Scott Lavene - Broke

Hailing from Essex, Scott Lavene has released his sometimes weird, sometimes wonderful, sometimes neither debut album ‘Broke’ via Funnel Music.

An album of many clashing styles, can work if there is clarity in the challenging moments. ‘Broke’ is awash of multiple styles, when it lands, echoes of Dury, Costello and Barrett come to the surface. When the quality dips though, it falls face down.

‘Apples & Pears’ killer chorus is immersed in the sardonic world of Sultans of Ping and the colours of Syd Barrett. Meanwhile, ‘Super Clean’, comfortably the albums finest work, hits a Tame Impala via the cuteness of Supertramp groove that is undeniable. However, on ‘Moonbeams’, everything feels forced. Nothing about Lavene’s vision is contrived, it’s just not always sonically landing.

There is however, a purity to Lavene’s work, always emanating from a heartfelt and honest place. It’s what will keep you coming back for more. Album opener ‘My Stereo’, is arguably the sweetest pop record you’ll hear this year. The Beans on Toast meets Ian Dury vocals collide with ‘Hour of the Bewilderbeast’ Badly Drawn Boy to conjure images of teenagers discovering music in their bedrooms.

‘Broke’, described by Levine as ‘the deadbeat manifesto’, takes a wayward stroll through his hometown of Essex.  It has a Baxter Dury sense of adventure without fully living up to his standards. The quality ‘Methylated Blue’ and ‘Some Place New’, whilst full of integrity, lose the wild glow and become more like a watercolour challenge.

This is not an album which will convince the masses, nor for that matter, will it convince the alternative world on first listen. It’s a gradual process of realisation that Lavene is, to coin Richey Edwards’ self-harm “4 Real”. When he nails his distinctive view on the world, it’s a joy to behold. This is tempered by moments of dips in quality but, never enough to deter you from rooting for Lavene.

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

Richard Hawley - Further

Sheffield icon Richard Hawley is back with his eighth studio album ‘Further’. His previous offering ‘Hoillow Meadow’, laid bare many personal anxieties for the world to see. This time out, Hawley consciously decided to make something more positive and more direct. Will the charm dissipate? Will it be contrived?

Hawley’s attempt to be positive, attempt a heavier sound at times but, lack the raw excitement of youthful rock n roll can. ‘Alone’, whilst pleasant, has a tired ‘Easy Money’ (Johnny Marr) feel to it. ‘Galley Girl’, nods to Robert Plant & Alison Krauss’ classic Rich Woman’ but again fails ignite the devil. However, on album opener ‘Off My Mind’ slides into a dirty rock n roll groove to endlessly admire. ‘Time Is’, finds a sweet spot with its psyche riffs and exhilarating harmonica on this reflective look at the passing of time. It has a honesty that befits Hawley’s emotive soul far better.

Hawley’s poetic soul is where the album thrives. Sheffield’s Blake is at his best when wandering the streets of his mind alone. ‘Is There A Pill?’, musically, combines the romanticism of ‘Coles Corner’ and the dangerous guitars of ‘Standing At The Sky’s Edge’. Lyrically, it’s a message of love to himself and the family of a friend who was lost tragically to suicide. It’s a remarkable feat to deliver the lines ‘Is there a pill / To untwist my heart / And help me sever feeling shame at being apart?’ with such warmth.

Hawley’s ability to sprinkle stardust over his ballads keeps coming on ‘Not Lonely’ and ‘Midnight Train’. The former being a hopeful ode to his children. Yearning to see them enjoy the benefits his generation did. Amid the Tory leadership race where liars and Islamophobes battle NHS dismantlers and Austerity masturbators, the poignancy is somewhat elevated. Meanwhile, ‘Midnight Train’ sparkles like The Byrds’ ‘Ballad of the Easy Rider’ in a British spring time.

Not everything lands on ‘Further’ but, few can match the beauty of the highs Hawley can still summon in his early 50s. When he enters into his reflective and poetic groove, it’s impossible not to fall in love with him all over again.

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

Submotile - Ghosts Fade on Skylines

Dublin duo (Michael Farren & Daniela Angione) Submotile released their debut album ‘Ghosts Fade on Skylines’ this past April via the Midsummer Madness label.

Albums recorded at home can often lead to an autumnal sonic. Not here though, their heavier side dominates proceedings. ‘Eastern Sky Sundown’ in classic noise rock style will keep on revealing new layers but, its headline grab has to be the rip roaring drumming. ‘Amped and Faded’ again has that blast you away mentality. It may not fully deliver with its blend of Sonic Youth and MBV, but you cannot deny its venom.

Despite this heavier side, there nuggets of ethereal pop music from alternate realities. ‘Tarmonto’, takes the pop stomping licks of Johnny Marr, angelic Phil Spector girl group vocals and shoegaze styles. This will set festival season alight.

On ‘3am Reveries’ however, they have gem glistening in the sea bed. Its beauty is so pure it should come with a warning. It can be all things to all people. It’s the sound of best friends losing their shit in a big top tent at 3am. Equally, for anyone who’s life is falling apart or a relationship hanging on by a thread, this will rip it to pieces.

