Ian M Bailey - Songs to Dream Along To

In October, Ian M bailey followed up on his critically acclaimed EP ‘Shots of Sun’ with ‘Songs To Dream Along To’. Recorded and produced at his home studio, it was written with Cosmic Rough Rider’s songwriter Daniel Wylie and released on Kool Kat Musik.

Artwork courtesy of Ian and https://johnwashington.co.uk/

Musically, it lives romantically in the past, largely residing in the Laurel Canyon scene. There is modern-day wisdom to lots his writing keeping it relevant. ‘A Place To Live’, escapes to the gentle beauty of early Ian Matthews records. The real artistry though, appears in the lyrics, seemingly an ode to the child about the pitfalls of lockdown (“Glory days cut down in our prime”). Bailey is blessed with empathy in his writing but, in the chorus here, he taps into a melody so potent that, it lifts the troubled soul beyond its despair:

“just a place to live / a place where we can be together / just a place to live / we won’t be here forever”

‘I’m Not The Enemy’, tackles the same problems but, further down the line mental of struggle. As such, the Byrdisan sonic is tinged with Gene Clark’s rich darkness and the psyche solo suggests a breaking point was reached. Yet again, the uplift of the chorus keeps the protagonists reaching for the light.

The Byrds influences reach far and wide on the record. None better than on ‘This Is Not A Feeling’ with the 12 string Rickenbacker out in its all glory. The positivity radiating from the guitars and Bailey’s vocals is near perfect. Coupled with the enriching keys, a state of bliss is achieved.

Album number two has begun between bailey and Wylie. Based on this showing, it cannot come soon enough. 

*Banner images courtesy of https://www.johnmiddleham.com/

Afflecks Palace – What Do You Mean It’s Not Raining

“Every second of the album drips perfect lysergic melodic and simmering summer tunes…9/10” – Louder Than War / John Rob

 Manchester’s Afflecks Palace have been on one hell of a charge this past two years. Not content with launching their label Spirit of Spike Island, looking after the rising star of Pastel, they have now self-released their debut album ‘What Do You Mean It’s Not Raining’. Never let it be said the youth of today are lazy!

You can buy the album from Spirit of Spike Island.

It may have been recorded at James Kenoshas studio in Hull and mastered by John Davies at Metropolis in London but, it’s very much a Manchester album. Forget rehash, this is a recreation for the famous city from the ground up for 2021.

‘Capre Diem’ and ‘Pink Skies’ are fine clarion calls and, burn with a unique rage. Both clutch The Roses and Smiths to their hearts. There’s a spirit, a raging desire to be heard, to be brilliant and to be loved! The former, sprinkled with the brash parts of The La’s and the infectious moments of Ride’s comeback will disarm the most hardened souls as its buoyant charm races to your serotonin.  

On ‘Pink Skies’, they serve up sun drenched imagery and poetry so blissful, it’s inevitable the masses don’t flock to them. Working class anthems haven’t sounded this good since Tom Clarke’s gritty Coventry tales burned bright in 2007. Like Clarke, frontman James Fender has a knack of his digging his heels in and making it sound joyous. No one is stopping his dreams! Where they differ from The Enemy is, Afflecks Palace have deafness of touch. The angelic vocals and feather light guitars smile at the naysayers. All the while, their propulsive polemic strives for glory:

“The pyramid is ten feet tall
Shall we climb it, risk the fall?
Steal the rusty copper crown”

This is an album that far outreaches its Manchester roots though. A huge slice of the Laurel Canyon scene infiltrates its beauty. ‘Ripley Jean’ is an effortless Byrdsian meander into sun-kissed landscapes. The rapid-fire licks and Fender’s Alan Wilson-esque (Canned Heat) vocals serve this adventure well. The accelerated guitars keep on coming via the Johnny Marr-inspired ‘Forever Young. Meanwhile, on album opener ‘This City Is Burning Alive’, an array of McGinn and Clark guitar parts erupt into life to make the laissez-faire psyche of seem Tame Impala extinct.

Then, on ‘Spinner’, comes the moment that will catapult the band to superstardom. Everything you thought you liked about The Lathums dissipates here. They have eclipsed their (fine) Wigan peers’ infectious sound with this bubblegum pop classic. Witty and humble, this heaven-sent reincarnation of Sally Cinnamon via Ride’s ‘Future Love’ is beset with joyous vocal inflections and a freeing nature so pure, its more intoxicating than MDMA.

Some are dubbing them ‘nu-Manchester’, what we know is, they have found a way to reimagine the past in 2021. So many have striven to be like the greats, Afflecks have found space in their slipstream on this debut. How soon they can overtake remains to be seen but, their Destiney clearly lies alongside them at least!

*Images courtesy of Spirit of Spike Island

The Institutes - Colosseums

The Institutes, hailing from Coventry, release their debut album ‘Colosseums’ Friday 22nd October via 42s Records. After a string of anthemic singles behind them, can the album live up to the expectation?

Images and artwork courtesy of End of the Trail Creative.

