‘Rust Never Sleeps’ and Scottish peers Teenage Fanclub. ‘Cold Alaska’, has In its opening and in the solo, the raucous nature of Young on his 1979 classic. Whereas, the verses have the freeness of the open road that the Fanclub made so prominent on ‘Bandwagonesque’.

‘Jingle Jangle Morning’ is beset with emotion and fragility of ‘The Concept’ but, simultaneously, is laden with the pop sensibilities of Young’s ‘Sail Away’ and the fuzzy drama of ‘Powderfinger’. When the two influences combine, its as though life affirming victory looms at every junction.

Wylie’s career, for too long has gone under the radar. It would appear, as he goes beyond his mid-point in life, the pop tunes are pouring out of him. Might this be the time for the masses he so richly deserves to come a flocking?  

Ulrika Spacek – Modern English Decoration

The London five piece waited only 16months to get their follow up to ‘The Album Paranoia’ released. When you’re hot, you’re hot! ‘Modern English Decoration’ comes out amidst so many hazy garage-psyche albums. What chance do they have of getting their heads above the rest?

The combination of Unknown Mortal Orchestra’s Ruban Nielson vocals and vulnerable psyche-guitars on opener ‘Mimi Pretend’ and title track ‘Modern English Decoration’ gives them every chance. The fragility of their sublime playing is destined to take listeners along with them.

The ability they have to weave in and out of each other’s playing is laudable. However, as ever with bands of this ilk, it becomes a bit one paced. There is an injection of fire on ‘Ziggy’ and ‘Everything, All of the Time’ but, there’s an overarching sense of ‘does this matter’. With their talent, of course it does.

On ‘Saw A Habit Forming’ and ‘Victorian Acid’, there are signs that they infiltrate more people’s consciousness. The former is entrenched with highly emotive production and ‘Victorian Acid’, takes MVB’s ‘Loveless’ style and, tentatively, takes it towards a guitar hook territory.

‘Modern English Decoration’ is going to grace to a lot of top 10 album polls come the end of the year, no question. What it won’t do, is challenge any top 10 albums of the decade and this is a band who, most certainly can.

Tom Williams - All Change

Tom Williams has never lacked great pop melodies or uniqueness of voice. His first two albums are the Magna Carta for teenage boys and insular angst but now, on his 4th album ‘All Change’, his themes are broader and the depth of musicality is richer. Does it pay off?

Album opener, ‘Everyone Needs a Home’, strongly suggests that it might have. The sweeping orchestra borders on deranged at times, couple this with his brooding vocals and memories of Radiohead’s expansive pop songs will come to the fore. It’s also, the first if many great jibes at little Englanders.

On several occasions, the genius Ryan Adams form the essence of Williams’ work. ‘What a Shame’ is laced with regret and debauchery (“only whiskey has me sleeping right”) whilst ‘Sometimes’ delves into the worst aspects of Williams’ persona:

“I’m a coward / and you know it / always running from a fight”

‘Get High’ is the finest example of Adams’ soaring melancholy. The beautiful backing vocals juxtaposed with dark cloud of self-doubt is of the utmost quality. What really takes ‘Get High’ to another level are the swooning guitars. Williams uses them to traverse a flawed character to the cliff edge and, like in 'Inception', leaves you shrouded in uncertainty to the outcome.

Williams turns to Bruce Springsteen and Belle & Sebastian’s ‘The Boy With The Arab Strap’ on ‘Higher Place’ to lift the mood. Its combination of escapism and frustration delves further into that losing feeling many of the 48% have been left with:

“All my daydreams upped and ran away / so I guess I’ll think about real life for a change / one day im going to lift us up to a higher place”

‘Sleep Tight Saturday Night’, thankfully, goes further than this polemic. Williams hilariously flips the ‘take back control’ argument to the true downtrodden folk of his home in Hastings, rather than debt free straight white men with a mortgage:

“Have you seen this town lately / it’s been going through some changes / people here have been kept down for ages / we aint never getting out”

History has always proven the poet can achieve far more than social comment. Nevertheless, the social commentary here is smothered such warming pop music vibes, it’s hard to picture this not reaching even those who disagree.

It’s hard to argue that, the depth of song writing sonically has not grown substantially. The quality of Ryan Adams or Bruce Springsteen is not on show often enough to catapult Williams into stardom but, there is enough for a great big shove!