Fans of shoegaze, noise-rock, drone-rock and so on will inevitably dig this album. It probably won’t make the upper echelons of their record collection though. Nevertheless, it’s attempt to re-introduce pop hooks into the fold has to be admired in divisive Brexit times. It begins to blur people’s hard lines force them back together.

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

Supercaan - Supercaan

“Bands are putting out more songs than they’ve played gigs and that’s never worked in the music industry. You play gigs and become brilliant and then you release some music.” 

(Simon Williams (Fierce Panda Records) Speaking to UK Music Week)

Based in London and Birmingham, three piece Supercaan feel like a return to the type of bands Simon is referring to. Their self-titled debut album is the result of four years of weekends working on demos, rehearsing and gigs. The results are varying in quality but the ideas and their identity are fully formed.

Greg Milner’s vocals draw instant comparison to The National’s Matt Berninger. Whilst a clear factor, in truth, it only becomes imitation when the mood drops on the opening of ‘Drag Me To Sea’ and the ‘High Violet’ inspired ‘Cold Opener’.

Away from the The National, their intricate psychedelia begins to forge a niche alongside the Ohio giants. Former singles ‘The Bull’ and ‘The Great North Eastern’ are prime examples. The hazy psychedelia of the former lends itself to the industrial euphoria of Editors and the motorik of Toy.

Meanwhile, ‘The Great North Eastern’, adopts British Sea Power’s more reflective mood and the choppy ‘Munich’ era of Editors. So many bands seek escape through their sound, here, they narratively speaking, deal with the opposite. The claustrophobic nature of this tale collides with sun drenched pop instincts to provide one of the year’s best singles.

Driving them further away (albeit slowly) from The National is a love of New Order. ‘Mosquito’ with the gothic and electronic pop world of Depeche Mode, but with repetitive hook approach reminiscent of ‘The Village’. Whilst ‘Hang On For Winter’, combines Sumner’s aching guitars and sun kissed sequencing with pop hook bassline from The Vaccines repertoire.  

With so many iconic bands flowing through their influences, Supercaan were always going to have deliver something great to escape them. Alas, they haven’t, but, as Game of Thrones has proved, it’s not always the final outcome that matters. They’ve taken a brave swing at the greats and made their journey worth following with this debut.  

*Image courtesy of https://www.facebook.com/gregmilnerphotography/

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

The Claim - The New Industrial Ballads

“And now a song of hope / Despite despairing hearts”

The Claim are to release their first album since 1988’s ‘Boomy Tella’ via Turntable Friend Records on May 24th. Release date-wise, it’s perfection. Nothing is more British than a bank holiday, as the band they heavily influenced once sang:

“Bank holiday comes six times a year
Days of enjoyment to which everyone cheers”

Recorded at Jim Riley’s Ranscombe Studios in Rochester, they look set to reignite the Medway sound. At the heart of the original Medway boom were great pop instincts, nothing has changed.

Lead single ‘Johnny’ is the perfect link to this past. The urgency of Jam permeating their spiralling pop guitars. Meanwhile, Dave Read’s vocal hook on ‘When The Morning Comes’ chorus demonstrates pop music can emerge from even downbeat affairs. ‘Smoke and Screens’ and ‘The Haunted Pub’ is a display of pop music transcending to art. A flurry of polemic and social comment wrapped up in working class British life collides with sun-kissed production and sprightly guitar hooks. Whereas, the sparkling Grandaddy production and Bluetones' pop sheen of 'Just Too Far' is the album’s cherry on the cake. The Smiths methodology burns bright.

In 2015, Sam Duckworth (aka Get Cape Wear Cape Fly) released an EP and album under the moniker ‘Recreations’. It tapped into a feeling of alternative and lost souls along the estuary in Essex. The Claim, a five-minute hop across the Thames, has struck a similar chord. Opener ‘Johnny Kidd’s Right Hand Man’, drifts down the estuary ignored and downtrodden but never losing hope. The mod-cum-blues on ‘Estuary Greens and Blues’ recalls Blur’s ‘End of Century’ and ‘To The End’ as it drifts out to sea. So blissful is album closer 'Under Canvas', that all those sneering looks for wearing DM's or having to tolerate Farage lovers drift away into insignificance.

The Claim, despite obviously being a band of brothers, have, in Dave Read a vocalist that perhaps only Morrissey and Michael Head can rival. Unique in sound, he has the ability to find a melodic hook in unexpected places. 'Light Bending', as the guitars saunter like British Sea Power circa 'Open Season', finds a choppy Dr Feelgood vibe. Whereas, 'Mrs Jones', Read delivers his most emotive vocal on a loving character-driven tale.