For two years, The Institutes have been rapidly closing the gap between them and DMA’s in terms of quality fuzzed-up singalongs. Like their Australian counterparts, they have a knack for making a specific tale mean all things to all people. Former singles ‘Something Beautiful’ and ‘I Just Can’t Keep Myself From Loving You’ being the finest exponents of this. The former is a tale of a relationship breakup where a child is involved. The power of the love for the child is so intoxicating it lends itself to addiction or a burning desire to make it in life. ‘I Just Can’t Keep Myself From Loving You’ follows a similar path where the protagonist demonstrates a breath-taking imbalance. It’s a tidal way sent to blow you away! Both songs befit their ethereal sonic but, lurking within are short muscular guitars and Reni-likes drums intensifying the power.

This writing capability allows for such a greater emotional pull when they do hone in on a discourse. ‘Feels Like Rain Again’, colossal in sound, tackles fog that clouds the mind in moments of mental torment. The protagonist’s journey is one of struggle (“I don’t if I’m Jekyll or Hyde”) to one of the finest contrast in music, ever. As frontman Reid Zappa Currie decrees “this is a part of me”, the guitars swirl with such majesty that, it’s as though our hero has come to terms with the problems. Reid’s delivery though is a triumph of the human spirit. Wrenched from the soul, it carries so much pain that you can hear his soul fragmenting.

Their more precise songwriting style culminates in the album closer ‘Better Now’. The third act resolution of the journey trickles hazily into view with early Nick McCabe guitars before ascending to DMA’s glory and beyond. The cinematic climax is signed off with Kirk Savage’s eruption of drums and cacophony of guitars providing a truly cathartic moment for mind, body, and soul.

It is, by no means an exaggeration to state, that every song here is an anthem. They walk the tightrope of mass melodic appeal and artistic integrity searching for new pastures. ‘Inside Out’ takes the inspiration summer fading sounds of Soundtracks of Our Lives to new planes. ‘Alleyways’, musically battles between the forlorn nature of ‘Listen Up’ and the effervescent spirit of ‘Sally Cinnamon. All the while, it humbly taps into the nostalgic mind of people and, reflects upon carefree childhood relationships. Meanwhile, ‘Heal In Time’ is an urgent burst of hope with The La’s and Ride in their hearts.

On and on this joy goes on ‘Colosseums’. This album’s spirit is nothing short of heroic. Its quality vastly towers over its peers. The majors have come sniffing around bands of late, their choices, eyebrow-raising to say the least. The Institutes have been ignored to date. However, not by Lammo, John Kennedy, and Tom Robinson. Not by us, now, it’s time for you, the people to go send them to the top and make their journey the stratospheric one it merits.

Daniel Wylie’s Cosmic Rough Riders - Atoms and Energy

Glasgow’s Daniel Wylie has released his ninth studio album ‘Atoms and Energy’. Recorded at La Chunky Studios, it is released via Last Night From Glasgow. With help from Neil Sturgeon, Johnny Smillie, and Stu Kidd, Wylie attempts to follow the loud guitar splendour of 2017’s ‘Scenery For Dreamers’.

The album is available to buy at Last Night From Glasgow.

This time out, the Young and Blake guitars, for the most part, take a back seat as Wylie examines death and past relationships. ‘Heaven’s Waiting Room’ encapsulates Reiner’s ‘Stand By Me’ as he revisits his formative years and just how quickly they fade. A devastating melancholy permeates Wylie’s psyche as he sings ‘I try, I try to do things right / not everybody has their day’.

The darkness continues on ‘The Bruises and the Blood’. A tale of domestic violence and the helplessness of a friend. The imagery is brutal but, Wylie has an innate gift to release the tension with melody. The joy in the keys and the Beach Boys breakdown offset the heavy lyrics and tense bass licks.  

The ability to juxtapose dark and light hits its peak on ‘A Memory’. Channelling the guitars of ‘Down By The River’ Wylie takes a soul at its lowest ebb and, frees it with the majesty of George Harrison. Layer upon layer of emotion builds and paints difficult images of a man in the darkness not knowing how to get out.  

Despite the overarching grief and regret, on ‘Saddle up the Horses’, there comes a need release, an indicator that this soul searching has found itself and begins to enrich. Wylie takes himself to his childhood and dreams of being a cowboy hero. The acoustic guitars rain down like glitter whilst the electric guitars are filled with glee.

The move away from raucous guitars has given Wylie the space to let his emotions flow and toy with new ideas. From the Santana-inspired guitars of ‘God Is Nowhere’ or the sinister REM infused ‘Ruth the Truth’, he has proven his worth as a songwriter. It’s the album’s melody where its greatness lay. No matter the mood or subject, Wylie can pivot to a happier sonic and thus, allows each song to develop greater depth and value.

Fightmilk - Contender

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

Images courtesy of Reckless Yes Records.

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

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

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

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

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

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

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

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

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

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

Forget about Morrissey!

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

Desperate Journalist – Maximum Sorrow

Last month, London’s Desperate Journalist released their fourth LP ‘Maximum Sorrow’. Released via Fierce Panda, it was self-produced and engineered by Rollo Smallcombe at Crouch End Studios.

Having made the conscious decision to not repeat the rock-pop classic ‘In Search of the Miraculous’, could they reinvent themselves without losing way?

