M O S E S - Cause You Got Me

After an explosion of promise in 2016 and 2017, the London four piece underwent some testing times. So often, when a band loses this early momentum they fade away. So, when the London four piece announced their new single ‘Cause You Got Me’, TT was anxious, would come back fighting?

From the first guitar lick, we don’t know why we worried. The opening use of a solitary guitar riff rattles and frays, building a tension that is due to cause an imminent explosion. Merging the intensity of Savages and the psyche of Bo Ningen, the band have found a formula to light up the live circuit once more.

Walking the line of intense realism and joyous escapism is arguably the toughest to walk. However, it feels like the rightful home for this band, long may they reign!

Pre-order the single here:

https://itunes.apple.com/us/album/cause-you-got-me-single/1415226228?app=itunes&ign-mpt=uo%3D4

The Mojo Filters - Spark

“Well, have you got the heart / To dig us out / Of this hole we find ourselves?”

The Birmingham quintet pose the only question worth answering on their new single ‘Spark’. The answer, categorically yes!

Many try to combine psychedelia and soul, many fail. The Mojo Filters walk the line of rock excess and wholesome soul music with aplomb. The rasping bass lines just keep on grooving whilst the psychedelic guitar parts lurk dangerously. That is, until the solo comes crashing over the horizon! It’s as though John Squire, Steve Craddock and Leeds legends The Music have just had the best night out of their lives together.

James Baxter: The Water Rats, London

The world doesn’t need any more young men with acoustic guitars being nice. Thankfully, James Baxter is taking a leaf out of Tom Williams’ book. With a wry and acerbic wit, he took to the Water Rats stage on Tuesday evening.

Baxter’s songs, especially when accompanied by his guitarist and keyboardist, adopt Crosby, Stills and Nash harmonies but with a sense of brooding rather than love. 

Ironically, the brightest thing Baxter displays is his darkness. There is a bitterness to his observations about social media and politics that brings the aforementioned Williams and the early days of Frank Turner to mind.

Similarly to the godlike Billy Bragg, he combines social politics with his personal life. It’s this combination which could make Baxter a staple of many record collections in years to come.

Frank Tuner - Be More Kind

Frank Turner’s road to Wembley Arena was a long but a rewarding one for everyone who had rooted for the punk rock underdog since day one. However, much like Oasis at Knebworth, you wondered whether it could go on meaningfully. Commercially, it has, two big selling albums and big sell out tours but, the feeling of insurgency felt somewhat diminished. Could he relight the fire on new album ‘Be More Kind’?

No one should be grateful for a world that now has Trump, Farrage, Brexit, Grenfell, Royal indulgence, Windrush, working class tories, a growth in anti-Semitism and a general sense of bitterness as the status quo. Nevertheless, it has focused Turner’s song writing. The Spark is lit!

Opener ‘Don’t Worry’, is a gentile ode to like-minded progressive souls that, to not have the answers is not a reason for giving up. Whereas, ‘1933’, turns to his classic sound to kick against the pricks as Johnny Cash would say. Crucially, on ‘1933’, Turner injects his punk rock sense of fun and unity. No one said the rebel alliance couldn’t be fun!

All this said, ‘Be More Kind’ is not all fire breating punk energy. Far from it. There is a subtley and nuance to the song writing not witnessed before. Album title ‘Be More Kind’ is a Springsteen road trip in 3rd gear combined with Celtic folk. ‘Don’t Worry’ and ‘Get It Right’ have all of Turner’s instincts for the righteous and a better future. However, they’re delivered in a sombre and reflective mood. The fight clearly hasn’t gone, but the approach is certainly changing.

Anyone concerned that his blend of folk and punk has diminished needn’t worry. ‘Blackout’, sits perfectly in the middle of the two has a pop music gem. ‘1933’ is classic raging against the machine and ‘21st Century Blues’ is an update on Bragg’s classic ‘A New England’.

There was a time when Turner came under attack for not nailing his political colours to the mask. Well, a line in the sand has been drawn. It’s amazing how every generation needs someone to remind everyone about love. From John Lennon to Arthur Lee to Joe Strummer to Bernard Sumner, song writers have continually embodied a collective sense of togetherness. For now, it is Turner’s time.

