Thousand Yard Stare - The Panglossian Momentum

“Now I don't hear as good as I used to, and I forget stuff. And I ain't as pretty as I used to be. But god damn it, I'm still standing here”

The Slough outfit are back with their first studio album, ‘The Panglossian Momentum’, for twenty-eight years. After a litany of sold-out gigs and, two critically acclaimed EP’s, can they continue their fine run of form?

In the pantheon of indie bands, they stand strong with the likes of The Orchids and The Claim for having bad timing. Quintessentially English, they found their niche between the Grebo bands and psychedelia just as shoegaze and grunge rose to prominence and thus, were unfairly overlooked.

If there was to be a criticism of their debut, ‘Hands On’, at times it didn’t take its foot off the gas. Easy to say with hindsight, however, in the throes of youth, adrenaline was and should be king.

Older and wiser, gentler moments have infiltrated their sound, and they’ve hugely benefitted from them. Opener ‘Cresta – Sea Change’ combines the mystical acoustic moments of Zeppelin and the wistful grey skies of British Sea Power. ‘Spandrels’ also leans on BSP’s ability to sound offshore. The real beauty of this track is, its ability so sound off-kilter and lost at sea but, never without the hope of a new horizon to aim for, is the political hope many of us have craved.

Unsurprisingly, this level of hope continues on ‘A Thousand Yards - The Panglossian Momentum’. This is eight and a half minutes of eyes closed, shutting out the world and, holding optimism firmly in the heart. Not for the first time on this album, they showcase a sense of Noel Gallagher’s soaring immortality. Giles Duffy and Kevin Moxon’s guitars and Stephen Barnes' vocals combine in a true moment of glory.

‘Precious Pressures’ follows suit with a nod to The Who’s ‘Baba O’Riley’. The heaven-sent beauty of Ride’s ‘Vapour Trail’ combine with the night that, Gallagher dropped the bravado and bared his soul at the Royal Albert Hall. TYS have musically personified the regret, defiance and death-defying beauty of Randy “The Ram” Robinson.

When they do put the pedal to the floor, the impact is far more powerful. Lead single ‘It Sparks’, opens with the orchestral pomp and pomposity of the proms but, quickly melts away into the House of Love via The Cult. It's a glorious pop music moment. 26 Seconds of vile Tory austerity disintegrates into menacing rock music.

Ever since their comeback, they have been treading pastures new. However, on ‘Sleepsound’, they step right back into the playful mood of 1993’s ‘Version of Me’. Sumptuous psyche-pop riffs that have free-spirited aggression that cannot be denied.

Thousand Yard Stare’s return in 2016 and, to date, is one of Britain’s great underdog stories. A message of never give up and being true to yourself can and will pay off. It’s fair to say they are not in fine form because class is permanent.  

Badly Drawn Boy - Banana Skin Shoes

Badly Drawn Boy, aka Damon Gough, releases his long-awaited ninth studio album today.  ‘Banana Skin Shoes’ was produced by Gethin Pearson (Kele Okreke, JAWS) and was collaborated with Youth, Keir Stewart, and Seadna McPhail.

The comeback album, for so many, a chance to reacquaint themselves with a tried and tested audience. It’s a warming feeling and no one would begrudge Gough an album of quirky acoustic pop songs. However, Gough has never been one for settling, and, at points, throws the kitchen sink in.

The title track takes the dynamic funk of Beck and Style Council, the spirit of Cornershop and melodic drama of The Chemical Brothers. Gough is back and in technicolour. He follows Jarvis into house music styles on ‘Colours. The warped wobble of his hometown Mondays colludes with Latin influences and subtle but, sensational blasts of brass. ‘Colours’ goes further than just groove laden bliss though. Gough’s vocals ooze confidence, they’re completely at ease with what they can do and, they offset the subtle euphoria in mesmerising style.

The self-assurance comes into its own again on the Motown via Manchester inspired ‘Fly On The Wall’ and ‘Tony Wilson Said’. The former leans on the vibrancy of Ian Brown’s masterpiece ‘Golden Greats’ and the cinematic genius of Phil Spector and Chris Farlowe’s ‘Out Of Time’. Meanwhile, ‘Tony Wilson Said’, bristles with A Certain Ratio’s sense of adventure as Gough wanders the life of the great musical connector.

The worst thing you can say about this album is, Gough occasionally retreats into his archetypal sound. ‘You and Me Against The World’ pick up where ‘What I’m Thinking Part 1 – Photographing Snowflakes’ subtle, downbeat but, forensically searching the soul for meaning. ‘I Just Wanna Wish You Happiness’, examines his journey through divorce and acceptance of his past with the dreamier aspects of Weller’s great comeback album, ’22 Dreams’. The thing is, when you can fall back into such unique and vivid scenery, it’s still a step ahead of the rest.

There are, two striking moments of innocence, both lovingly directed to his new wife. ‘Never Change’, punctuated by its Bacharach orchestral beauty, and, ‘I’ll Do My Best’. The latter, even Peter Hitchens black heart would struggle to find the beauty in.

