Fontaines D.C. - I Don't Belong

Dublin’s Fontaines D.C. returned this month with ‘I Don’t Belong’. It’s the opening track from their forthcoming album ‘A Hero’s Death’ – out July 31 via Partisan. The video was directed by the band’s bassist Connor Deegan III.

Consciously ignoring the resounding comeback album, they have tapped into a lo-fi Seafood meets Idlewild sound.

The song details both heroic and moronic cases of isolation. The first verse recounts the tale of a principled soldier rejecting his medal of commendation. The second verse shines a light on the bloke who erupts violence in the pub and can never be talked down. For the second verse, frontman Grian Chattan donned his Daniel Day Lewis hat and had a few beers before recording to emphasise the protagonist’s lack of clarity.

In an epoch of short careers, their emotive lyrics and innovation in drawing people’s attention are surely the blueprints to longevity.

*Image courtesy of Pooneh Ghana

Argh Kid ft Isaac Taylor – Dickhead DNA

Manchester’s Argh Kid, in the wake of the descent of the far right on London, wrote and recorded ‘Dickhead DNA’ in three days. Accompanied by Isaac Taylor, ‘Dickhead DNA’ is available on Bandcamp, alongside a powerful freestyled spoken piece about George Floyd and Argh Kid’s lived experiences in Manchester.

Vocally nestling in alongside Jason Williamson, Tom Meighan, and Preston Samuel circa ‘Brassbound’, this polemic offers up Specials-esque dub and spiky basslines from Arctic Monkeys debut. It culminates in all the great sounds of Britain’s counter-culture standing up for what’s right.

Unsurprisingly, the lyrics take aim at the Trump-supporting, sieg heiling all lives matters delinquents who equate patriotism to far-right nationalism. Undoubtedly, humanity needs bringing together right now but lines in the sand must be drawn and Britain First types shall not cross Argh Kid’s.

*Image courtesy of Rocklands

IDLES – Grounds

Bristol icons, IDLES, are back with their new single ‘Grounds’. Taken from their upcoming third album ‘ULTRA MONO’, and, will be released 25th September via Partisan Records. Produced by Nick Launay (Nick Cave, Yeah Yeah Yeahs, Arcade Fire) in Paris, does this mark a brave new direction for the band?

Their unique punk fury has dissipated but, their power has grown immeasurably. Frontman Joe Talbot, speaking of the track said:

“We wanted to make the sound of our own hearts’ marching band, armed with a jack hammer and a smile.”

Unifying society has never sounded this destructive. When Pulp called time on the Tories in 1996 with ‘Mis-Shapes’, it was ecstatic and exhilarating. IDLES have binned the clarion call and delivered a violent reckoning.

Despite lacking their usual energy, this single marks their entrance into a more thoughtful sonic realm. It has a vastness and a breath taking power they haven’t matched before. Roll on September.

*Image courtesy of Tom Ham

CALM - Is There Anybody Out There? / Something Changed

The DIY indie five piece are back with a double a-side ‘Is There Anybody Alive Out There?’ and ‘Something’s Changing’. CALM wrote both songs in lockdown and, was produced in Adam James’ (lead vox/guitars) bedroom, they both look at the effects on the human condition during covid19.  

‘Is There Anybody Out There’ is straight out of the pop masterclass book of Blossoms and the tropical vibes of Riscas. Every note is determined to be the pop hook that you fawn over. James’ vocals sit somewhere between Ride’s Andy Bell and Mark Gardner but, have the emotive immediacy of Night Café’s Sean Martin.

‘Something Changing’, indebted to Blossoms’ debut ramps up the intensity and takes a wander with DMA’s ‘Life Is A Game of Changing’. The synth driven anthem seeks to grasp the reflections of the Western world at present. They manage to reel in seismic discourse quite neatly but, poetically, this record sounds out of control.

Check back hear Friday 26th June to hear both tracks.

The Maitlands – Where Did It All Go Wrong?

Manchester’s The Maitlands released their latest single ‘Where Did It All Go Wrong’ last week. Recorded back in Janaury 2020, it is another single set to take on a new life of its own during the Covid19 pandemic.

With the ambition of Spector and the destruction of Ist Ist, The Maitlands are back. They’ve conjured another set of massive sounding riffs that traverse euphoria via the darkness. Detailing the digital race to the bottom should be a bleak affair but, they manage to find the human touch that is sure to resonate.

At the heart of this connection are Carl L. Ingram’s vocals. Switching from aching beauty of Matt Berninger (The National) and pop bombast of Harry McVeigh (White Lies), he manages to land some massive emotive punches.

The single excels in creating drama. The booming psyche guitars against the backdrop of modern technology in the hands of the greedy, creates the us versus the world mentality this generation is facing. Maybe

The K’s - Valley One

The K’s set This Feeling’s ‘Big In 2020’ alight in January and followed that up with sold out shows Manchester, Liverpool and Glasgow. This was there year!

Cue, covid19!

The Earlestown outfit’s inevitable rise to stardom has been curtailed. It’s not easy to survive in a band when Spotify pays you 7p for a million streams. These are more than testing times for the band and their fans.

However, on May 15th, they released ‘Valley One’ and proved they still have their finger of Britain’s cultural pulse. The solemn affair captures the aching isolation so many have endured:

“now I’m back home I am seeing your shadow from anyone”.

You’ll be hard pressed not to snigger at Dominic Cummings when frontman Jamie Boyle decrees “even Midas would find it surprising you’re out here devising a plan for me”.

Winston Churchill once said, “never waste a good crisis”. The K’s have used their diminished platform expertly here. This might still be their year yet!