The subtlety of The Claim’s polemic gently caressing the infectious melodies is truly remarkable. Blink and you’ll miss the band’s appeal to be nicer to immigrants on ‘Journey’. Couple this with the righteousness of ‘I will stand and fight / for what I know is right’ and Read’s gut-wrenching alienation on the line ‘where do I fit in…………where do I belong’, you have one of the social comments of the year. On ‘Hercules’, the nuance turns to anti-austerity polemic (“boarded up shops / Run down housing / There’s your big society”) but remains forever pop friendly. This is how to mix pop and politics without an embarrassment of excuses.

It’s been 30 years since their debut ‘Boomy Tella’. Countless fans will have pondered what might have been having they got a bigger break back then. We defy them not to see this 30 years wait as positive now. Integrity in tack, The Claim have delivered a pop music masterpiece.

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

The Membranes - What Nature Gives…Nature Takes Away

The Membranes have returned with a new double album ‘What Nature Gives…Nature Takes Away’ via the legendary Cherry Red imprint. Their eighth studio album is set to release on the 7th of June and is a clear front runner for the Mercury Music Award.

Forever bold, they’ve again thrown down the gauntlet to their peers to match their psychedelic post-punk creativity. The inclusion of a choir raised eyebrows on the announcement considering how flat ‘The Kinks Choral Collection’ and Oasis’ live use of the Crouch End Choir was. Here, however, The Membranes have embedded the choir as a dangerous weapon in the arsenal.

The lead of the single ‘Strange Perfume’ is a soaring piece of melodrama. It floods the senses on this animalistic funked-up piece of punk with nods to Bauhaus and The Blinders.

With the recent climate change protests having taken place, The Membranes’ approach to highlighting the impending Armageddon is exemplarily timed. Chris Packham’s appearance may roll a few people’s eyes but, the iconic presenter delivers with the panache of Vic Templar on The Claim’s cult classic ‘Mike The Bike’.

The wonder of nature continues on ‘The Murmuration of Starlings in Blackpool Pier’. Featuring folk legend Judy Collins and news reports, it details the flock of birds swirling the famous pier. A reflection of nature’s majesty this is not though. The sinister humanity of Pulp’s ‘This Is Hardcore’ combines with frontman John Robb’s savage delivery to conjure images of flailing life and human destruction.

The album hits an astonishingly powerful high point on ‘The 21st Century Is Killing Me’. Robb channels a husky Ian Brown meets Shaun Ryder vocal on this psychedelic choir fuelled affair. As the choir loops “Breathe in, breathe out”, the magnitude of the song title builds to the almost unbearable reflection of the last 10 years. Years of austerity, Bullingdon arrogance, climate neglect, shit trains, expensive trains, Trump, Farrage, Tommy Yaxley Lennon, Islamophobia, Anti-Semitism, Corbyn failing to lead, Lammy not leading, Mogg’s dodgy 7 million, and Hartley-Brewer & O'Brien two sides of the same pathetic LBC coin. It all comes crashing down on this hypnotic plea for humanity to pull its finger out!

There are, however, moments of post-punk pop to cut through this tension. ‘A Murder of Crows’ is a furious Happy Mondays meets The Fall punk-funk stomper. ‘Black Is The Colour’ takes the iconic sound of Hooky’s bass to modern-day Fat White Family and The Blinders dystopian landscapes. ‘Mother Ocean / Father Time’ calls upon the unruly energy of The Stooges via Death In Vegas.

Meanwhile ‘What Nature Gives...Nature Takes Away’ harness’ the sexed-up riffs of Elastica, the desolation of Joy Division, and the melodious melancholy of Johnny Marr to deliver glorious pop experimentation.

The mainstream music press, too often says things like “where are all the bands”, “where are the outsiders, the rule-breakers, the risk-takers”. They never went anywhere; this decade has been a great one for music. It’s just been chronically undervalued and underdocumented.

It’s been a decade of psyche influences. Kicked off by the hazy lo-fi Tame Impala and Unknown Mortal Orchestra, it took until 2013 to have its real moment, Primal Scream’s ‘More Light’. This was joined by The Blinders’ ‘Columbia’ last year and now The Membranes have added to it. There is a real sense that they have left every ounce of their soul in the recording studio for this release. The intensity and the struggle is tangible at times and, it should be serially recognised!

The Yellow Melodies - Life

Murcia’s The Yellow Melodies returned earlier this year with their eighth studio album ‘Life’. It seems an unlikely location for the hallmarks of great 90s indie-pop to resurface but, they’ve had one hell of a crack at it.

The moment title track ‘Life’ saunters into action, the cuteness of the Lightning Seeds rises and with the careering strings, the early spirit of Sleeper and ‘Modern Life Is Rubbish’ era Blur come to life. Lifting ‘Life’, as well as ‘Don’t Think Twice’ and ‘For A Star’ away from pastiche are the guitars of Rafa Skam and Carlos.

For the most part, ‘Don’t Think Twice’ has an air of Bob Collins’ playing in The Dentists. A subtle shimmer revolves throughout like a hazy beacon of light. ‘For A Star’, with the lo-fi infectiousness of The Wannadies classic ‘Be A Girl’ album, meanders effortlessly like The Orchids with Rob Collins joining on keys before exploding into life! The solo that comes bursting into view is a destructive dirt ridden Sonic Youth piece of glory.

