Sad Boys Club - Silverlined

Ever listened to the 1975 and seriously questioned their substance? Well, don’t bother anymore. Listen to Sad Boys Club instead. Their infectious Cure driven pop music may edge towards middle of road but is always a comfortable distance away.

The new single from the Crouch End outfit has that distinct Springsteen open road escape to it, similar their former label mates The Crookes in many ways. The pop breeziness of the music is the perfect metaphor for this tail of putting up social barriers to who we really are.

With a new EP due November 2nd, Sad Boys Club are surely going to be garnering a lot of interest this winter on this showing.

Calva Louise - I Heard A Cry

With a support slot lined up for The Blinders tour and their debut album due out February next year, the London three piece have a =big 6months ahead. Kicking things of is their new single ‘I Heard A Cry’.

Wolf Alice’s Ellie Rowsell raising the bar for what alternative pop music can be, front woman Jess Allanic is right on her heels with this vocal. Where Rowsell is fuelled with angst, Allanic has a wryness to her approach but is no less impactful.

With the spirit of Sub Pop Records in their hearts, Calva Louise have ignited their quest for glory in style!

You Can pre-order the album here:

 https://www.musicglue.com/calvalouise/merch-debut-album

Death Valley Girls - (One Less Thing) Before I Die

A big contender for single of the year comes from the LA five piece Death Valley Girls. Released on Friday 5th October on the Suicide Squeeze label, this is one minute fifty seconds of blood sweat and venomous victory!

There is a distinct flavour of Johnny Marr’s 3 solo albums here. Those big distorted but, insanely catchy riffs are firing out like desperate warning sirens. They’ve created a real sense of chase and escape on arguably the most immediate record of the year. Danger is coming for them and they couldn’t give a fuck.

Lusts - True Romance

The psychedelic brothers are back and, their blend of motorik and New Order has hit the ground running. Their groove of psychedelic pop music is becoming indelible on the grey UK landscapes of this decade.

 'True Romance' steers Lusts towards the fine work of Sumner and Marr's Electronic era. With the melodic ease of 'Forbidden City', it swirls away like a hazy festival afternoon. What is setting it back from Electronic's greatness are those killer hooks. Neil Tennant's vocal on the chorus of 'Disappointed' or the melancholic melody and power of Marr's synth work on 'Forbidden City' have echoed down the ages. 'True Romance', doesn’t quite grab that brass ring.

 For most, to be mentioned in the same breath as Tennant, Sumner and Marr is enough. For Lusts, we suspect they want more. The talent is clearly their, could this autumns new album be the one?

The Assist - Lost

So often, when a guitar movement sparks to life, it’s closely followed by one intrinsically linked to dance music. After C86 came Acid House which spurned The Farm’s ‘Spartacus’, the Primals’ ‘Screamdelica’ and The Mondays’  ‘Pills Thrills and Bellyaches’ albums. As the Arctic Monkeys cashed in on The Libertines’ demise, Bloc Party opened up a world of possibilities, combining guitars with Breaks from the Balearics.

 As punkadelia gets into full swing with The Blinders and Cabbage both releasing albums, Walsall’s The Assist, have fired the first shot to open guitars up to the escapist climates of Ibiza once more.

 ‘All I Need’ combines a soulful Sean McGowan meets Jack Penate vocal with floaty riffs and a brand of psyche music which oozes “love”. The perfect pop antidote to the punkadelic dystopia. Their reflection of the confusion and isolation of their early 20’s will be felt by this generation perhaps more than any previous. It’s this level of detail and substance which could catapult them to the bosom of the UK.

 The aged old story of boredom and yearning for escape, continually provides the platform for bands to spring off. On ‘Exist’, they add themselves to this long list and, if it was good enough for Blur, Hard-Fi and The Enemy, it’s good enough for anyone.

 Much like Sisteray, they are hell bent on reviving the classic sounds of 00s bands who have been too often overlooked for their influence. They’re taking the psyche and funk of early The Twang further than their Midlands counterparts ever dared on ‘Love’.

 With their feet in the recent past, many may question is this the originality needed to drive guitars back to the mainstream consciousness. However, when a spirit is this pure and driven, ignore it at your peril.

The Black Roses - El Diablo

In May, London's Black Roses opened up for the mighty Trampolene at the Scala. This weekend, they return with their new single 'El Diablo', will this be the first step on the road to headlining such a prestigious venue?

To date, their singles have been a series of charismatic indie rock numbers, inspired by the heavier side of Arctic Monkeys. 'El Diablo' however, sees them in a new twisted groove. The wobbles on the guitar lend themselves to Pil, The Cure and The Horrors.

The haunting chorus of “Struggling /To be perfect /Those Nights / Are they worth it?” heightens this new found style. The need to be heard and loved colliding with futility of life is delivered, with an alluring aloofness by frontman Anthony Johnson. It raises more questions than it answers which, in an age of social media all but eroding rock musics mystique, is a welcome return.