Previous singles ‘Fault’ and ‘Personality Girlfriend’ (among others) put bass player Simon Drowner front and centre. A destructive rage permeates his playing for almost the entirety of the album. The former throbs with a disdain we’ve all felt to those who abandoned leadership in the past eighteen months. On the latter, a punky-disco stomp akin to Bugeye shakes. All the while, singer Jo Bevan’s incredible ability to carry polemic via a gripping narrative reaches new heights. The closing stages adopt Idlewild’s ‘In Remote Part / Scottish Fiction’ complex cacophony of spoken word and guitars but, with a devastating psychedelic annihilation!

It is though, on ‘Utopia’, ‘Fine In The Family’ and ‘Was It Worth It?’ where they nail their new sound. ‘Utopia’ delivers the risk and reward Wolf Alice couldn’t land on their third album. The hints of shoegaze bring about an emotional to proceedings and thus, Bevan’s ethereal vocals beckon, almost summon you into the unknown. ‘Fine in the Family’ is the polar opposite sonically. Tapping into the violence of Asylums’ ‘Napalm Bubblegum’ as Drowner’s bass yet again taps a thunderous vein of form. Meanwhile, ‘Was It Worth It?’ with perhaps a lyrical nod to The Waterboys, strides out to their sorrowful heartlands with a brutal intensity not even The Chameleons could match. The protagonist, an anguished soul lost in a city of darkness with hope dissipating becomes the perfect parable for lockdown:

“they’re all endless roads / On a dismal island”

You can buy the record on their Bandcamp page.

Just when ferocity borders on the all-consuming, they provide a momentary release on ‘Poison Pen’ and ‘Victim’. ‘Poison Pen’, with its ecstatic immediacy and venomous lyrics, creates a polemic and defiance legions would follow. ‘Victim’, a torturous tale of repression and depression is lit up by guitars that could glisten in a thunderstorm. Bevan is faultless. Angelic to punk in an instant, a vocal talent at the peak of her powers

Four albums in, the creative well shows no signs of drying up. Basslines akin to wrecking balls and vocals from the gods, they have nodded at the majesty of ‘Miraculous…’ and said an amicable farewell. An album written in lockdown had the potential to be a lacklustre album from the tour bus; insular and lacking intelligent exploration. Not here, not Desperate Journalist. Every word vitriol, torment, and bile is despatched with wit, intelligence, and charm.

*Image and artwork courtesy of Fierce Panda Records.

David Long and Shane O'Neill - Moll & Zeis

Childhood friends David Long (Into Paradise) and Shane O'Neill (Blue In Heaven) have hooked up to release an album made solely during lockdown. 'Moll & Zeis' is out now on Pylon Recordings.

The two Dublin songwriters have known since the age of six and this connection resonates in the fluency of the album. Lyrically, an air of mystique looms throughout which lends a beautifully open quality to the songs.

Title track 'Moll & Zeis' maybe be about a US pilot but, for anyone unwillingly saying goodbye to love, it provides an eloquent outlet. The ethereal beauty that emerges from the guitars builds a mournful but hopeful turn away from the past.

The 'Earth Moves' protagonist cuts a forlorn figure, who agitates for clarity of mind but is still beset by fog. The track’s triumphant moment comes from its rejection of “man up”, a phrase no one should be uttering in 2021.

The darker moments of the album come via the Primal Scream inspired 'In Out' and 'Morning Song'. The former conjures images of a wayward soul going beyond its means. It brings in those heavily shrouded drug moments of 'Vanishing Point' like 'Trainspotting' or 'Long Life'. Meanwhile, 'Morning Song', grooves like their dub classic 'Echo Dub' but, crucially, adds nuggets of psyche to carry it to higher planes.

The album is given a cut through and immediacy from 'Far From Home' and 'For You'. 'Far From Home' strips back New Order's 'Crystal' to portray a fragile character reflecting upon a relationship. Their take is more New Order at sunrise rather than sunset which, allows a joyous tension to arise between past and present during the solo. Whereas, 'For You' finds a slot somewhere between Beatles and The Beta Band for the album’s most pop-friendly moment.

Human connections have been lost this past year. No matter how much you jump on Zoom, it doesn't suffice. Yet, somehow, Long and O'Neill's life-long connection has burrowed through the inhuman aspects of technology to really connect musically. One can only imagine what could happen if they were in a studio together.

The Other Ones - The Other Ones

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

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

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

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

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

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

*Image courtesy of Keira Anee Photography

A. Smyth - Last Animals

Having recently featured in our New Band Spotlight section, Dublin’s A.Smyth picked up attention from none other than Badly Drawn Boy. In the intervening weeks, his debut album ‘Last Animals’ has become greatly anticipated. It’s released Friday 19th February via Lover Records.

‘Last Animals’ will be available on his Bandcamp page.

Smyth’s vocals instantly draw the delicate genius of Elliott Smith to mind. The crispness of ‘Rainy Boys’ and the evanescence of ‘Say You Won’t Mind’ in particular recall Nebraska’s lost great. Neither lends themselves to parody though. ‘Rainy Boys’ roams picturesque scenery as a gang with Steve Mason clutched to their hearts. Whereas, ‘Say You Won’t Mind’ has a warmth and charm akin to King Convenience.