‘Our Time Is Over’ is where they pull everything they love together. The pop sensibilities of The Lightning Seeds and the jangle of Sarah’s Records collide with a triumphant melancholy a la Teenage Fanclub. There is so much heart oozing from the vocals and the orchestration, it’s hard not to give your CD a little hug.

There are moments of flatness such as ‘Come and See’ where the worst traits of Space emerge. However, when you temper that with the risk taking ‘Flying Together’, which couples Saint Etienne and The Auteurs, there is not much room for complaint.  

There is so much to fall in love with on ‘Life, the costly investment in the back catalogue is inevitable.

Our 8th birthday party is Friday 2nd August at the New Cross Inn. Click the image below for tickets:

Sleeper - The Modern Age

When Sleeper bowed out in 1998, it was with a huge amount of integrity and credibility. Feeling the creative well had dried up, and not willing to flog a dead horse, they said an emotional farewell at Brixton Academy.

However, with the kids reaching their teens, and the loss of someone close to front-woman Louise Wener, the itch to take risks came to the fore. Calling in their unofficial member Stephen Street to helm the studio once more, they set off to Metway Studios. Would they roll a 6?

Despite fan affection for their third album ‘Pleased To Meet You’, their ability to be musically and lyrically incisive as they were on the classics ‘The IT Girl’ and ‘Smart’ was fading.  ‘The Modern Age’ however, sees Wener rediscover her razor-sharp observations. ‘Look At You Now’, neatly signifies the times and their lack of reason “I hear your anger and howls of hate / With so little reason wit so little faith”.

Musically, there is much to cling to for long-time fans. Jon Stewart has found his inner Graham Coxon on opener ‘Paradise Waiting’ and ‘Cellophane’ and, on ‘Blue Like You’, there is an element of Teenage Fanclub glorious rumbling away. It’s the introduction of synths and psyche at various points which keep everything fresh. The production on ‘Look At You Now’ adds a devilment to this sexy Pixies-esque anthem.

The real progress though is made on ‘The Sun Also Rises’ and title track ‘The Modern Age’. The former, adopts the swirling spirit of Reverend and The Makers ‘Silence Is Talking’. As the cheery haziness unfurls, a new Sleeper is born. A sexier, wiser, and more psychedelic Sleeper!

On the title track, Wener takes her songwriting to the next level. She always had Weller and Davies’ ability to create uniquely British characters. This is on display yet again but, here, the emotion is ramped up to the max. Seemingly about the close friend she lost, an aching beauty unfolds as our fleeting existence materialises. The inner torment this must’ve taken to convey so elegantly and, in such a happy-sounding song is a reminder of music’s power. Listen to this song 100 times, you’ll feel something different every time.

At every turn on ‘The Modern Age’, Sleeper have added something to their armoury. The guitars are beefier, the synths crisp and the psyche new. For all the charm they carried in the 90s, they are no one’s understudy anymore. This feels like the record they were born to make.

Alcabean - Confessions

Danish brothers Victor and Julius Schack, aka Alcabean, are set to release their debut album ‘Confessions’ on the 15th March via We Are Suburban and Pop Up Records.

Speaking in an interview recently, frontman and lyricist Victor discussed how the rock star lifestyle he was developing as one he couldn’t carry with any honesty. On stage at Rokslide, he has an epiphany where “I felt vulnerable and out of balance with myself and my music”.

Being confused, aimless and longing to find meaning in your twenties is not something that’s spoken about much. In popular culture, you should have come of age by now. In fact, only Egg in This Life has ever really encapsulated the lost soul surrounded by those “getting on”. Victor captures this essence on ‘Athens’ with crippling self-reflection:

“Coward, bitter, foreign, throwing up, growing up”

On ‘Hollywood’, Victor ups the ante even more. Stripping back the rock star bravado to reveal a longing for something more humble, frankly, isn’t in the rock star guidebook. Nevertheless, with lyrics like ‘smack the door and show your wounds / Mediocre, it’s okay to be mediocre’ he has shown a courageousness we should laud over a great Ray-Ban shades.

Musically, there are large sections on ‘Confessions’ paying homage to Simon Gallup’s killer bass hooks of the Cure and the sumptuous summer licks of Bernard Summer. Title track ‘Confessions’ takes a swing at New Order’s ‘Your Silent Face’. Some will sneer but, if you’re in this game, dam right you aim emulate one of the best songs ever written.

Where ‘Confessions’ success truly lies though, is on the likes of ‘Red’, ‘Feel’ and ‘Tsukuyomi’. They’ve found an effortless groove here which leaves the past behind and transcends, albeit tentatively, their surroundings. To do this amid such personal identity turmoil is remarkable. ‘Tsukuyomi’ in particular, with its synth hooks and hand claps is the kind of dramatic pop music which will forge obsessive bonds with record collectors the world over.