It’s hard, as a fan, to discern why anyone would take ten years off from their day job. This is why. Reinvigorated, Gough has examined his relationships and what they mean with remarkable integrity. He doesn’t need another Mercury Music Award, they, however, need him.

The Dears - Lovers Rock

Montreal’s The Dears, return with their eight studio alum Lovers Rock on May 15th via Dangerbird Records.

‘Lovers Rock’, unashamedly returns to the breakthrough album ‘No Cities Left’ for inspiration. In 2001, post 9/11, they were searching for love in an apocalyptic world. It offered loving direction through a world of terror and uncertainty. In 2020, pre-covid, they are clear, the world is in our hands to change. Would this sense of clarity raise the bar of their doomed  but loving landscapes?

Like ‘No Cities Left’, they manage to find a romanticism in their apocalyptic landscapes. ‘Instant Nightmare’, soars grandiose planes with its ‘Bittersweet Symphony’ orchestration whilst remaining introspective and hazy like Grandaddy. Meanwhile, ‘The Worst In Us’, elevates Doves to a more euphoric mind-set via a science fiction examination of human failure.

On ‘Stille Lost’ and ‘No Place On Earth’, their rhetoric remains passionate but, the quality drops. It serves as a stark reminder to the years of Bernie Sanders and Jeremy Corbyn. Although true of heart, they were poor operators of the world they wanted to change. Both songs are a howl into the abyss whilst, the abyss is in power.

This is countered though dramatically on ‘Play Dead’ and ‘Too Many Wrongs’. Bowie and Brett Anderson’s social reflections and pop sensibilities flirt with Flaming Lips admirably. Such is the spike in class, that the anti- trump sentiment “you may have suffered from the wrath / from a god that wants to kill you” is lifted to powerful dramatic heights. On ‘Too Many Wrongs’, the psychedelic 60s pop of Gruff Rhys’ ‘Candylion’ and ‘Hotel Shampoo’ is brought to life. It’s beauty demonstrably vast, ignore it at your peril.

The Dears, in a similar vein to The Charlatans or The Coral, have never required an early album revival. Their risk journey has unravelled with striking consistency. With the world taking stock, the affectionate nod to yesteryear couldn’t be more aptly timed.

The Strokes - The New Abnormal

‘The New Abnormal’ is the sixth studio from The Strokes. Recorded with Rick Rubin at Shangri-La Studios in Malibu, could it be the return to heroism for the epoch changing New Yorkers?

Artwork by Jean-Michel Basquiat

Every post-war decade has had debut albums that changed the landscape. For many bands, they can never escape its power. The Sex Pistols never made a second, The Roses probably wished they hadn’t and Oasis were forever chasing yesterday.

When ‘Is This It’ hit the reset button in 2001, they ignited everything. Without them, The Libertines would still be a dandy band and bloated 90s music would have lasted forever. The Strokes, were so indebted to the good feeling of 2001 to 2003, it’s been hard for anyone to think of them beyond that point. Add into the mixture that, their dynamic is akin to the Roses, a gang of brilliant musical minds all knowing their worth, the creative process has never appeared fun for them.

‘The New Abnormal’, is mostly, the sound of tentative steps back towards each other. The exhilaration only flickers but, the integrity of the debut and new risks are taken. The archetype of what fans want from bands they adored in their youth.

‘Not The Same Anymore’, embraces the tiredness of their late 30s/early 40s and acceptance that youth has finally absconded. The youthful glisten of ‘Trying Your Luck’ has become a wiser and exploration for something more meaningful.

‘Brooklyn Bridge To Chorus’ sees Casablancas finally nail his falsetto (again on Eternal Summer). This disco meets The Strokes stomp has the hallmarks of Johnny Marr’s majesty loitering and, will allow breathing space from fans braying for ‘Last Nite’.

The urgency of the debut hits sparing moments of fever pitch on ‘Bad Decisions’ The knowing ode to Generation X’s ‘Dancing With Myself’, delivers lick after lick as well as hazy gothic nods to Robert Smith and Rich Good.

Lyrically, the depths of the bands wounds, addictions and relationships are plunged. Some will profess ‘Strokes hangover continues’, we question, has Casablancas ever sounded this open? ‘Selfless’, deals with the omnipresent danger of addiction. The imagery of life under addictions watching eye emanates on ‘Brooklyn Bridge To Chorus’ to:

“Actually, no thanks, I'm okay
And then he would send weird looks my way

I want new friends, but they don't want me
They're making plans while I watch TV
Thought it was them, but maybe it's me
I want new friends, but they don't want me”

Those tentative steps creep towards a band of brothers on ‘Why Are Sundays So Depressing?’ and ‘Ode To The Mets’. While the up-tempo desires of Strokes fans still escape the band, the guitar parts of Valensi and Hammond Jnr remain of the utmost quality. Furthermore, there is a hunger and defiance not seen since ‘You Talk Way Too Much’:

“I was just bored playing the guitar / Learned all your tricks, wasn’t too hard”

Brilliant, era defining it is not. Sowing the seeds of hope, and more importantly, their happiness. Yes. The Strokes might not be back with a bang, but, they’re back!