However, it would be amiss to focus on just this similarity. On ‘Yeah You Said’ and ‘Don’t Let Me Down’, Smyth taps into the heart and aching lustre of Jackson Browne with elegant, modern twists. The former, loaded with great piano hooks, traverses life, love, and meaning with splendour and freedom not seen in a generation. The introduction of distorted guitars and twitchy synths raises the title to the fore. A sense that, no matter how much we’re told about life’s simple beauties, a journey and struggle must be undertaken to discover this. Meanwhile, on ‘Don’t Let Me Down’, Badly Drawn Boy’s playfulness combines with the energy of The Shins to conjure images of youthful love affairs stretching across endless summers. Browne’s spirit arises once more during the solo. It blasts across the horizon briefly and intensely, as only young love can.

‘Last Animals’ begins to transcend its influences on ‘River’, ‘When It Calls’, and ‘Me and My Old Man’. ‘River’, pulls from Van Morrison, Smith, and Neil Young but, has a unique and mesmeric meandering quality. The ethereal ‘When It Calls’ has an effortless beauty that Ryan Adams tormented soul wishes it could still unlock. Then, somehow, Smyth has found a solo sound that nestles in-between the maverick blasts of Young and wrenching blues of Jack White. The closing stages, allow for one of the album’s genuine singalong moments but, as he decrees “I feel the river in your heart / I know the thunder because I feel it too”, you won’t be uplifted. Despite his pop sensibilities, images of lonely drunk nights howling these lyrics into the night will formulate.

Then, on ‘Me and My Old Man’, Smyth achieves something remarkable.  Smyth lays his soul bare whilst reflecting upon his relationship with his dad. His smoky Ryan Adams-esque vocals carry this emotive tale to an almost Pixies-style rage. It is, during this rage that he introduces his father into the narrative. Recounting a troublesome night out and the anger upon return.

There is no doubting the quality of ‘Last Animals’. It’s awash with the characteristics of great songwriters past and present. Perhaps, at times his vocals don’t find their distinct voice but, to tales this good, does, should, anyone care? The vibrancy of ‘River’ or the romanticism of ‘Hero’ for example, should be enough to carry the weariest of souls through these trying times.

Sunstack Jones – Golden Repair

Liverpool’s Sunstack Jones have released their fourth studio album ‘Golden Repair’. It was recorded and engineered by The Verve’s Simon Jones and produced by Paul Den Heyer. To date, they have been a strikingly consistent band but, is now the time they add the magic?

‘Golden Repair’ is available to buy on their Bandcamp page.

For the most part, said magic is in abundance. ‘Where You Gonna Go’ is a classic Brian Jonestown Massacre forgot to write. The time spent in the studio with Nick McCabe (on the self-titled third album) and Simon Jones has paid dividends. They have a sumptuous ability to emerge languidly from a 3am fog into a morning sun full of George Harrison’s romanticism. It would be a perfect song if it just ambled by but, guitarist Lorcan is clearly in a special head-space, summoning McCabe’s mesmeric fire in the closing moments.

The former single ‘How It All Went Down’ embeds their love of the Canyon scene with lush harmonies alongside ‘Champagne Supernova’ guitars. Maybe this is where we were when we were high? The album’s most angelic moment comes on ‘Distill’. The guitars bridge the gap between The Verve and Lindsey Buckingham, a bridge well worth traversing. The essence of The Coral’s work post-Ryder-Jones looms as the vocals and lyrics subtly deliver an infectious melancholy.

A different but no less substantive power emerges on the title track and ‘Seams’. The former takes Jack White out for a joyride and meets Manassas at a debauched party. It’s a feverish and smoky blues powerhouse that Peter Green is surely smiling down upon. Meanwhile, on ‘Seams’, they unleash the album’s most direct moment. Newcombe’s vitality collides with Richards and Stills in a dead-end bar to produce some spiralling magic.

Clearly, a penchant for the West Coast legends is at their core. However, there are flourishes of Peter Green’s devilment, Harrison’s sweetness, and the spaced-out power of Aphrodite’s Child spliced in. They take ‘Golden Repair’ beyond pastiche to a higher plane. There are, at points, distinct moments of The Verve’s majesty too which, if they could match their unbridled desire, well, who knows where that could take this special band.

The Moons - Pocket Melodies

The Moons followed up on 2014’s ‘Mindwaves’ with ‘Pocket Melodies’ at the back end of last year. After rehearsing live at Black Barnes Studio, they recorded it live in one day at Abbey Road’s Studio 2. Also backed with an orchestra, would this new method stack up to their previous work?

Their love of the Beatles hasn’t diminished. Some may see this as a positive, some may not. Through singer and songwriter Andy Crofts though, they have a creative who can summon melody at a snap of his fingers.  

Bass player Ben Curtis described the intro of ‘Rear Window’ ‘something that should be star Steve Pemberton in Inside No.9 and Reece Shearsmith’. The eerie piano intro develops into the albums standout melody. The crisp soul of Weller’s ‘On Sunset’ and the rustic romance of Ocean Colour Scene’s ‘Spark and Cindy’ are given an orchestral lift to something truly special. The chorus glides by carefree whilst, Crofts’ vocals hit a melodious peak that, only Liam Gallagher’s ‘One of Us’ has rivalled in recent times.