There are moments, like on ‘King The Queen’ where the clarity dissipates though. The added aggression, if anything, is not added enough. It feels torn between their dreamy escapism and attempting something else.

What cannot be denied here though, is that through strife, great art has once again been created. ‘Confessions’ has negated a troublesome world to produce moments of true beauty. Much like their heroes (although to a lesser extent) New Order’s ‘Movement’, Alcabean are emerging from the anxiety with a offerings of art and love.

Tallies - Tallies

Toronto's four piece Tallies released their self-titled debut album in January via Fear of Missing Out Records. Better still, they've announced their first UK tour for May.

For many bands, debut albums are a mission statement. An expression of everything that’s made them who they are in those key coming of age times. Tallies, at times, have taken this mantra literally with an album of woozy dreampop of Cocteau Twins and the sun kissed pop of The Sundays.

What prevents Tallies from becoming a rehash of the past are the interesting avenues they approach these key influences. Vocally, Sarah Cogan lends herself to the iconic Harriet Wheeler at several points, especially on former single ‘Mother’. However, with its spritely Vampire Weekend stomp, it saunters into a world of its own.

'Have You' however, is the beating heart of The Sundays’ classic album 'Reading Writing and Arithmetic'. Despite this, the quality is indisputable and, it’s this that will keep fans of The Sundays coming back to Tallies.

Undoubtedly, fans of Postcard Records and Sarah Records will find this album an affectionate homage to their youths. For newer fans, we urge you to use Tallies’ album as a jump off point into the past.

Death Valley Girls – Darkness Rains

Death Valley Girls released their third album 'Darkness Rains' last October via Suicide Squeeze Records. They are currently on a monster tour across the US, Europe and will soon be in the UK. To whet everyone's appetite, we look back at 'Darkness Rains'.

Every so often, bands like The Pistols, The Clash, The Strokes, and The Libertines hit the reset button on a bloated rock music scene. Death Valley Girls have this spirit at their core. The likes of '(One Less Thing) Before I Die' and 'Wear Black' personify this but with the muscular guitars a stinging vocals.

This album goes further than resetting the wheel though. The punk spirit is met with psychedelic garage guitars, giving new meaning to dangerous. The growling hiss of 'Disaster (Is What We Are After)' spirals out of control in a frenzied mash up of Jim Jones Revue meets BRMC circa 'Spectre At The Feast'.

'Unzip Your Forehead' harness' the primal nature of early Sabbath with big meaty riffs before Bonnie Bloomgarden's spiky Kate Bush vocal elevates everything to a new psychedelic plain. There is a realness to their psyche, its not floaty or hazy, its firmly rooted in the chaos of modern life. The howling solo in the closing stages is the perfect scream of “wwwwhhhhyyyy” every time their tapeworm of a President takes to Twitter.

'Abre Camino' ferociously stares into the abyss with its The Blinders-esque guitar licks. Like their peers, they have found a way to unite the voiceless via a demented and destructive form psyche punk rock.

This is not for the faint of heart. This is a courageous and vehement act of defiance in a world on the edge of a dystopian nightmare.

Desperate Journalist - In Search Of The Miraculous

London’s Desperate Journalist released their third album, ‘In Search of the Miraculous’ (Fierce Panda), on February 22nd. From their self-titled debut (2014) to ‘Grow Up’ (2017), the progress in quality was stark. Can they do it again on what is loosely a concept album about singer Jo Bevan’s obsession with artist Bas Jan Arder?

Images courtesy of Fierce Panda Records

Despite the high concept, their pop instincts remain, and, in the case of ‘Jonatan’ and ‘Cedars’, they have significantly improved. ‘Jonatan’ is The Cult via Wolf Alice’s shoegaze tendencies. It creates a joyous sonic to a tragic tale. Bevan lost her friend Kasper in 2016, and here, she not only pays tribute but, in the repeated one-word chorus, embeds heartache, love, loss, anger, and nostalgia with every inflexion with astonishing quality.

The lead single, Cedars, is one of those pop songs you’d be forgiven for fast-forwarding to the chorus’ hypnotic release of “another fraying jumper.” It’s a beautiful payoff to the subtle and poetic verses.

Their previous two albums, musically, have often served as a vehicle to showcase Jo Bevan’s sublime vocal prowess. Now, guitarist Rob Hardy has found a vein of form so rich that it forged a partnership for the ages.

The singles ‘Cedars’ and especially ‘Satellite’ are beset with crushing Lindsey Buckingham-esque solos. He has begun introducing pop immediacy into the shoegaze on ‘Murmuration’ and ‘Jonatan’ with nods to straight-up rock heroes The Cult. Their archetypal indie-goth sound feels fresher than ever on ‘Black Net’, and on Ocean Wave, Hardy, along with the razor-sharp rhythm of Caz Helbert and Simon Drowner, conjures a post-punk disco stomp classic.