Theatre Royal - Is That For You?

Yearning for pop music that matters? Well, Theatre Royal are for you. In fact, their recently released album ‘And Then It Fell Out Of My Head’ is littered with so many potential singles, it’s impressive they managed to pick one.

‘Is That For You?’ is yet another fine example of their Byrds via Primal Scream debut ‘Sonic Flower Groove’ guitar sound. Although relatively new in the consciousness of many, it’s taken from their 4th album so, don’t be surprised by the maturity of the song writing on display.

Like the great Verve songs, its hooks come from sublime use of the violin and it works with the impassioned vocal to tug at the heart strings. The emotive vocal delivery builds to a touching crescendo, which must leave frontman Oliver in a heap of his own tears each time.

The single and album are available on their bandcamp page:

https://theatreroyal.bandcamp.com/album/and-then-it-fell-out-of-my-head

Be sure to check them out at this year’s Shiiine On Weekender too!

The Charlatans – Different Days

When The Charlatans released their 13th studio album ‘Different Days’ two weeks ago, few could have expected them to top their last offering ‘Modern Nature’. Beset with emotion, ‘Modern Nature’ was highly charged after the tragic death of drummer Jon Brookes and every emotive point felt that bit extra charged for fans.

Perhaps, the emotional stress ‘Modern Nature’ caused led to Charlatans becoming a collective of mates this time round (Johnny Marr, Paul Weller, Kurt Wagner, Sharon Horgan, Ian Rankin, Pete Sailsbury, Anton Newcombe, Gillian Gilbert & Stephen Morris all feature). In doing so, they have managed to mesh their mod-cum-soul-indie side with their more experimental New Order production side for the first time in their career.

This is witnessed tentatively on the opener ‘Hey Sunrise’ but really kicks in on the mixed trio ‘Different Days’, ‘Future Tense’ and ‘Plastic Machinery’. ‘Different Days’ (featuring comedy treasure Sharon Horgan on backing vocals), boasts big booming piano notes and sun drenched production which, comes in layer by layer. It’s such a seamless blend of the two, it allows them throw in a deranged guitar solo to counter any good will.

Immediately following, are the poetic tones of Rebus novelist Ian Rankin. Steeped in intensity, Rankin delivers a tale of hope, discovery and doubt before bursting into the big evolving single ‘Plastic Machinery.

Of the many guest appearances, its Johnny Marr that will leave you reeling. Marr should be the anointed the king of youth culture as he reenergises The Charlatans with spirit of ‘Tellin Stories’ on ‘Different Days’, ‘Plastic Machinery and ‘Not Forgotten’. On ‘Different Days’, their archetypal Hammond organ gets a run out and then, something magical happens. Marr splices in a guitar part reminiscent of ‘How Soon Is Now’ to provide the albums one true moment of ecstasy.

It would be negligent to ignore album closer ‘Spinning Out’. Co-written with long-time friend Paul Weller, this defiant ballad is an astounding end to the album. As the song drifts towards Weller’s luscious entrance, Burgess utters the most resonant lyrics of the album:

“Trying to get back there again / trying to get back there again with you”

On an album which saw their saw a mature approach to their mid-90s hedonism sound, this sense of love of and hope towards their mortality is far more rewarding than the usual fear and doubt.  

Youth Killed It - Modern Bollotics

The Norwich outfit released their debut album back in February but, with the election dust settling (sort of) there can be no better time visit ‘Modern Bollotics’. It’s an album, in their own words, to ‘make you smile with my cheese on toast and bubblegum pop’.

One of the striking things about ‘Modern Bollotics’ is it’s ever shifting roots. It shifts from the punk of Slaves to the boy’s day out of Twang to the thoughtfulness of Mike Skinner in a beat. Threading it all together is a sense of youthfulness that will inevitably fade away, but crucially, not yet!