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Sisteray -Algorithm Prison

The first time we saw Sisteray live, they had punk songs and they had rock n roll songs. They were good but, it felt a marrying of the two would lead to great things. This is what new single ‘Algorithm Prison’ does.

Lyrically, it snarls at the apathy that technology obsession breeds, especially in their home city of London where life is 24 hours if only you join in. Toss in Niall Rowan’s righteous Charlie Harper and Nicky Tesco vocals and you’re into banger territory.

Musically, it does being the merging of their punk instincts with a broader rock n roll escapism. The guitar riffs and solos, whilst angst ridden are deftly kissed with a sense of freedom. The juxtaposition of this style with a lyrical assault on the willingly downtrodden breed’s life into an indie/punk scene so often concerned with love stories.

The Mu-Tones – Slab City Records

The MuTones, fronted by Marion’s Anthony Grantham, are a three piece from Manchester. ’Slab City Records’ is their debut single and will be released on Ugly Man Records on 30th June, supported a launch show at Jimmy’s Northern Quarter the same night.

The thunderous bassline carts you to their garage rock realm instantly. Through Grantham’s big hitting riffs and melodic vocals, ‘Slab City Records’ delivers a hard hitting but accessible form of pop music. Its fire and fury reek of hand carved tattoos reading ‘Blood, Sweat & Tears’, a loyal following is inevitable.

The backing vocals during the chorus bring a touch of Phil Spector’s girl groups to this relentless Iggy ‘Raw Power’ thunderbolt. As debut singles go, this is a great statement of intent.

Johnny Marr – The Tracers

The comeback single for Marr’s approaching third solo album slots right back into the groove he left in 2014. This time around, there is a sense of dread looming large within his guitars and lyrics.

Lyrically, this could easily be an indictment of the times, mirroring the fall from grace from so many tolerant societies. Marr’s tracers are the Farage/Trump-esque vultures cashing in on the social divides and are expertly reflected in Marr’s modern guitar take on Wire’s early days.

‘The Tracers’ is the sound of the lost being chased in a dystopian nightmare. Despite this, Marr flawlessly finds a way of including some ‘oooo-oooos’. This juxtaposition provides the glimmer of light this heavily shaded banger needs. The pop music king lives strong!

Miles Kane - Loaded

Kane’s solo career, has never really ignited. He has delivered electric live shows but, continues to live under the unfortunate tag of ‘Alex Turner’s mate’. Will new effort ‘Loaded’ be the breakthrough?

The gentile opening verse is reminiscent of ‘Out of Control’ and ‘Fire in My Heart’ from his second LP ‘Don’t Forget Who You Are’. That 60’s tinge of Scott Walker and Burt Bacharach looms large and, this time, there is an almost Kiedis like vocal.

As ever with Kane, the richness of the sonic is high. This kind of 60's pastiche is so often overlooked but, this kind of warming melody combining with the warped guitar blast would be a refreshing shot in the arm for daytime radio.

Manic Street Preachers - Dylan & Caitlin

Just what is there to say about the Manics anymore, oh we know, they're still fucking great, especially at duets!

It’s an imagined conversation between poet Dylan Thomas and writer Caitlin McNamara (parts sung by The Anchoress) during the booze sodden marriage. Musically, it harps back to a glorious age of 60s pop music. The opening has more than a nod to Chris Farlowe’s ‘Out of Time’ and closing moments are drenched in the warmth of Phil Spector’s wall of sound.

The conversation though, is not quite so heart-warming. The hopelessness and desperation of love so volatile is a brutal listen, especially when Caitlin pleads “Dylan don’t leave me behind / Love has divided and died / Beauty still shines in your eyes / America, corrupts your mind”. The emptiness will fell the coldest of hearts, but, with the production, Bradfield’s sol and especially his vocal, there is a sense of hope to cling to.

As Bradfield and The Anchoress unite on the chorus, the line “I never meant to believe in you”, you can’t help but feel the world wasn’t supposed to believe in the Manics. Thank god the world did.

Check the track out on Spotify here: https://open.spotify.com/album/5dGSib0ToOIUpvird1FTzv

Image Source - Alex Lake: http://twoshortdays.com/

The Blinders - Gotta Get Through

From the most anticipated debut album of 2018 comes the lead single ‘Gotta Get Through’.