The recording of ‘Pocket Melodies’ was ostensibly working up unfinished songs from the back catalogue. Despite this, their brand of tuneful melancholy brings with it, a narrative of yesteryear and, on ‘Tunnel of Time’ (co-written with Weller) and ‘Where Are You Now?’, the lyrics accompany the sonic.

The former takes stock of the incredible ride Crofts has been on with The On/Offs, The Moons and Paul Weller. Finding his sense of belonging with bands and mod culture, Crofts has got to see the world and do things most of us could only dream off. However, as the tale’s protagonist drifts through space, a yearning to find a new belonging emerges. The acoustic Lennon strumming collides with sumptuous Mick Ronson solos and stunning orchestration to leave you thinking that family life is the healthy anchor to one’s adventures.

‘Where Are You Now?’ is blessed with George Harrison’s effortlessness and timelessness. Uplifting orchestration ambles on by unto a stunning Moody Blues middle eight. All the while, a child contemplates where a parent who left is now. Pensive but beautiful!

‘Pocket Melodies’ is like a group of friends meeting annually to get drunk. No matter the time apart, The Moons slot right back into a groove of great melody and warming embrace.

Georgie - At Home

Nottingham’s Georgie, last year released the impromptu album ‘At Home’. Due to incredible demand, Soul Kitchen Records are now giving it a physical release today (8th January).

You can purchase the album here.

Turn a pop-based radio station on the past 5 years and inevitably, you’ll find someone who sounds like Georgie. That is surface only. Scratch deeper at Georgie and, elements of roots, folk, and blues infiltrate her pop styles. It is though, her ability to lyrically connect that truly marks her out as a great talent.

Like any good songwriter, she has tapped into the mood of the times. Unlike many socially observant writers, she has an innate ability to frame it accessibly.

As lockdown begins again, the current single ‘Simple Things’ will leave most reflecting and teary-eyed. However, such are the pop hooks and elegant key changes that, you’ll go back for the emotional punishment time and time again.

For a vocal so suited to reeling in the masses, the supreme pop hooks stop there. Nevertheless, this album delivers upon the mood of a nation with aplomb, especially when the songs are stripped back.

‘Me and You Only’ comes with wisdom beyond her years as she breaks down a relationship dynamic. The slow build emerges from lockdown with a renewed sense of what is important and thus, a glowing warmth. ‘Company’ nestles her vocals on the pop spectrum between the witching hour ache of Billie Eilish and the pop bombast of Rihanna. The soulful slice of blues highlights her slight gravel beautifully and again, allows the notion of, the best things in life are free to come front and centre.

There are moments though where the album becomes derivative of the mainstream. ‘Chasing Kites’ moves away from The XX and Eilish’s innovation and towards repetitive generic music that has besieged too many of our lives.

To write an album during the first lockdown, about said time and ailing relationships is a remarkable feat of the human spirit. When so many just struggled to exist, Georgie flourished. Her confessional style has a hint of Phil Collins’ pop classic ‘But Seriously…’ to it. At that point, Collins was a 15-year veteran, Georgia is barely a fledgling. A bright future lies ahead.

Twist Helix - Machinery

Newcastle’s Twist Helix have returned with their second album ‘Machinery’. Released via Paul Back Music, it follows up on their 2018 concept album ‘Ouseburn’. Last time out, the focus was upon the artistic community in their hometown. This time, they have honed in on their experiences in the music industry.

Euphoria courses through the veins of this album. None more so than on the opening tracks ‘Louder’ and ‘Host’. The former injects the aching beauty of Chvrches with an unparalleled level of dynamism. Shedding light on being ignored as a woman in the industry, especially the live circuit (“overlooked and underbooked”), they combine the fire of punk with undeniable pop and sheer ecstasy that only electronica can provide.

‘Ghost’, plays with a tempo more but, musically, leads you to nirvana in scintillating style. Nights out, gigs, and looking back nostalgically are going to be soundtracked to the closing moments. Bea Garcia’s vocals are a behemoth in stature and the crescendo of drums thunder are brimming with a power that all should bow to.

The euphoria dissipates on ‘Vultures’ but, the powerful rhetoric skyrockets. It’s a vicious Primal Scream ‘Evil Heat’ era swipe at the Weinstein’s of the world for abusing their power. Anger and righteous indignation threaten to overflow as Garcia’s venom launches ‘chews you up, spits you out, he's a vulture’. The #metoo didn’t need a soundtrack but, it has one now!

It’s not all about the euphoria and lyrical polemic though. Twist Helix amply breaks the album up with the spoken word facets of ‘Festival Season’ and the instrumental ‘Transmission’. The latter taking Pendulum for walkthrough 80s clad ‘Stranger Things’ providing a moment to behold.

‘Machinery’ for all its power, perhaps lacks the true killer hooks to take them to the top of festival bills. However, it has a vitality and integrity that demands serious attention on the main stages when festivals are allowed to return. ‘Machinery’ and ‘Exposure’ begin to flirt with the universal appeal of The Killers in their early days. Might this album be their ‘Modern Life Is Rubbish’ or ‘100 Broken Windows moment? The riot before the masterpiece, only time will tell, but, our money is on yes!