MOSES – Almost Everything Is Bullshit

London’s MOSES released their debut album on Friday 17th April. It couldn’t be better named either, ‘Almost Everting Is Bullshit’. via Anti-Fragile Music.

Artwork by Ana Ban Ana

After a well-received EP in 2016, they followed it up three good singles in the following eighteen months. Pre-2010, they would have been signed, financially backed and received airplay. Alas, XFM died, BBC6 grew tired, and labels entrenched themselves with middle of the road solo-artists to save costs. The fact this is album is released then, is a triumph of MOSES resolve.

That suffering is on show during ‘Waiter’. Long shifts and a growing sense of isolation clearly put strains on the relationships of songwriter and singer Victor. Timing is everything in the arts, MOSES has endured mistiming but, ‘Waiter’ right on cue with the world separated from each other.

The heartache and despair of ‘Waiter’ Is countenanced by the compassion and tenderness on ‘Joy’ and ‘Crocodile’. ‘Joy’ decrees “im sure one day I’ll have everything I’ve wished for”, a simple but glorious reminder to keep going. Especially to the current young generations of the UK. Industry after industry, CEO’s choose profit over people and race to the bottom gleefully. Opportunity is ceasing to knock but MOSES grabbed it anyway! Meanwhile, ‘Crocodile’, is joyously childlike. Pushing away life’s stress, they funnel early Dr Feelgood through the playful side of Coxon on ‘Modern Life Is Rubbish’.

‘You Need L’ follows similar themes of relationships being and life ambitions being so close yet so out of reach. Unlike the ‘Joy’ and ‘Crocodile’, the sonically traverse darker realms. As Victor sings “As your down, you need love”, a special frontman is emerging. Said messages are nothing without integrity. The delivery is not only on point, it will drag you into the emotional trenches but, he will lead the fightback out of them! Couple this with the genius awry solo and the anxiety levels are cranked!

It’s not all shades of light and dark though. There is plenty of room for bangers. Live favourite ‘River Thames’ scraps and punches its away to glory. It reawakens the lyrical wit of The Ordinary Boys debut album and, for the first time in a decade, shines a light on the prevalent working-class spirit many will have you believe doesn’t exists there anymore.

‘Cause You Got Me’ is begging to pummel your consciousness. Souls need to be cleansed in big, drunk crowds braying for life-affirming moments of magic on live stages. Then, just when audiences can’t take the adrenaline any more, ‘Findings’ will chime and best friends young and old will hug like never before.

For anyone who hasn’t been on their journey yet, this album will serve you well. A raucous and often tumultuous journey, but never without hope. As madness festers, let them guide you back to the light.

*Image courtesy of https://weareboutique.co.uk/

Sandra’s Wedding - Frame Yourself

Goole outfit, Sandra’s Wedding, are back with their second album ‘Frame Yourself’. It was recorded at Hull’s Element Studios with aid from The Broken Orchestra. The album is available to buy on their Music Glue page

Frontman Joseph Hodgson, at first glance, draws so much resemblance to Paul Heaton that, his individuality is overlooked. On ‘Were You Expecting A Love Song’ and ‘If It’s Not One Thing’, he evokes the Heaton to a level he cannot outrun.

However, this is an album of treasures that goes beyond their Humberside heroes. The shimmering guitars of Johnny Marr sparkle on ‘Can’t Look at You for Crying’. Marr’s richness combines with the sunny haze of Real Estate on ‘Penguin Joke’. Meanwhile, on the Bragg inspired ‘Don’t Walk Away, Renee’, the jangle ranges from an introspective Marr to a carefree Belle & Sebastian.

The indie-folk of Belle & Sebastian again resurfaces on ‘Sarcastic Kiss’ and ‘Humberside Gymnastics’. The former pays glorious homage to Jasmine Minks’ album ‘Another Age’. The forlorn protagonist’s plea for betterment is enriched with Terry Reid’s indie-soul vocals. ‘Humberside Gymnastics’, gentle and amiable on the surface but blink, and you’ll miss the distressing tale of domestic turmoil.

The lyrics of ‘Frame Yourself’ are its true star. ‘Humberside Gymnastics’ paints a dreary sense of isolation worthy of Shelagh Delaney’s ‘Taste of Honey’:

“Shred of some devotion / The smile you’ve outgrown”

Moreover, ‘Cold, Wet, Tuesday Night in Stoke’ is the best Morrissey song since 2004’s ‘You Are The Quarry’. The romance of Phil Spector, the hilarity of The Smiths, and the abrasive debauchery of Niall Griffiths’ novel ‘Grits’ all combine in this moment of melancholic glory.

Once you free your mind of the Heaton comparisons, and you will, ‘Frame Yourself’ will continue to enthral. There are moments when The Popguns enchanting love affair arises and splices of Billy Bragg’s self-effacing soul music to be admired. The drama and comedy on display, are the musical equivalent of an Irvine Welsh novel, Jez Butterworth plays, and Alan Clarke TV drama. You must embrace this album!

Laura Marling - Song For Our Daughter

Laura Marling has released her seventh studio album, ‘Song For Our Daughter’. Recorded with her long-time producer Ethan Johns, it’s available much earlier than planned in light of the Covid19 crisis.