The Doncaster trio have built on the punkadelic riots of 2017 and added one vital ingredient, sex! This throbbing mess of lust and brutality viscerally entwines like the passionate Skins love trio Cook, Freddie and Effy.

As ever, The Blinders have a deeper lying message. Despite all the danger, a sense of hope burns brightly throughout. Signifying that, to know lightness, darkness must first ensue is another step on a furious psychedelic journey not to be missed.

Photo Credit: Nidge Sanders

Arable Desert – Chasin’ Everyday

In 2002, The Libertines reignited the rock scene with their decadent punk rock. The Coral, often tour partners at the time, produced weird and wonderful 60s psyche music. Could the same dynamic materialise between Doncaster’s The Blinders and London three piece Arable Desert? Let’s hope so.

Their new single, ‘Chasin’ Everyday’ takes 60s R’n’B and funnels it through warped guitar riffs and solos. It has a peculiar juxtaposition of perpetually swirling out of control guitars and sense of being trapped simultaneously.

Comfortably the most exciting thing they have produced to date, Arable Desert look to be on to something with the splicing of soul and psyche. Be sure to check them out at Dingwalls, May 18th.

Image Source: Ben Crank

Matt Edible & The Obtuse Angles - Jumping Houses

Hull’s cult hero Matt Edible is back, and yet again, provides challenging pop music for the alternative community.

This ballad, meanders from psychedelic synths to languid vocals like a glorious drunk walk home in the wee hours. Edible’s vocals have always had a touch of James Dean Bradfield about them but, here, his caution to the wind attitude witnesses a departure from that traditional delivery.

Despite the ethereal production and adventurous guitars, Edible still embeds great melody and pop sensibilities into this short epic. It appears nigh on impossible for experimental yet poppy efforts like this to garner recognition nowadays, but, this should only fuel your love it more. Cherish it like the best mate your parents have never been sure of.

The Blinders - Brave New World

The desolate psychedelic outfit have come up with the goods once more on this punk via glam and psyche music stomper. Musically, its perhaps the most honed they have sounded to date, but fret not, all the danger has not evaporated.

This time, it’s staunchly in the lyrics as they venomously pull apart world and its leaders as it currently stands. The best references however, are unsurprisingly aimed at the Donald. The sarcasm is heavily laced in the chorus ‘oooohhhhhh to be / from the land of the free’ and the label ‘Idiot King’ is one which will stick around for a long time.

Happy 4th July. Fuck that, this is The Blinders and their coming to rip down dystopia as we know it!

Whistlejacket - Slam Dunk

Lovers of all things psyche, New Cross’ Whistlejacket are back and this time it’s seriously dreamy.

‘Slam Dunk’ is a sleepy as it’s possible to make guitars. Whilst a stark departure from their triumphant EP, ‘March Hare’, it does nothing to halt their march to glory.

Amidst the blistering heat this week, the woozy guitars and hazy production are the perfect tonic as everything grinds to a sweaty halt. In particular, the looping guitars in the final moments create a sense of blissful nothingness.

Kevin Pearce - So On

In 2017, where opinions are so dialectically opposed, and aggressively so, you have to question where Kevin Pearce’s latest offering ‘So On’ fits in.

It’s steeped in the English folk heritage of Fairport Convention and Pentangle during the verses. Where there is Kevin Pearce, a form of folktronica usually looms large. Here though, its minimal but, the blending of the two genres has never been this seamless.

There is a swelling of bands at present, full of rage and teenage angst, and rightly so. On ‘So On’, Pearce goes beyond instinctive polemic and lurks in the shadows of ‘work of art’ territory. It’s a stark reminder that music can create new realms and lift consciousness to higher planes.

Queensburys - Won't Shut Up

The Essex outfit have released their debut single ‘Won’t Shut Up’ via Label White Room, home of TT favourites States of Emotion.

It wastes no time in punching out its big bluesy riff to compliment frontman Thomas Champion’s new found gruff soul-rock vocals.  

Big guitar hooks have become a dirty phrase of late, a backing track here and a keyboard, not on this single! The guitar part leading into the chorus is awash with escapism and akin to Oasis’ shimmering ‘Columbia’ and the trippier work of The Verve’s Nick McCabe.