*Image courtesy of Paul Murray Media

Red Rum Club - The Hollow Of Humdrum

Liverpool’s Red Rum Club follows 2019’s critically acclaimed ‘Matador’ with ‘The Hollow Of Humdrum’. The album is out now via Modern Sky UK.

‘Matador’ hit great highs (‘Angeline’ and ‘Would You Rather Be Lonely?’) but, it also fell flat (‘Calexico’ and ‘Casanova’). ‘The Hollow if Humdrum’ is a different animal altogether. Like a Charlatans album, it’s remarkably consistent throughout.

There is a striking vitality pulsating throughout. ‘Kids Addicted’ is bursting at the seams with Dexy’s pop radiance and the guile of The Coral. Meanwhile, ‘Vivo’ rattles along like a melodic bull in a China shop. In the year Ennio Morricone sadly passed away, it seems fitting Red Rum Club has fused his epic western soundscapes with their brand of punk.

In the past five years, Blossoms have been torchbearers for bands writing bona fide pop classics again. Red Rum Club is now hotly in pursuit with ‘Ballerino’, Eleanor’, and ‘Dorado’. ‘Ballerino’ cuts loose like Miles Kane but, with the more welcoming nodes of Orange Juice. ‘Eleanor’, is beset with the electro-pop romance of Robyn and is the greatest reinvention of a name you’ll ever hear. Whereas, ‘Dorado’ is a turbulent and unrelenting adventure set to ride off into the sunset.

In an era where albums seem to matter less, Red Rum Club has delivered one of the true classic opening tracks. ‘The Elevation’, combines their knack of writing party songs with a rock ‘n’ roll’s desperation to be heard. From the vocal cadence to the synth solo, it solicits your adoration.

‘The Hollow Of Humdrum’ is not a classic but, like a ‘Tellin’ Stories’, Tellin Stories’, ‘A Maximum High’ or ‘Life’, it’s will remain close to the hearts of many for decades to come.

Theatre Royal - Portraits

Medway's Theatre Royal returned last week to release their fifth album 'Portraits'. Out via Vacilando'68 Recordings, their ebullient pop music has already won high praise from Bonehead, Lammo and John Kennedy.

With life as we know it going round in ever decreasing circles, Theatre Royal's opener 'A Marvelous Death' is a triump of the human spirit as defiance oozes from its pores. With covid making the worst comeback since Take That's tax dodge adventures, the chorus “I wont let the outside keep me in / I don't want the undertaker stealing my sins” is certain to capture hearts and minds. In the same week that Cast's debut 'All Change' turned twenty five, they have channeled it's Mersey beat bombast and drawn a Churchillian line in the sand for everyone to unite behind.

Theatre Royal have so many single contenders across all five albums, you do begin to question them. Have they been taking performance enhancing steroids? Cut them, and they'll bleed pop hooks. The forlorn tale of political homelessness of 'Together We're Alone' is a lost George Harrison classic. Angelic and infectious, it jangles with supreme perfection.

Former single 'TV Blind' is the perfect bridge from their Mersey psyche classic '...and The It Fell Out of My Head' from 2017. Summoning the lusher side of The Coral circa 'Jacqueline', it tantalises you with the threat of a Who-esque eruption but, remains joyously in realms of guitar pop. Frontman Oliver Burgess' vocals sit eloquently between early angelic Liam Gallagher and Ray Davies' wistful 'Village Green' era.

There are moments where they play with psychedelia alongside their effervescent pop. The echoing vocals on 'Count Your Blessings' and sparkling production on 'Splinter' splice in variety that lifts them above most bands. Their adventure in the studio culminates on the sexy 'Callow'. Fusing mod sensibilities with Talking Heads daring. Prepossess idea on paper, landed with aplomb.

Five albums in, they show no signs of fatigue. The hooks keep coming, even Johnny Marr must be thinking “slow down a bit lads”. They instantly forge a path to your heart, but, the key to them is the depth of meaning. Their tales of British life bring the grit and wit of the big screen to life and prove, a working class hero is still something to be.

Asylums - Genetic Cabaret

Southend's Asylums have released their third album 'Genetic Cabaret' via their own label Cool Thing Records. After two stunning pop-punk albums, naturally, they stepped into the studio with Steve Albini. Has the man behind the glass for 'In Utero' , 'Rid of Me' and 'Surfa Rosa' produced another collaborative masterclass?

Songwriter Luke Branch, to date, has had moment of superb social commentary on 'Millennials', 'Joy In A Small Wage' and 'Homeowners Guilt'. Now, he has hit a level of consistency the political mess the world deserves. With Trump's sociopath traits becoming normalised and Boris running from scrutiny, Branch has found a consistent incandescence but always intellectual rage we can unite behind.

In the mire of Trump, Brexit, antisemitism, the rise of the far right in Europe, and ignorance of refugees, Branch received the joyous news he was to be father. This fueled the tension of his rage against the world he bring his child in to.