After 2017’s ‘Sempa Femina’, Marling was acutely aware of writing the same song over and over. She has since teamed with Tuung’s Mike Lindsay to release an album under the LUMP moniker (another due this year) and, enrolled on a master’s degree in Psychoanalysis.  

Taking more difficult roads has led to ‘Song For My Daughter’. This is Marling’s attempt to write about subject matter that isn’t personal and, musically, a bid to leave her archetypal song structures behind.

At points, the changes are more overt than others. Album opener ‘Alexandra’, signifies the shift towards character driven tales and, the brief use of gospel backing vocals gives Marling new textures to explore.

‘Held Down’ witnesses her and Johns’ production skills being freed up. A more panoramic vision is being painted, alongside her personal relationship trauma. Elements of King Creosote’s Celtic electronica subtly meet the emotive genius of Bon Iver on this offering.

‘Blow by Blow’ is Marling’s homage to Paul McCartney’s solo career. Although, it is the classic work of Joni Mitchell that shines brighter. Despite the beauty of the sonic, an undercurrent of bitterness lurks:

“I don’t what to else to say / I think I’m doing fine / trying to figure out what I will do all my time / Tell them what you what, I will own up to what is mine”

The fragility and innocence on display, is likely something all will clutch closer to their hearts amid the current lockdown. Marling hasn’t just offered you entertainment, she has given her soul.

Title track ‘Song For Our Daughter’, is an ode to imagined daughter. A stunning piece of art. The hopes and fears we all have for the young come to fruition on this cinematic classic. With friends, partners, and elderly relatives isolated and at risk, Marling’s wisdom becomes a heart-warming letter from a friend.   

For the first time in Marling’s glittering career, she has transcended folk music. The roots remain, but, the beauty of it all is mesmeric. Marling is an icon already but now, she has joined the elite of Mitchell, Young, Denny and Browne.  

Twisted Wheel - Satisfying The Ritual

”But if your all about the destination.

Then take a fucking flight
Where going nowhere slowly but seeing all the signs
And we're definitely going to hell

But we'll have all the best stories to tell.”

Frank Turner – The Ballad of Me & My Friends

Manchester’s Twisted Wheel have released their third album, ‘Satisfying the Ritual’. It was recorded at Vibe Studios and produced by Dean Glover, it officially marks a comeback from a dark period in the band’s lives.

During their first run, rock ‘n’ roll was still a place for altruism. However, in the last decade, no matter how divisive and sub-human politics became, guitar music’s consciousness kept on evolving. Now, Twisted Wheel has re-emerged and dragged punk’s enlightenment into the world of rock ‘n’ roll.

‘Satisfying the Ritual’ is littered with fables from the trenches they have roamed. Burning brightest are ‘I Am Immune’’ and ‘Black and Blue’. The former, is the correct answer to the question, how to deal with online trolls? It combines punk’s ferocity and rock’s cinematic quest for glory. Meanwhile, ‘Black and Blue’, tackles the mental health issues many face today. Lyrically, the anxiety levels are through the roof (“I don’t believe in anyone and I barely trust myself”) but, musically, it’s a celebration of the best moments of Soundtrack Of Our Lives.

On ‘D.N.A’, they elevate the album to another realm. It’s been well documented that frontman, Jonny Guitar, has had his demons in the bands intervening years. Besieged by drink, drugs, and homelessness, he also suffered the tragic loss of his mother to alcoholism. It is then, a truly remarkable achievement of art and, the human spirit that, ‘D.N.A’ exists. This ode to his mother, who he lost to alcoholism. There are flourishes of Jimmy Page and, the blues of ‘Exile On A Main Street’ have been given a vast landscape to roam in. Whilst the guitars strive for new horizons, lyrically, it’s a sweet eulogy, until Guitar unleashes the most emotive howl rock ‘n’ roll music has heard in some time.

Despite the quality of the first two albums, they were pastiches of T-Rex, The Who, and Oasis. Here, they are reaching and achieving things far beyond this. ‘Ghost Man’ splices Joe Strummer’s love of rockabilly and Frank Black’s warped sense of danger. The title track introduces spoken word into their repertoire on this Fat White Family psychedelic epic. Pigeon hole them at your peril.

Twisted Wheel’s journey has been a roller coaster for the past 12 years. On this showing, it shows no signs of slowing down but, mercifully, it is on a deserved incline towards glory.

Click here to buy the album.

Ian Roland & The Subtown - Double Rainbow

Ian Roland & The Subtown Set are songwriter and guitarist, Ian Roland, joined by Simon Yapp, on violin and Jade Woodhouse, on cello. The Sussex trio released ‘Double Rainbow’ at the end of February. It was recorded at Airtight Studios (Manchester) with producer Nigel Stonier (Thea Gilmore, The Waterboys, Joan Baez) and, with Simon Yapp Subtown Studios, in Brighton.

Image & artwork supplied by Sonic PR

‘Double Rainbow’ is steeped in folk and warming orchestration. At times traditional roots and at others, it spreads it wings to a more pop friendly realm. The latter, can be seen on ‘Searchlight’, ‘Human Too’ and ‘Day Become You’. The first two, whilst pleasant, never really land any real memorable moments. ‘Day Became You’ though, is an instant classic. If The Housemartins had formed in an idyllic forest, this unshackled sauntering pop gem would surely have been the outcome.