Opener ‘(Jean Claude) Van Mann’ combines the volatile big riffage and punk aggression of Slaves with the lyrical delivery of The Twang’s Phil Etheridge and Martin Saunders. Unlike The Twang though, they are emerging during a period where getting paid is tough. As a result, a frustration and self-righteous angst arises (and rightly so) in the lyrics:

“And there's no money doing this anymore
If I was doing this for money I wouldn't be sleeping on floors”

The dry wit keeps coming on the sardonic ‘Popstar’. As frontman Jack Murphy decrees, ‘maybe if I was a little better looking I could be a pop star’, the initial instinct is to laugh. On further listening, the urge to question the dominance of identikit Disney turds comes soaring to the surface. When Oasis played Maine Road, Liam walked out in an Umbro and looked like one of us. Today, he’d be called a chav and vilified as underclass scum. A working class hero is still someone to be!

‘Fudge’ meanwhile, drives straight to the heart of not fitting in and being simultaneously proud and doubtful about it. Whilst written about those who fail at exams and work, it has a universal appeal which could tip them into the mainstream.

One criticism of ‘Modern Bollotics’ is, at times its quite one paced with its subject matter. However, flipping everything on its head is the poignant moment of self-reflection ‘What Happened?’ In particular, the lyrics in the bridge:

"I wish I could go back in time
Take myself away from the future
As a man nothing ever feels right
Every day I feel older than I used to
I wish I spent a little bit more time
Preparing myself for the future
It comes out of nowhere, right?
And drags you down lower than you’re used to"

‘What Happened?’ is the working class alternative to Frank Turner’s brilliant ‘Photosynthesis’. The tension that develops when life edges away and frailness sets in is portrayed perfectly here. Furthermore, to embed this into a sing-along anthem is remarkable songwriting.

Whilst only thirty two minutes long, ‘Modern Bollotics’ is an album of life affirming and challenging punk, rock n roll and hip-hop anthems. The disenfranchised haven’t had their day in the sun for a while and, with this offering, expect a glorious scum to rise once more.

British Sea Power - Let The Dancers Inherit The Party

Brighton's British Sea Power returned with their 6th studio album 'Let The Dancers Inherit The Party' this month. With a loyal following, nothing is particularly at risk, but, after various side projects and previous album lacking a little, their relevance was certainly on the line. How glad we were to hit play on this glorious indictment of the times then.

The underdog as the optimist is a difficult position to win from, when, easy answers to complex questions lay with your detractors. However, British Sea Power have come out with swinging with messages of togetherness and crucially, wrapped them up in radio friendly pop anthems.

The first half of the album is as unifying as any record in recent memory. Whether it be the driving guitars of ‘What You’re Doing’, the defiant messages of ‘Bad Bohemian’ and Keep On Trying (Sechs Freunde) or Sunkist tale of honesty ‘The Voice of Ivy Lee', BSP reminded everyone that to be heard, you must do what the mainstream does and do it better! Change will never come from playing to the converted at boutique festivals. With the pop majesty of these tracks, BSP should be forcing their way into V Festival and onto 4music to remind everyone pop music doesn't have to be dull.

BSP will not have sat down thinking, we need to do deep and meaningful better than Ed Sheeran or deliver messages of togetherness with unashamed glory better than the UK’s right wing, but, in doing so, for the first time in a long time, the cogs feel like they are gaining some positive traction.

‘Bad Bohemian’ walks the line of cult classic and victorious anthem, a skill BSP have not delivered since 'Who's In Control'. Sonically so effortless, it feels like a one take wonder.

The flip side to BSP’s renewed singles form is their destructive melancholy. ‘Electrical Kittens’ and ‘Praise For Whatever’ give a sense of something good being lost to evil (the BBC to the Tories for the former). Much like the This Is England film and TV series, darkness looms throughout, but, its so enjoyable your attention will never fade.

‘Don’t Let The Sun Get In The Way’ stands atop of everything here like a bombastic beacon of light. The introspective verses are tempered with infectious shimmering riffs and angelic backing vocals until the inevitable spotlight descends upon Martin Noble. His solo is 30 seconds of arms around the world positivity which will not settle for Farrage or Trump.

Go pick up a guitar. Now!

Ryan Adams - Prisoner

Adam’s sixteenth studio album ‘Prisoner’, is a compelling memoir of his gut wrenching divorce from Mandy Moore. Mere mortals fall into a routine of heavy drinking and regrettable text messages when burned, Adams however, picked up his guitar and aimed for masterpiece.