Sometimes, there is a sense of all or nothing for bands on third albums. They chose all in. This is a post-punk ‘Rumours’. This is the rarest tightrope walk, where cutting-edge meets accessible and credible pop music. If Fleetwood Mac signed off their careers with this album, the world would lose its shit! ‘Satellite’ is the new ‘Go Your Own Way’, and ‘Argonauts’ is the new ‘Songbird’.

Cellar Doors - Cellar Doors

San Francisco trio Cellar Doors release their self-titled debut album via the Spiritual Pyjamas label on the 15th February. They've played limited shows in the UK but, on this showing, like Melbourne's DMA's, its set to become their spiritual home.

In the digital age, the concept of the killer opening track has dissipated some what. Cellar Doors have revoked this notion on 'City Girl'. Combining Krautrock and the aggression of Kasabian's debut album, they have delivered a truly death defying piece rock n roll. Young listeners will see this as their moment, their release from boredom. Older rock n rollers, inevitably will be closing their eyes and reminiscing of their first summer of discovery to this hazy anthem.

They say timing is everything and, as Sex Education grips the world on Netflix, Cellar Doors coming of age debut appears right on cue. The danger of 'City Girl' conjures up images of Mauve's middle finger salute and the Velvet Underground tones of 'Pale Blue' should have sound tracked the Otis and Eric's relationship.

'In A Dream' also has those teenage hallmarks of escape. The racing energy of the Roses on 'She Bangs The Drums' emerges alongside the motorik of Neu and the distorted bliss of Jesus and Mary Chain. For fans of Creation Records and the spirit Alan McGee, this is indeed a dream.

There are moments of sublime pop majesty. 'Prism' sees singer Sean Fitzpatrick deliver an angelic Paul Weller vocal circa 'English Rose' vocal amid an eruption of Kasabian's 'Reason Is Treason'. The sex and danger of Fitzpatrick's guitar playing on 'Sirens' should hopefully banish the banal dross of Arctic Monkeys for good and, on 'Frost', they have an anthem for the ages. Complete with Depeche Mode's darkness, Neu's motorik, and the lightness of early John Squire guitar playing, 'Frost' is a haunting psychedelic pop behemoth.

Is the music industry capable of being taken over by the sound of angry poetic young men anymore? We're about to find out.

Blood Red Shoes - Get Tragic

It's been five years since Brighton duo Blood Red Shoes released an album. A relaxing break? Time off to start families? Not this band. Ten years touring, only breaking to record, resulted in a bitter fall out. Laura Mary-Carter jetted off to the states to write pop songs for the likes of Rihanna, meanwhile, Steve Ansell went on a massive bender.

After reconciliation, they bonded over how laughable their lives became in the interim period. This forms bedrock of the lyrics on 'Get Tragic'. However, what they hadn't counted on, was the endless run of bad luck. Break ups, broken bones and evangelical villagers (yes, you are reading that correct) caused further delay. 'Get Tragic' is very much a tale of, what goes down, must go up again.

Carter's broken arm led her to play more keys and synths than ever before. Whilst many bands five albums in labour to a new sound, Blood Red Shoes organically moved towards theirs throng necessity.

On 'Nearer', the big riffs have been swapped for an offbeat solos and thudding synth hooks which create a Dubstep-esque sense of dread. In years gone by, Carter's vocals were synonymous with punk and post-punk. Now, there is a devilment permeating her delivery. Now we understand how Luther feels when Alice turns up!

This new approach has given them more grooves than ever before too. 'Beverley' is a dark and twisted take on Blondie. On 'Howl', the albums stand-out, everything has been thrown into the mix. Carter's vocal is comfortably the best hook of her career. Meanwhile, the melodic sexiness of Goldfrapp unfurls into a distorted glam rock fury. It's furious crescendo is a glorious sonic scream into the abyss.

For any old school fans, the old riotous instincts still prevail. 'Mexican Dress' and 'Anxiety' have the hallmarks of 'It's Getting Boring By Sea' and 'I Wish I Was Someone Better'. The aggression remains on 'Mexican Dress', an almost BRMC dirty rock n roll affair. The filthy display of riffs and synths conjures a tension and isolation that is not for the fragile of mind.

It may have been a personally tumultuous time for the band but, boy has it paid off. So many bands this far into their careers alienate their base when they start taking risks. Blood Red Shoes have produced the blueprint on how to do it.

*Image Courtesy of Sonic PR

Red Rum Club - Matador

The Liverpool six-piece released their debut album 'Matador' on the impeccable Modern Sky label (The Blinders & Calva Louise) earlier this month.

It's a real album of two halves. The free-flowing euphoria of the first half screams single after single before, sadly petering out. Nevertheless, their peers will have to go far to match the anthem-heavy first 6 songs.

'Angeline' is a tour de force of their home city Liverpool. Vocally, frontman Fran Doran has channelled The Zutons' Dave McCabe whilst the guitarists have found their inner Will Sergeant. The most striking aspect comes from the Midlands though. The Dexys inspired soul is warmingly rousing.