The thunderous rock effort 'The Distance Between Left & Right' builds this tension. Their archetypal sci-fi punk of 'Adrenaline Culture' creates a space for the politically homelessness to be exasperated. Meanwhile, 'Yuppie Germs' spits out a venomous deconstruction of the greedy Tory 80s tribute act nightmare we've endured for a decade.

Alarmed by the increasing generational divide and its fraught nature, the former single 'Catalogue Kids' (full review here) provides an anthem for the maligned youth of today. Empowering and righteous, it twists The Who classic 'Kids Are Alright' into a clarion call. Get angry. Get poetic. Form a band and strike out!

The raucous sonic subsides, mercifully, on 'The Miracle Age'. Gently shimmering in the shadow of Brexit, it looks for unity and integrity before erupting into Springsteen via pop-punk euphoria.

The album climaxes on 'Who Writes Tomorrows Headlines'. Woody Guthrie and Joe Strummer's eyes will glisten at this, what is, the finest punk sloganeering for a decade. Branch's lament of the press barons who pushed Brexit for their own ends, not the left behind is magnificent. Musically, it's their most complete work to date. The drums ferociously conjure images of outsiders standing their ground whilst, riff magician Jazz Miell strikes gold. His warped guitar parts and solos have found a new level of volatility and infectiousness simultaneously.

The new normal has become a phrase of late. If this album is theirs, the world has new heroes. Vitriolic, defiant, and unifying, Asylums are not their yet but, they've got a monumental stride towards a masterpiece.

The Blinders - Fantasies Of A Stay At Home Psychopath

The Blinders follow up 2018's album of the year 'Columbia' (full review here) with 'Fantasies Of A Stay At Home Psychopath'. Released on 17th July via Modern Sky UK, it was recorded at Manchester’s Eve Studios with producer Rob Ellis (PJ Harvey, Anna Calvi).

Columbia was an intense social reflection that laid bare the uncivil rest in a Trump and post-Brexit world. 'Fantasies Of A Stay At Home Psychopath' catches fire in a similar vein. 'Forty Days & Forty Nights' summons an unhinged Western villain to a blizzard of noise. 'Lunatic' (With A Loaded Gun)' bridges 'Columbia' to the present day perfectly. Anti-Trump rhetoric spews from their gut (“there are children in cages on Mondays pages”) on this fine display of despondent rock ‘n’ roll.

'Fantasies Of A Stay At Home Psychopath' sets out to achieve far more than just punk rock polemic. Enhanced musicality and character-driven songs emerge from the embers of 'Columbia'. The elaborate styles of ‘Tranquility Base Hotel & Casino’ and the romance of Bowie’s ‘Drive-In Saturday’ shimmer with pop glory on 'Circle Song' (full review here).

'Mule Track', inspired by a painting from the Imperial War Museum, disparately uses guitar parts like the Mary Chain to channel shorter but more resonating blasts. As they examine hell on earth as a concept, the twists and turns of Brian Jonestown Massacre unfurl in a whirlwind of drama. Meanwhile, 'Rage At The Dying Light' takes their rebellion for a messed up dance with Phil Spector and Joy Division.

Joy Division emerges once more on 'Black Glass', a monologue of a twisted introvert's descent, they deliver the album's moment of true genius! In the shadow of “no more experts” and an era where the facts can't be agreed on, this song will rattle your soul. The haunting keys sound off like warning signs to the impending doom of Pandora's box being opened. Despite the bilious world we live in, The Blinders conjure a 'The Chain' meets 'Transmission' solo to echo down the ages.

That guitar part alone could be enough to transform their fortune. Their cult status has been given a dose of something more universal but crucially, maintained all of their integrity. The world needed The Blinders angst in 2018. In 2020, with nuance almost extinct, they have begun to sew the fabric of society together again with this eclectic blend.

Siracuse - Forever

Cheltenham trio Siracuse have followed 2018’s ‘Control’ EP with their debut album ‘Forever’. Can they channel the intensity of the EP into the longer format and create a big future?

‘Control’, featured on the EP gives a firm answer to this. Yes. Viscous psychedelic guitars parade as weapons of mass destruction. Frontman, Ben Zakotti has hit a sweet spot vocally, nestling in between Tom Meighan and John McClure. This again occurs on the Twisted Wheel bombast of ‘Into the Night’.  

There are moments where the intensity and enjoyment remain but the originality slips. ‘The Keeper’, melodic and memorable, is, in essence, a Liam Gallagher solo song. Meanwhile, ‘Whirlpool’, was the latter-day stadium filler for Oasis that led to their slow demise. Even on ‘Forever’ and ‘Control’ when they find a fire, it’s too indebted to BRMC and Twisted Wheel alike for them to nudge the rock n wheel towards their identity.

However, ‘Forever’, has an innate ability to make you live in the moment. The wheel is not so much nudged and more skyrocketed. ‘Rebels’ shows Tony McCarroll just how ‘Bring It On Down’ was meant. Will Hall’s launches behemoth gunshots that will reverberate through your soul. Meanwhile, Zakotti’ s guitars are entrenched with a menace that demands attention.