Of the more traditional folk moments, ‘Butterfly’ and The Valley’ are the standouts. The former, a quaint tale of park walks in London with Roland’s children and, tree climbing in Lewisham as a child. The gradual build to the climax is delivered with a poise to rouse the spirits in these bleak times. Meanwhile, ‘The Valley’, has the earnest and heart-warming orchestration of Johnny Flynn’s classic ‘Been Listening’.

Title track ‘Double Rainbow’ and ‘Shooting Star’, find a sweet spot between the two styles. ‘Double Rainbow’, vocally, nestles in alongside the charm of Christy Moore whilst, musically, it searches, reaches for something bigger than the sum of its part.

On ‘Shooting Star', Roland finds a sense of romanticism that will renew your faith in humanity. For five minutes, you are transported to a world of rural charm akin to Mackenzie Crook’s reimagining of Worzel Gummage. Roland’s vocals are hushed and delicate, the perfect accompaniment to the frosty yet spritely acoustic guitars.

Roland and co have set their lasers to charm and overall, not disappointed. In a time of health crisis, this is an album of charm to replenish the soul with.

The British IBM - Play The Game

Cambridge band, The British IBM, released their new album ‘Play The Game’ last month. Recorded at Sickroom Studios with Owen Turner (Magoo), they have deliberately locked away the acoustic guitars and attempted their ‘Monster’ album. Will it succeed?

In adopting this approach, the considered and atmospheric sonics of their last album, ‘Psychopaths Dream in Black and White’, have dissipated on the whole. On ‘I Don’t Miss The 80s’ and ‘Get Away’, those changes can be heard significantly. Both gentle affairs, akin to the criminally underrated solo work of Mark Morriss (The Bluetones). The former, adopting American slide guitars to accompany frontman Adrian Killens hushed vocals. Meanwhile, ‘Get Away’, beefs up the acoustic sounds which, allows Killens to stray between Morriss’ angelic side and the snarl of Gaz Coombes.

Killens guitar playing, at several points, creates images of the rock ‘n’ roll wanderer, a loner amid the chaos. ‘Free The Mind’ and ‘Weekend God’ both tap into Noel Gallagher’s sublime ‘Dying of the Light’ and ‘The Right Stuff’. They threaten to excite but, ultimately, they are solemn tales of being the outsider. As such, Killens allows an aching beauty to isolate himself like Noel or Gene’s Martin Rossiter.

When attempting an electric guitar album, there has to be moments of bombast, right? ‘Darkness Follows’ is that statement of intent. Brooding intensity and, an almost spiteful rhetoric gets in your face. The ‘yeah yeah yeahs’ are resounding and destined to soundtrack a huge medieval battle scene. It is though, on the lyrics where it truly shines. A pro-humanist stance is taken and, delivers exhilarating results.

“How can you believe in something / That doesn’t live or breathe / If you want to believe in something / Why don’t you believe in me”

Whether they continue with these styles remains to be seen. What this album shows though, is they are a force to be reckoned with when they plug in.

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Pia Fraus - Empty Parks

At the end of January, Estonia’s Pia Fraus released ‘Empty Parks’. Formed at art school in 1998, this is their 5th studio release. Produced and mixed by John McEntire (Stereolab, Broken Social Scene, Teenage Fanclub) at Soma Electronic Music Studios in Nevada City.

Vocalist Eve Komp, speaking about the record said:

"Although the process of making this album wasn't been the easiest, I associate this album relates mostly with the feeling of happiness and positivism. The awareness of being able to be hopeful and make jokes about life even if everything seems to going downhill,"

In a similar vein to Ride’s comeback album ‘Weather Diaries’, Pia Fraus has put a positive intent back into their craft. It’s no surprise then, to hear ‘Hidden Parks’ and ‘Nice and Clever’ delivering the luscious ‘Lannoy Point’ and the atmospheric beauty of ‘Integration Tape’ and ‘Impermanence’.

Their sense of hope comes in various forms across the album. ‘Sweet Sunday Snow’ and ‘Late Summer Night’ have a more obvious appeal. Delicate guitar licks and hazy production gently build escapist climates. Meanwhile, ‘Paper Flower Projects’ is direct and ebullient like Arcade Fire’s ‘The Suburbs’.

However, ‘The New Water’ challenges you and thus, is far more rewarding. It dangles a great pop melody for the listener to clutch on to. Then, in a moment of shoegaze mastery, evaporates it, leaving you empty-handed. It acts, almost as a life lesson. Cherish the good times, for soon they may be gone.

At many points, the loved up fuzz of Pains Of Being Pure Heart and the mind-expanding worlds of MBV. ‘Slow Boat Fades’ is a gorgeous float downstream. It’s begging for Guy Garvey to lend his vocals too. Then, there is ‘You’re Not in Love’, the album’s standout moment. Scintillating and sexy from the get-go. An exuberant explosion of technicolour, enticing all and sundry to stand shoulder to shoulder against all of this planet’s ills.