What hits you immediately, and remains throughout, is the heartache. Former single ‘Do You Still Love Me’ opens the record with a self-destructive pattern everyone can relate to. The desperate longing to know the unanswerable of where it all fell apart are at the forefront. Couple this with a guitar solo that conjures images of Adams screaming and howling into the night at the loss of his marriage, you have one hell of an opening gambit.

On the tracks ‘Prisoner’, ‘Haunted House’ and Breakdown, there is an unexpected, but welcome move to some classic eighties sounds. ‘Prisoner’ is straight from the world of Cocteau Twins’ ‘Heaven or Las Vegas’. It utilises the airy production with little nodes of guitar psyche to channel his alt-country sound somewhere new. It’s remarkable to tread new ground successfully when, inside the turmoil is leading you to sing ‘Free my heart / Somebody locked it up’.

‘Haunted House’ treads the familiar ground of Springsteen’s melancholic work on ‘The River’ and ‘Atlantic City’ whilst, the production leans on early work from Kate Bush. On ‘Breakdown’, there are moments when the guitars shimmer and swirl with such glory, you’d be forgiven for overlooking Adams’ affirmation ‘my soul is black as coal’. 

The one chink of hope comes on the dreamy ‘Shiver and Shake’. All the self-reflection and self-loathing gets a dusting down, only lightly, but enough for the defiant declaration ‘if I wait here any longer I’m gonna fade away’ to suggest time is healing.

To compare and contrast 16 albums is almost futile, but, ‘Prisoner’ is of such consistently high quality it has to be mentioned in the same bracket as 2003’s ‘Rock n Roll’.  The sense of do or die comes shining through on ‘Prisoner’, and thus, we live you with apt quote from Byron:

“If I don’t write to empty my mind, I go mad”

Elbow - Little Fictions

The Bury outfit, now a four piece after drummer Richard Jupp departed, have returned with their seventh studio album ‘Little Fictions’. This deep into their careers, you have to wonder whether they can keep adding to their fine body of work.

So, unsurprisingly, they open with ‘Magnificent (She Says)’, the archetypal Elbow euphoria soars through the chorus. Before its big release, the band expertly build a tension and injustice, can’t imagine what world they’re living in! Then, Garvey’s vocals some swooning in singing ‘a world that doesn’t even know / how much it needs this little girl / it’s all going to be magnificent she says’. It’s like a wormhole sucking in all ill feeling and spewing out a sense of hope only a child could have.

Jupp’s departure has lead the band towards a more beat heavy album than previous. On ‘Kindling’, the simplicity of the percussion allows the strings, vocals and guitar to have a hymnal quality.

On ‘Gentle Storm’, the constant percussion anchor Garvey’s tale of not wanting to argue with his wife. Again so simple, they neatly tie this complex tale of Garvey begging his wife to just love him at all times. To portray such a vulnerability after years of growing adulation from fans is a glorious feat of song writing and will only adhere him to the bosom of many more.

Garvey got married in the period between albums and wrote some of the lyrics whilst on honeymoon in Sardinia. So, you would forgive him for writing a lot about love, particularly the romantic ‘Head For Supplies’. However, on ‘Montparnassa’, Garvey again is achingly honest with himself post-breakup and lying to a therapist to get sympathy.  

Having Elbow back is like welcoming a friend into your home for a boozy night of catching up and reminiscing. It’ll leave a mark in the morning but you’ll be yearning to do it again and again. ‘Little Fictions’ is the blueprint for how a long standing band can subtly evolve and take their fans along for the ride.

James Dey - The Night Time

It’s been a decade since Leed’s James Dey released an album, and, on this showing, a decade too long.

The Yorkshireman’s hiatus from recorded music has not diminished his ability to write hushed and angelic folk songs. Opener, ‘The Yawn’, is never more apt than right now as winter draws in. Blessed with the warmth of Stornoway’s debut album, this quaint number is the perfect avenue for you amble into this album.

This is a consistent album, often serving as good background noise or relaxing commuting content. However, every now and then, Dey produces genuine moments of magic, often around the simplest and intimate discourses.

‘Hedgehog’ is one of these instants. Dey’s vocals adopt a whispered gravel and traverses its way to enriching and rousing blast on the trumpet. On paper, this has the hallmarks of Billy Bragg and Sam Duckworth. However, an amusing tale of a mid-twenty something being locked out of his parents and a dead hedgehog, not so much.