The use of brass is key to the album’s success and failures. It adds richness to 'Would You Rather Be Lonely?' and 'TV Said So', giving the true stand-out moments. The former takes the crisp soul of The Style Council and the playful side of The Coral's early work on this tale of battling loneliness. It's a song, so empathetic in nature, it could only come from the good people of their great city. 'TV Said So', continues on a similar vein James Skelly-esque vocals and the sumptuous guitar licks and wobbles.

However, in the latter stages, the brass becomes overpowering and disjointed on the Latin and Mexican grooves of 'Calexico' and 'Casanova'. The every-man soul and pop prowess disintegrate but, you cannot deny that Red Rum Club is shackle-free and willing to take chances.

Ultimately, 'Matador's cons are so few they pale into significance. This album is so well stocked in bangers that, it has the potential of a two-year run on the album charts.

Daniel Land - The Dream Of The Red Sails

Dreampop connoisseur Daniel Land has returned with his fourth album ‘The Dream Of The Red Sails’ via Hinney Beast Records.

With the focus of bygone relationships at its core, this album has the potential to be all things to all people. The multiple post-summer reflections will cart any romantic football fan back to the world cup and Gareth Southgate giving England its football soul back to the fans.

The power of Land’s imagery and music goes way beyond the summer of waistcoat love though. Recording began back in 2016, the year of Trump, Brexit, the endless loss of icons and, for Land, a cancer scare.

'Self-Portrait in Autumn Colours' deals directly with the life altering moment of the scare. The torment of not knowing the results and the romance of his partner standing by him is a remarkable feat song writing. Thankfully, Land received the all clear and, with that, delivered the lyrical heartbeat of the album “I’m not dying / I’m just another year older”. The peculiar banality provides a honesty of the situation that thankfully, most will never comprehend.

When key life moments come your way, so often comes a period of taking stock. The reflective beauty of 'Summer Song' will transport everyone back to their coming of age summer. The first love, the first gig, the endless nights out with friends, the first spliff, the first pill, the first holiday, the first love drifting away.

In the clutches of Brexit failure, medieval walls and wheels, the courageousness to produce songs this romantic is admirable. Bands like IDLES and The Blinders are rightly spitting venomous polemic but, being his late 30s, Land has brought a wisdom and wistful take on how to cope with mire.

'Long Before The Weather', sounding like Sigor Ros in English, enhances hope in these dark times with a progressive clarity:

“your history doesn't bind”

Strummer-esque slogans are a rare breed in the dreampop genre. This powerful message is delivered with a gentle arm round the shoulder but with no less polemical intent

The older one gets, the harder it becomes to believe in anything, let alone heroes. Daniel Land is a hero. To write an album amid political bile and personal turmoil is an achievement in itself. To trawl through your own personal history and relationships and not be filled regret is something us mere mortals can only dream of.

The binary disposition of Brexit positions is so prevalent it’s hard to ever find an answer for anything. 'The Dream of Red Sails' is the third way. It is the leadership we so desperately need.

*Image Courtesy of Jade Nott: https://jadenottphotography.co.uk/

The Love-Birds – In the Lovers Corner

No sooner you post your top 20 albums of the year, a tip comes your way and your left screaming “The Love-Birds” like Dr Johnson screams “sausage” in Blackadder the Third.

The four piece from San Francisco released their debut album 'In The Lovers Corner' via Trouble In My Mind records last May. As us Brits brace for winter, The Love-Birds recipe of 60s California and the 90s US underground circuit will warm both hearts and minds.

Embracing their love of Teenage Fanclub, they hired Norman Blake to master the album and, on ‘Weak Riff’ and Gerrit’, duly pay homage. ‘Weak Riff’ has the hallmarks of a Creation Records single with its hazy take on pop music. Meanwhile, ‘Gerrit’ harnesses the Fanclub’s fuzzy-grunge take of The Byrds and big emotive guitar breaks to conjure, perhaps the albums true moment of stardust.

Jangle pop reigns supreme throughout, in fact, it’s hard not to imagine the album sound tracking Friday Night Lights Matt Saracen throwing a winning pass to Tim Riggins. There are fleeting moments where they splice in other influences. ‘Hit My Head’ has a touch of Grandaddy’s eccentric production, ‘Failure and Disgrace’ is a lost Decemberists classic and on ‘Clean The Air’, singer Thomas Rubenstein manages to blend Gene Clark and Bright Eyes’ Conor Oberst.

The Love-Birds have delivered a superb introduction to themselves on this influenced led debut. Now it’s time for them to flee the nest and test themselves. Can they sail unchartered waters and find a new route?

*Image courtesy of Ava Rose and Trouble In Mind Records

The Blinders - Columbia

It’s here. The Blinders’ album stream has landed. Awash with fear, we hit play. What if it doesn’t replicate the power of their live shows? This isn’t 1994, they won’t get three re-records like Oasis. They have to get this right, the world needs them.

Thankfully, ‘Columbia’ is a triumph. It’s the crowning glory of the punkadelic movement to date. Cabbage may have nudged the door open, but The Blinders, have taken the hinges of, they are this scenes Nirvana.