From a UK perspective, it’s time for Pia Fraus to enter the festival scene. Who can honestly say that Latitude, Festival No.6, All Points East, End of the Road, or Green Man wouldn’t be lit up by their shoegaze dreams?

*image courtesy of Joosep Volk

Backinhumanform - Backinhumanform

Backinhumanform is the creative machinations of West Ireland’s Joe Clarke. Based in London, he released his self-titled debut album in late 2019. The album is available on Clarke’s Bandcamp page.

Throughout, Clarke imparts a striking amount of melody and elite level orchestration for a DIY project. ‘Slippin’ Away’ floats along like a lost Beach Boys classic. Meanwhile, ‘On The Road’ is a shoo-in for poignant Peaky Blinders scenes in the next series. Confrontational and built upon 60s pastiche, it builds upon the early work of Brian Jonestown Massacre and the sun-drenched psyche of Cosmic Rough Riders and The Beta Band.

Steve Mason’s influence looms large and often on this record. Vocally and atmospherically, Clarke is able to summon the majesty of the Edinburgh legend.

It is though, on ‘Half Light’ and ‘Ships’ where Clarke threatens to eclipse Mason. The former, with the nuggets of the Cocteau Twins and The Engineers shimmers like a crisp moonlit sky. IT drifts into a state of bliss where images of Robert Plant performing at a pagan festival are easy to conjure.

On ‘Ships’, the trippy bombast of Mason’s Beta Band is called to action. Direct and expansive, it creates a dystopian realm you must enter, no matter the risk.

This is a fine debut, one that deserves to propel Clarke onto bigger stages at Green Man and End of the Road style festivals.

Nada Surf - Never Not Together

Alt-Rock legends Nada Surf are back with their 9th studio album 'Never Not Together' via City Slang Records. Their last two albums, although solid, have failed to spark what was, once, a truly exciting band. Can they rediscover the magic?

After touring their classic album 'Let Go' for its 15th anniversary, chief songwriter Matthew Caws spoke of its influence:

"I think [the Let Go tour] really boosted my work ethic and made me feel like I really had to go for it." 

Recording at the legendary Rockfield Studios, they have, at times, ignited that flame of brilliance. Former singles ‘So Much Love’ and ‘Something I Should Do’ tapped into the magic of ‘Let Go’ and, pushed the envelope further still. The former surpasses the melody and affection of the classic ‘Inside of Love’. Honestly, who pulls out their best ever single on album number 9? Nada fucking Surf, that’s who!

This week, we saw Nancy Pelosi rip up Trump’s State of the Union. As poignant as it was, it remains entrenched in petty dialectical arguing, it won’t win! The lyrics to ‘Something I Should Do’ however, move past this and show the way forwards:

“And some people can't be beat in an argument
We have to hold to that hippie point harder
Empathy is good lack of empathy is bad
Holy math says we are never not together”

‘Come Get Me’, falls into single selection material too. Caw’s gorgeous vocals, go into Wayne Coyne and Neil Young mode on this Teenage Fanclub meets Lemonheads meander downstream. Young’s influence shines through in the lyrics. As Caws decrees “I’m getting tired / forgetting how to love/forgetting how to dance”, although different in subject matter, the protagonist pushed too far on ‘Down By The River’ comes to the fore.

In recent years, when the unexpected drops from Nada Surf’s work, the criticism has grown. ‘Live Learn & Forget’ and ‘Mathilda’ fall into this territory. However, Caws has found extraordinary serotonin levels on this album. It’s enough to carry these songs past said judgment.

Between Caws and Doug Gillard, long time collaborator, they provide two stunning solos. ‘Crowded Star’, gently shimmers like Neil Young’s ‘Winterlong’ before floating into the ether as if Grandaddy were playing Noel Gallagher songs.  

Alternatively, ‘Looking For You’, is the album’s moment of true bombast! Slowly building in a state of daydream, until the stirring guitars and orchestration.  Suddenly, everything is possible. The world can change, you can get the girl/boy, the status quo seems movable! A beautiful reminder that one song can still change the world.

While there are moments when 'Never Not Together' dips, it’s never that far. In their own distinct way, they have re-imagined the New Order lyrics “it’s called love and somehow it’s become unmentionable” for 2020. It’s ok to be lost, things will get better Nada Surf around.

*Image courtesy of Annie Dressner

Fred Deakin - Fred Deakin Presents The Lasters

Fred Deakin, one half of the legendary Lemon Jelly, has returned with his first solo project. Not willing to put out tried and tested Lemon Jelly-esque material, Deakin has produced ‘Fred Deakin Presents The Lasters’, a Sci-Fi concept album.

Former Ash guitarist, Charlotte Hatherley, features as the protagonist in this coming of age climate change via space thriller. Hatherley’s vocal ability to deliver a sense of the silver screen is key to its success.

The slow realisation that, her character, has the knowledge to fuel hope on ‘I Remember’ is a glorious moment of self-discovery optimism. Whereas, on ‘Goodbye Father’, she becomes defiant, a sci-fi icon in the making.