Slow building songs need that moment of release or euphoria. Between Stevenson and fellow guitarist Richard Jones, they provide a solo to do just that. As they watched The Blinders at the Borderline recently, you wonder whether their light bulbs flickered. The Blinders and Cabbage's sense of depravity consumes this solo but, Black Roses have provided a mid paced clarity to it. Oddly, removing the Eoghan Clifford (Cabbage) and Thomas Haywood's penchant for violence lifts 'El Diablo' into an eerier realm. Like Alice from Luther, no matter how disturbing she gets, the appeal only grows.

As the groundswell of new bands grows in 2018, The Black Roses have gone from solid support act to big players with this new direction.

Model Society – Public Service

Model Society first emerged in 2011. Passion and promise were apparent and, like many before and since, their influences were on their sleeve but their own clarity was yet to be defined. They had Blur's wry social comment, Oasis' sense of ambition and Buzzcocks punk via pop delivery.

On the comeback single, premiered by the legendary John Kennedy on Radio X, Model Society have merged their heroes. Lyrically, Damon Albarn's observations have aligned Noel Gallagher's melody and retained the bite of Pete Shelly. For the most part, the sweeping rock n roll production intrinsic to Noel's career combines with a punk sentiment but, during the solo, the more expansive elements of punk (Television & Spear of Destiny) shine brightest.

This is not a single normally associated with a band yet to release their debut album. This is three albums in stuff. It's a huge cinematic piece which serves both as a clarion call and blissful liberation simultaneously.

Theatre Royal - All Fall Forward / Better Say Goodbye

“Not everyone grows up to be an astronaut / Not everyone was born to be a king / Not everyone can be, Freddy Mercury......but on the day die I'll say at least I fucking tried”

Eulogy, Frank Turner, 2011

Four albums in, Kent's Theatre Royal are well established without being, well established. They have honed a Go-Betweens via the classic Medway of their forefathers. Their back catalogue is littered with “should have been” alternative pop singles. Alas, it hasn't happened.

Undeterred, the Medway boys are back and at it again with their new double a-side. 'All Fall Forward' chronicles theirs and, many other bands plight at present. The lack of chance and backing available, their discourse of “takes us nowhere / nowhere fast” seems all the more resounding.

'Better Say Goodbye' has a directness and an effortless that newcomers will undoubtedly say “haven't heard tunes like this for a while”. Whilst the sun still shines, the free flowing guitars allow for that extra spring in the step.

Both tracks fleeting and light of touch, the romance of Kerouac's 'On The Road' is almost tangible. The underdogs capture his yearning for something meaningful in this life. Their quest, for now, is beset with the tragedy of almost but not quite. With John Kennedy and Steve Lamacq onside, that breakthrough is surely imminent.

All Fall Forward / Better Say Goodbye, an album by Theatre Royal on Spotify

Delights - Naked Heart

As they gear up top play the Wheels and Fins festival, Manchester's Delights have offered up their most pop friendly single to date.

There self-titled EP, released in 2017, showcased their indie credentials with nods to Foals and Real Estate. Here though, with precious weeks of the British summer left, Delights have set their sights on pure radio friendly pop music. The light and breezy drums set the platform for a solid if not unspectacular indie love song. However, having written and performed it themselves, don't hold out much hope of radio airplay.

That said, this fledgeling band have hit a level worthy of radio consideration here. If they are to be wrongly rejected, here's hoping they go away angry and bitter to return with something they cannot deny.

Naked Heart, a song by Delights on Spotify

Death of Guitar Pop - Ska Is The Bollocks

Does exactly what it says on the tin. Oh, you want more, OK then!

Following last years terrific debut album '69 Candy Street', the former rock n rollers from States of Emotion members are back. Yet again, they're delivering another fine slice of pop music.

This story is part true, part tongue cheeck and all pop gold. Except for the use of the word 'bollocks' of course. That said, it is, this is, so no fake news here. It's a nailed on dance and singalong classic for their ever growing live audience.

James Baxter - Auto Erotic

A darkness has set in for Southampton's James Baxter. Themes of ageing and helplessness have swamped this talented song writer, a muse which bodes for a bitter listen.

Travelling and long summers breed endless dreams when you're young. When these fade to reality and work, it can be an all consuming time. For Baxter, escapism appears to have long past. When Scroobious Pip rapped “just a band”, the reality of natural born talent was exposed as a myth. A myth which, Baxter appeared to believed in himself until a ruthless moment of self-reflection:

“In essence I am just as fucking useless / I've realised that's no one's special no ones different / We're just bags of fat and bone and sinew”

A bleak affair yes, but the promise in this honest song writing breeds hope for Baxter and, in these bleak times, its an apt tonic.

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/