Johnny Dream’s vocals, at times, are shamanic. His DNA fuses Morrison and Cobain through a prism of English sarcasm, angst and wit.  The rage and despair of ‘Brutus’ is a mesmerising display of rock n rolls spirit. There is no element of pretence. No attempt to be cool. This is desperate and oozes from the gut.

‘Columbia’, for all its raw purity, is packed with crowd pleasers. ‘Brave New World’ and ‘Gotta Get Though’ howl and hiss in their dank metropolis but, have scream pop music too. The tornado of punk and psyche are breath-taking, a fine display of style with substance. ‘Rat In Cage’, showcases a Charlatans circa ‘Us and Us Only’ moment the harmonica but, they as they euphorically decree ‘come together we need each other’, you feel bigger things lie ahead.

In 2002, The Strokes and The Libertines reset the wheel. It was perfect tonic for a bloated Britpop world and it reenergised a generation of bands. In 2018, bands are a non-entity. Marginalised more than ever (Kings of Leon headlined Reading and Leeds ffs!), it was going to take something special to buck this trend. Three childhood friends from Doncaster have proved, that music is still as powerful as Dylan, Beatles and the Stones.

IDLES - Joy as an Act of Resistance

“The masses against the classes / I'm tired of giving a reason / When we're the only thing left to believe in”

Manic Street Preachers, Masses Against The Classes, UK No.1 19/01/00

Where has rock n roll gone? There are no more outsiders. On and on the pathetic and lazy journalism about bands goes of late. That said, it has felt an age since an intelligent, rebellious working class band have infiltrated the very people saying they don't exist.

Bristol's IDLES look set to do just this. Front man Joe Talbot recently appeared on ITV's News at 10 talking about his mental health and his charity work for the Samaritans. Cue the arsehole generation shouting “snowflake” at their televisions. Lush indie melodies and synths with East London fashion parades IDLES are not.

They are violent, acerbically witty and pure. In 'Danny Nedelko' and 'Great' they have found a Martin Amis ability to surmise the times. The Brexit inspired songs stick two fingers up to those tearing down the notion of togetherness. On 'Scum', they find the venomous humour of John Niven to portray a guttural upbringing. How refreshing to hear it in this light, instead of Melanie Phillips bemoaning the poor buying a pack of fags.

Both songs, at crucial moments, find some magic melodies to cut through the ferocious punk and soul.

There is however, more to this album than just great punk rock and viscous motorik. Songwriter Joe Talbot, tragically lost his daughter during childbirth last year. It has caused him to examine himself and masculinity at length. 'Samaritans' dissects Britain's constant male suppression and, with the line “this is why you never see your father cry”, combines the sloganeering of Strummer and the intellect of Bobby Gillespie and Luke Haines. For those raised by children of WW2 survivors, that solemn, say nothing approach to feelings will appear all too familiar. It's time for change.

If this subject matter wasn't enough to wrestle with, Talbot tackles his grief on 'June'. Find the language to depict Talbot's loss is futile. This is, unquestionably one of the most shattering songs you will ever hear. The bravery on display, from everyone in the band to convey the worst imaginable loss, is heroic. Music's power, so often is about creating communities for individuals to belong to, that is, in essence the human condition. With 'June', we only hope fellow sufferers can find solace here and rebuild their lives.

This album is a moment. A bona fide flag in the ground. The working classes as a force for good, as heroes on our TV screens and airwaves is back.

“Hello it's us again”

Manic Street Preachers, Masses Against The Classes, UK No.1 19/01/00

Treetop Flyers - Treetop Flyers

As the nu-folk scene dissipated, those with the biggest potential, like Treetop Flyers and Johnny Flynn were left in the wilderness somewhat. It is then, through sheer spirit the London outfit have made it to the third album. Would that potential finally be capitalised on?

From start to finish, they draw upon the love of the Muscle Shoals studio and Stephen Stills. 'Needle' echoes the sumptuous riffs of Ketih's guitar on 'Wild Horses' whilst 'Hard to Understand' invites you to revisit Buckingham and Nicks at their best.

It is an album brimming with love and affection, especially on the opening instrumental 'Fleadrops'. An effortless piece of guitar playing to sail in to the sunset too. 'Sweet Greens & Blues' will place you in the middle of the best party ever as the charms of Mamas and Papas and Jefferson Airplane surround you.

If you are going to name yourself after a Stephen Stills song, at some stage, you're going to have to deliver a 9min folk-rock anthem. Their attempt, 'Art of Deception', aptly has the most Stills-esque vocal of the album. Its so light in touch and with the sax parts, Van Morrison at his fleeting best comes into the picture. That is, before it descends into a psyche cum folk cum soul freak out. Bringing together West Coast past and present (Daniel Wylie and GospelbeacH)

Third time really was a charm for the Treeptops. The sun has shone on everything they have done here. If they can pull this of live, they are going to become household festival names for years to come.