Despite Deakin’s attempts to find new creative outlets, there are moments that Lemon Jelly fans will savour. The cuteness of Hatherley’s vocals and the acoustic guitars on ‘Bringing Back to You’ recall their classic The Staunton Lick’.

Deakin’s attempts are not in vain though. On ‘Through The Veil’ and ‘The End of the World’, he finds another level. They are, at points, expert pop ballads. Sumptuous melodies and dazzling guitar craftsmanship ooze from them. It’s not just the pop classicism that lands though. Without giving spoilers away, their introduction into the narrative signifies a happy ending is nigh.

On ‘Rush’ and ‘Goodbye Father’, Deakin pays homage to Public Service Broadcasting. In particular, ‘Rush’, he finds a way to deliver the first meaningful pop song of 2020. Meanwhile, ‘Get The Message Through’ has nodes of John Martyn’s ‘Small Hours’, and no album is not better for that!

It’s been 17 years since Lemon Jelly’s ‘Lost Horizons’ was nominated for the Mercury Music Prize, surely it’s time for another nomination.

The Twang - If Confronted Just Go Mad

“Your face, your race, the way that you talk”

Birmingham’s The Twang return today with ‘If Confronted Just Go Mad’, their first album in five years! Mixed by Mint Royale’s Neil Claxton, a guest appearance from Polar Bear and two new female members of the band, would this be a great rebirth?

Lead single ‘Everytime’ suggests it might just be. Sonically, they’ve always had a connection with sunnier climates, whether it be the jangle of ‘Subscription’ or the Mondays inspired ‘Cloudy Room’. However, on ‘Everytime’, with new band member Cat Mctigue shining like a star, they’ve tapped into the cool crisp soul of the 80s. This is poolside cocktails magic.

As the album grows, it becomes apparent, this is perfect blend of update and re-connection rather than Ziggy to Aladdin Zane reinvention. ‘Time Waits’, takes the debuts exuberance and channels it via carnival beats. Meanwhile, ‘Lovin’ State’ has the romanticism and guitar jangle of ‘Jewellery Quarter’. What they both share is, an older head delivering them. A humbleness permeates the lyrics. An appreciation of family and friends and that love is all you need are prevalent throughout.

‘Dream’, arguably the best example of everything they were and all that they will be. Etheridge’s Shaun Ryder via Mike Skinner vocal delivery collides with the indomitable groove of the Roses’ ‘Fools Gold’. Then Cat Mctigue vocals lend a devilishly joyous fresh impetus. Anyone not raising a wry smile at ‘Morrissey, he is still just Stephen’ is a humour vacuum.

‘It Feels Like You’re Wasting My Time’ witnesses their archetypal shimmering guitars and soaring vocals, but, with this measured approach, they bring a new sense of identity. Lyrically, despite obviously being a personal tale, fans will be hard pressed not to give way to feelings of angst The Twang (and their peers) were too readily discarded by the industry.

As Phil Etheridge sings ‘I give you everything sweat tears blood…it feels like I’m wasting my time’, thoughts of The Enemy, Glasvegas, Reverend & The Makers, The Rifles and The Courteeners great bands, all maligned will come to the surface. Despite this, Etheridge offers a way through:

 “It seems like we’re aint out time / I see now, you aint on my side”

With hooks like this, and younger audiences alive with excitement for DMAs, Gerry Cinnamon and The Shambolics, not only is The Twang’s return well timed, it seems heaven sent to unite generations of outsiders.

Moon Duo - Stars Are The Light

Portland-based Sanae Yamada and Ripley Johnson released their seventh studio album 'Stars Are The Light' on the 27th of September via Sacred Bones. With the distinct purpose of re-imaging themselves in a world going mad, how would their synth-driven reinvention fair?

For the most part, their archetypal style remains, but, the instruments have changed. 'Fever' and 'Flying' find Ripley Johnson and Sanae Yamada finding far-out grooves to traverse. The bombast of Johnson's guitars is replaced by outer cosmos production but, familiar and likable patterns remain. On 'Fever', their ability to trip outcomes to the fore, again, with subtle production tools being applied alongside sumptuous guitar licks.

Their previous work often witnessed an open-ended nature. Expertly deploying hooks on the guitar and taking them for an aimless meander. It's where their true beauty lay. On the title track, however, they have gone against this grain. 'Stars Are The Light' is a complete piece of pop art as you can imagine. It strays into the everyday mindset of longing to escape rather than being otherworldly.

Former single 'Lost Heads' also walks this line.  Johnson's guitars are still at play, and after a residency in Salford this year, picked up influences from the psyche work of James on 'Bitch' and 'Girl at the End of the World'.

The hypnotic elements of Primal Scream's 'Autobahn' loom, but, 'Lost Heads' is far dreamier and acid-tinged. Its ethereal qualities are that blissful moment on a night out; the headliner has blown you away and now you floating in space.

'Stars Are The Light' is a fine re-imagination of what Moon Duo can be. If anything, they have been to tentative. There is definitely a sense there is more in the tank. That said, not many can switch up their DNA as effectively as these seven albums in.

Paula Wolfe – White Dots

London and Norfolk based artist Paula Wolfe has returned with her new album ‘White Dots’. Written, arranged, engineered, produced and mixed by Wolfe and it’s out now on SIB Records.