If that wasn’t enough, then the solo from George Brown is going to satisfy your needs. It has the hallmarks of Ride’s classic ‘Like A Daydream’ channelled through Peter Green and QOTSA.

Childhood – Californian Light

Following their terrific debut album ‘Lacuna’ in 2014, the Brixton outfit return with sure signs of reinvention.

Their new single ‘Californian Light’, is from their forthcoming second album ' Universal High' and is a a great stride towards Philly soul. Fans of 'Lacuna' will not be left wanting though, it blends the soul with their trademark psyche-pop.

The crisp soul vocal from Ben Romans-Hopcraft sits somewhere between Love's Arthur Lee and Marvin Gaye on his 1971 classic 'What's Going On' album. Hopcraft has the ability to reel you into a warming soul arena and then, in a heart beat just drift away with an aloofness. It's the perfect tone for Childhood's sun drenched sound in a world that is struggling not destroy itself.

If the standard of 'Universal High' is like this, well, Childhood could quite possibly unite the musos and the mainstream.

The Blinders – Ramona Flowers

Anyone who has seen The Blinders recently will attest to the fact that the times they are changing. Fuelled by the political climate, the three piece from Doncaster via Manchester bringing punkadelic toe forefront of the UK scene.

Their latest single, 'Ramona Flowers', is powered by brooding and violent guitars, bridging the gap between psychedelia and Nirvana's 'About A Girl' and 'Love Buzz'. The results are spectacular.

'Apathetic but inviting / She's amazing / You're amazing / Hell raising' drools frontman Thomas. The slow and slightly deranged delivery will lead you down the dank backstreets of the most exciting city.

This year's festival scene has been put on red alert with this single. With their venom and visceral brilliance, The Blinders are going to crash the indie party which, has become far too safe for its own good.

Odina – Why'd You Make Me Cry

The London via Barcelona singer-songwriter is back, and she is on stunning form. This slice of melancholy is as morbid as it is beautiful.

Everyone has questioned the actions of a loved one like this, but, most of mortals have lack the purity of Odina’s vocals.

To date, Odina has written about toxic relationships and depression, and once again the darker aspect of her soul is getting airing here. However, the early Bon Iver guitar style, enriching horns and dreampop production will never fail to raise spirits.

Theatre Royal - ...And Then It Fell Out Of My Head

The Rochester outfit are back with their fourth album 'And Then it Fell Out Of My Head'. They have been a secret for far too long, but, with backing from Steve Lemacq, this record seems set to spread their message far and wide.

Despite their lack of coverage, their confidence has certainly not diminished. It is an album packed with potential singles (if only people bought them). So, its only fitting they lead off with the former single 'Port Bou'. It bristles with their archetypal Mersey-psyche sound and has the feel of a beloved underdog.

'Locked Together On The Lines' recalls the tale of frontman Oliver's Nan finding a dead sailor and prostitute at Chatham's war memorial, The Great Lines. Every facet oozes brilliance. Vocally, the human touch shines through on what is a tragedy. Sonically, the guitars blend the breeziness and haziness of The La's with the pop instincts of The Bluetones.

The real star though is the lyrics. They build the intrigue immediately with brilliant opening ‘did he woo her / did pay her’. Prostitutes are so often viewed as second class citizens which, is deftly portrayed here with anonymity:

‘a sailor lay with a stranger now frozen in time’

This album’s real success lies with 'Standing In The Land'. The bravery alone to talk about fear and confusion over refugees should be applauded. The opening line will stop all in its wake:

“it seems clear to me / how can we be free/ when there is dying in the sea / Because of you and me”

Usually, the social comment is reserved for political angst or sub-cultures in full flow. This goes one further and relays an actual conversation with the accessibility of Gogglebox. It's laced with anguish, guilt, and regret, it is a triumph of inputting pure feeling into a song not seen since Primal Scream's 'Damaged'.

At times, on 'Teardrop' and 'Will Someone Please Write Me A Song', your left with a sense that their magic has waned somewhat. Upon further reflection, it's a testament to how many potential singles they have. Few can deny the brilliance of the harmonica on 'What Has Become of Me', witty lyrics, and the dejected isolation projected in its closing moments.

Theatre Royal may not be new, but with this album, they have certainly arrived.

The album is out now. Find it on their Bandcamp page here:

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