Dey is adept at writing songs about the imperfect like ‘Smokers In The Corridor’ and ‘Andrika’. The former is a majestic piece of folk-pop. Only Tom Williams has rivalled this level of intimacy in recent times. The mood and tone brings Noah & The Whale to mind as Dey evokes memories of a seaside holiday.

All kids should grow up with holiday memories like this. On paper, they’re shit, but those vague memories of your elders free from everyday stresses breeds a warmth as you get older and kudos to Dey, he encapsulates this beautifully.

Meanwhile, ‘Andrika’, is a boat that doesn’t sale in the garden of his childhood. A glorious display of childhood imagination of what this boat once was and the battles it once endured. Fans of this song, should read Andrew Collins’ ‘Where Did It All Go Right?: Growing Up Normal in the 70s’ now!

This is an album that you might be able to ignore because of under exposure, but, put it on and you will find it tough to put back down again.

You can and WILL download 'The Night Time' on James' bandcamp page here

https://jamesdey.bandcamp.com/album/the-night-time

The Rumble Strips - The Lightship Recordings

It seems an eternity since we heard from The Rumble Strips but, at the end of July, they released a new EP ‘The Lightship Recordings’. Here’s our track by track review:

Another World

All memories of Rumble Strips tend to lean towards their sun filled pop numbers, so, Another World is the perfect comeback for them. The pianos and guitars breeze on by without a care in the world as the chorus reflects perfectly:

“when we're living in another world / what a feeling” 

Around The World

Who needs melancholy when you have this? For anyone pondering the point of meetings where nothing happens and officious emails to 30 people when only 1 is needed, this, this song is the answer:

“Gonna buy me a car / Gonna put you in it/ I’m gonna die in that car when I’m old / all around the world”

Bistro Paris

Where do they conjure these melodies from? The deeper tone to Charlie Walker’s vocals lends this quaint lullaby a different tone to the previous two ‘sing your heart out’ numbers and, is much the better for it.  

South Harbour

This is a pleasant and jaunty affair but never really goes anywhere. This is a pity because, as the vocal harmonies 2mins come in, it threatens to do something interesting but sticks to the status quo.

Ticking Over

Does exactly what it says on the tin. Plods along pleasantly but there are no real lifts of excitement or escapism as seen elsewhere on this album. 

Wildlife

Walker’s opening howl of ‘wildlife’ is a thing of beauty, much like what he is describing. The power he summons is like a melodic town crier. Couple this with the Belle & Sebastian meets King Creosote indie-folk-pop verses lead to an encapsulating end to this EP.

PAWS - No Grace

The Glasgow four piece have returned with their second album ‘No Grace’. Their brooding debut ‘Youth Culture Forever’ was littered with lyrical nuggets to define teenage angst and coming of age. This time round, it’s the music which is providing the youthful exuberance.

Opener ‘No Grace’, combines the bashed guitars of early Billy Bragg with infectious pop-punk and features the golden line “are you tired of being told that’s not good enough”. This musical notion of the rough with smooth is a constant throughout with ‘Clarity’ it’s finest exponent.

It’s furious pace and accessible vocals will bring memories of Green Day’s joyous beginnings flooding back, especially when the bassline takes centre stage. PAWS are not content with rehashing the past though and fire out a warped solo of such depravity it will have everyone from The Fall to QOTSA looking on in envy.

Occasionally, the clash of styles seen on ‘Clarity’ fade away and the album suffers. ‘Complete Contempt’ and ‘Gone So Long’ have their influences shining through too much for PAWS’ distinct style to shine through, and it should, it’s great.

‘Impermanent’ however, is pop-punk and nothing else. It works, because it’s one hell of anthem. In bleak times, to hear the words “Don’t believe their heart, just work hard and be hyperactive” brings hope. Furthermore, it delivers it bubble wrapped in pop music form which should transcend Radio X and emerge onto Radio 1 playlists.

‘Impermanent’ defines everything this album is about. Short, sharp and life affirming. ‘No Grace’ is no ‘Sgt Peppers’ or ‘Dark Side Of The Moon’. It is however, an album to define (or evoke memories of) that momentous summer after GSCES or going to university.

The carefree punk-pop is in equal parts juvenile and carefree. Good. It’s obnoxious and angry. Great. Now go buy it!

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'.