‘White Dots’ delivers an array of storytelling, often character driven and sometimes, achingly personal. ‘Cherrington Road’, is based one of Wolfe’s earliest memories. The sweetness and innocence of her 3-year-old self singing in the garden of a family home will melt the blackest of hearts.

On ‘Bonnie’, Wolfe opens up about trying to move on from a relationship. Not just any the relationship, but “the one”. The one which everyone else is unfairly judged by. The one that raises you up and hinders you simultaneously. The simplicity and the honesty of Wolfe’s vocals and the subtle orchestration is a glorious dichotomy of elation and sadness.

It’s not always personal, ‘Caravan Man’ is a fictional account of a man Wolfe saw on French campsite. Her ability to jump into the world of someone else is effortless and no less interesting. The intrigue on Wolfe’s vocal “Caravan man, who are you waiting for / what are you waiting for” is as powerful las the Death Star tractor beam. Then, when her Kate Bush-esque vocals soar alongside the organs, a wholesomeness and realness akin to The Kinks’ ‘Muswell Hillbillies’ album.

Former single ‘Georgia Blue’, details the life of a cross dressing train driver. The hallmarks of The Jam’s ‘That’s Entertainment’ circulate as Wolfe portrays a modern day outcast with great affection and warmth.

This is a fantasy album. It’s a what if the spirit Lily Allen and Laura Marling merged with the great characters of Ray Davies’ song writing and is sung by Kate Bush and Carole King. Layered with such vivid characters and enriching landscapes, Wolfe has provided an album that keeps on giving.

Mark Morriss - Look Up

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

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

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

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

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

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

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

*Image courtesy of Ben Meadows

The Black Watch - Magic Johnson

Anglophile and English Professor John Fredrick has returned in his guise of The Black Watch. Their 17th album ‘Magic Johnson’ is out now via Atom Records.

Despite Fredrick’s Virginia roots and being based LA, vocally, he has North East England twang reminiscent of Maximo Park’s Smith. Opener ‘Mad’ and ‘Oh You Little Witch’ have the fragile yet spiky delivery the UK fell in love with on Maximo’s debut ‘A Certain Trigger’.

The album’s true strengths lie in the honesty and integrity of the Fredrick’s lyrics. As he decrees ‘I don’t know what you’re on about, half the time’, loveable heroes from British screens are lit up once more. The romanticism of ‘This Is England’s Woody leaps out of the stereo and, by the time of the solo, will leave you in tears.

‘Get Me Out’, sounds like The Cure on a US road trip with its shimmering and introspective sonic. It’s a great platform for the protagonist to attempt escape and a quest for meaning. ‘Knowing It Won’t Come Again (Has Made It All The Sweeter Than)’ is a bittersweet tale of love and laughter whilst getting older.

The Black Watch emerged out of the C86 scene so, it should come no surprise that ‘Jingle Jangle Loop de Loop’ is a beacon of light. The innocence and the psychedelic sway of their origins still oozes from their soul. There are so many right wing commentators yearning for a yesteryear that never really existed at present. So, to hear nostalgia delivered with love is a thing to be cherished.

The problem with ‘Magic Johnson’ though, is its length. It’s too long. Some trimming of the fat (‘Upsy Daisy’ and ‘Arcane Constraints’) and it would be marching up album of the year lists. Despite this, this a joyful meander downstream and one all should embark upon this summer.

Scandinavia - Premium Economy

London's Scandinavia are back with their fifth album 'Premium Economy'. Despite their veteran status, they remain on the DIY circuit, could this be their breakthrough?

At times, the wisdom of their longevity shines through. Tracks like 'Autumn Coat' and 'Melody Glade' have a warmth to their layers which debut albums rarely possess. The former, a fine nugget of jangle pop to soundtrack a youthful summer. Full of adventure and hope, it conjures images of hope, hope the love of your life discovers you exist in that summer holiday. 'Melody Glade', a reflective lullaby, as though The Wannadies recording in your garage.

Scandinavia have not lost their anarchic instincts. 'New Men' has a spiky math rock charm and 'Warriors of Weekend' is a furious Blink 182 meets Teenage Fanclub punk-jangle rumble. The true moment of punk glory arrives on 'I Don't Believe In Anything'. Rebellion hasn't sounded this fun in ages! Accept nothing, challenge everything!

Then, out of nowhere, comes 'Choose Science'. A quirky wry look at the world of scientists. Smooth funked up Public Service Broadcasting style guitar licks poke fun at science as a vocation. In a world of Brian Cox adoration, it's not suggested once that most scientist suffer under the corporate umbrella like the rest of us earning a wage.

It goes further than this though. Beautifully hailing sense and feeling over data, they raise the notion that this country's focus is awry. We are a nation of sport and creative lovers. We embraced one in 2012 and boy did it pay off. Now its time to embrace the other. It's surely what we excel at!

It may have taken Scandinavia five albums, but it would appear they have found their sweet spot. Pop hook after pop hook invade their punk or jingle jangle tendencies. This is definitely an album to sound track the rest of the summer.