Wall’s drumming again shines bright on ‘Love Stands Tall’. The frenetic pace conjures images of snake bite sodden indie dancefloors bursting into chaos. Zakotti’s astonishing licks capture the ‘There and Then’ era of Noel’s playing via Marr’s disco propensity.

A Primal Scream sense of maturity emerges on ‘Shadow Walkers’. Zakotti nullifies his vocals with lo-fi production and allows the band’s destructive take on ‘Barbarism Begins at Home’. To flourish.

Them, on ‘Loosen Your Grip’ and So Serene’, they offer the album’s true moments of ecstasy. ‘Loosen Your Grip’, vocally, is too reliant on the ferocity of Tom Meighan’s ‘Reason Is Treason’ and Liam’s ‘Rock n Roll Star’. However, it’s wrapped up in a feverish explosion of noise that is sure to create indelible memories.  

‘So Serene’, showcases an ambition and togetherness they can build live sets around. The hazy melancholy swirls until Zakotti’s guitar parts offer a stunning release of tension. No matter how much society regresses, cuts services, and denies a future to the next generation, bands like Siracuse kindle the seeds of revolution we all crave.

Siracuse is not looking to re-event the wheel but, they are looking to reawaken many of rock ‘n’ rolls facets that have been lost of late. Escapist, volatile and integrity will keep you coming back to ‘Forever’. Especially those moments where their identity is at its murkiest. Hope is born in those tracks that, if they can clarify their own vision, then something truly great lies ahead.

The Spitfires – Life Worth Living

The Watford three piece are back with their fourth album ‘Life Worth Living’. They have been an underdog success story for the past decade, selling out small venues nationwide with minimal backing. Having signed to Acid Jazz Records and, having Simon Dine (Weller’s cohort on ’22 Dreams’, Wake Up The Nation’ and ‘Sonik Kicks’) at the helm in the studio, they have said backing, can this be their entrance into the mainstream?

The Spitfires have been heavily indebted to the UK’s counter culture greats to date, especially The Jam. With their new high end mod backing, ‘Life Worth Living’ hasn’t ripped this formula up, it has seeked to enhance. ‘It Can’t Be Done’ merges the musketeer spirit of The Libertines’ ‘Fame and Fortune’ and the indie-dub of Hard-Fi’s ‘Cash Machine’ before unleashing a grandiose Blur-esque piece of orchestration.

There are moments of pure carnival spirit on the record which, keep the aforementioned archetypal sound fresh. Title track lacks a killer hook but, few parties would lose out from this unifying ska. Whereas, ‘Start All Over Again’, truly brings the party fire. The bombast of Spencer Davis Group and the majesty of Weller’s ’22 Dreams’ (the song) combine on this aggressive slice of funk and soul.  

Certain tracks, despite sonic advancement, diminish in power. ‘How Could Lie To You?’ departs for Tom Clarke glory but, never arrives. Meanwhile, ‘Kings & Queens’ is a bit flat.

This all pales into insignificance on ‘Have It Your Way’. The eloquence of George Harrison’s guitars, take the hand of Cornershop’s playful production, and dance like inhibited lovers. Often, The Spitfires offer you all their righteous glory in one verse. Here, they utilise the subtle build to perfection. The Johnny Marr via The Jam circa ‘The Gift’ solo leads the album to it’s one true moment of ecstasy.

‘Life Worth Living’ is not going to catapult The Spitfires to mainstream. However, there is a notable stride forward in musicality. It almost feels like another debut album. IF they can continue in this vein, they are sure to marry up their working class hero story telling with top draw musicianship.

*Image courtesy of Tony Briggs

Bugeye - Ready Steady Bang

South East London’s Bugeye are set to release their debut album ‘Ready Steady Bang’ on July 10th. Produced by Paul Tipler (Idlewild/Elastica/Placebo), it will be available via Reckless Yes.

After their line-up changes and signing to Reckless Yes, their quality levels soared. They began taking risks in the studio with Tipler and, they went from a band who worth a trip to Camden to, one with an eagerly anticipated album.

Staying true to themselves, their archetypal sound remains the bedrock of this album. Former single ‘Don’t Stop’ takes the fury of The Pixies and the pop of Blondie on what is, the definition of a sexy as fuck record. ‘Breakdown’ and ‘Shake and Bake’ both open with the warped seaside synths of The Horrors’ ‘Primary Colours’ before descending into a tale of debauchery. Meanwhile, ‘Blue Fire’ collides the funk of Chic with the dirty garage rock of The Strokes

Despite the musical influences of the US flooding this record, there is something quintessentially English at play. Cynical and dark relationships with booze and partners are often at play. ‘When The Lights Go Out’ launches you into the middle of a tale of alcohol torment via Supergrass circa ‘Life On Other Planets’. ‘Nightlife’ is an unreleased Blur gem that swirls in the haze of weekend escape.

On ‘Sunday Monday’, they have added themselves to London’s pantheon of socially observant writers. The wit of Albarn, the integrity of Weller, and the effortless cool of Frischmann are all present on this instant classic.  

Often, debut albums are a myriad of influences and a sign of what is to come. Bugeye though, having been touring places like the Astoria since 1999. Despite the long hiatus, they have hit an undeniable groove that DM’s are begging to stomp along to.