*Image courtesy of Ricky Atterby.

Trampolene ft Pete Doherty - Uncle Brian's Abattoir

Swansea’s Trampolene, with a little help from their hero Pete Doherty, are back with their new single ‘Uncle Brian’s Abattoir’. Recorded during lockdown, it recounts the day front man Jack Jones picked up his cousin from an art class. His cousin had painted a world where animals and humans lived in harmony but, had mistakenly called it an abattoir.

Trampolene, to date, have either been aggressive indie rockers indebted to the Manic Street Preachers or, poetic masters of The Libertines Albion dream.

Here, they have visibly grown musically. Shades of light and dark and juxtaposition of childlike innocence and world weariness combine. Singer, songwriter and poet Jones embellishes on the tale of his cousin’s artwork with Blake-esque style of poetry.

Still inspired by Welsh music heroes, they have taken the psychedelic grace of Gruff Rhys. Poised and delicate throughout, they have struck upon a Rhys meets Unknown Mortal Orchestra tapestry. One, that, they should delve into much deeper in the future.

Harry Stafford - Gothic Urban Blues

Manchester’s Harry Stafford is back with his latest single ‘Gothic Urban Blues’. The title track from his critically acclaimed album. It was produced and mixed by Ding Archer and is available on his Bandcamp page.

The blues is not a genre that gets updated much. In fact, in many circles, it’s frowned upon. Stafford though, has hit the blues in face with a monstrous haymaker on his latest single. Effortlessly cool, it staggers his Mancuninan streets with the danger of Cabbage and the reckless abandon of the Mondays. Meanwhile, his Cave-esque vocals are accompanied by wandering basslines are beckoning the next Peaky Blinders soundtrack.

The album of the same name is out now via Black Lagoon Records.

*Image courtesy of Richard Davis

Death Valley Girls - Breakthrough

LA’s psychedelic occult punk rockers Death Valley Girls are back with their new single ‘Breakthrough’. It is to be the title track from their new EP due for release on the 12th June via Suicide Squeeze Records.

‘Breakthrough’ is about freeing oneself from an invisible prison. Inspired by Damien Echols of the West Memphis 3, they conjure the primordial magic of the Stooges and Black Sabbath via the smooth psyche of the Velvets. Despite the discourse, it’s impossible to escape the connotations of covid19’s grip on peoples mind-sets amid lockdown.

There is something beautifully simplistic to the guitar playing. Akin to Peter Green, everything has space to breathe and, flourish. The concise solos, perfectly encapsulate the short lived release of a daily exercise outside. Great for a brief period but, soon the familiar walls of home circulate both physically and, of any thoughts of escapism.   

Yet again, Death Valley Girls prove they are major innovators.

*Image courtesy of Abby Banks

Suicide Squeeze Records · Death Valley Girls - Breakthrough

The Wolfhounds - Can't See The Light

Artwork courtesy of David Janes

The Essex/London outfit have returned with the new single ‘Can’t See The Light’. Released via A Turntable Friend Records and, produced by The Meerkats, it will be taken from their upcoming album ‘Electric Music’ (released July 3rd).

A harrowing dystopian landscape is ignited from the discontent guitars and Membranes-esque bass throb. Although dank and darkly psychedelic, it has flourishes of Johnny Marr’s solo career. The tense melancholic mood builds towards an explosive crescendo but, in the same way Mark E Smith could, offers small nuggets of pop hooks to keep you coming back again and again.

So often, The Wolfhounds are casually written off as a band from the C86 era. ‘Can’t See The Light’ is the ultimate proof that, they are band for all ages, especially now.

*Image courtesy of Helen Golding

Mark Gardener & 2 Square - Chained

Ride have been in scintillating form of late. ‘This Is Not A Safe Place’ reignited the feverish love of the band and, their live shows were everything a Ride fan had ever dreamed of. Not resting on his laurels, Mark Gardener has returned with ‘Chained’. A collaboration with long-time friend 2 Square (Stephen Haeri) of French outfit Telepopmusik.

Gardener’s lyrics expertly recreate his demons from yesteryear. To integrity of the words and, the vocal overlays, create such tension, it’s hard not to find it all heroic. Gardener’s vocals are eventually emerging with an innocence; a firm reminder that the fog does lift and things do get better.

If Sebastien Tellier’s classic ‘La ritournelle’ is the main body of a river, ‘Chained’ is a small subtle estuary offshoot. The vastness and dynamism of Tellier may not be present, but it stacks in equal measure for beauty and honesty.

The single is available from Gardner’s Bandcamp page.

*Image courtesy of Steve Gullick

Springtide Cavalry– Save An Old Soul

The Folkestone four piece returned last December with ‘Collections and Demos’, a heartfelt gesture to their loyal fan base. Never a band to rest on their laurels, they recently premiered their comeback single ‘Save An Old Soul’. It’s the first of three to be released this summer, with, further material and gigs to come post-lockdown.

Any hesitation fans might have had, are swept away form the immediacy of this record. The youthful thunder of The Jam and aching fever of Feeder combine to make one hell of a comeback.

The Enemy always had the lyrics but, by album number two and beyond, they could never sound this muscular and vulnerable. This record is begging to be loved!  

This isn’t the return of a cult band. This is too vital. Aggressive, melodic and infectious, it can deliver to fans of Sleaford Mods and DMA’s alike.

Bugeye – When The Lights Go Out

At the end of last month, London’s Bugeye, released their latest single ‘When The Lights Go Out’.  Reunited with Paul Tipler (Idlewild, Placebo, Elastica, LIINES) in the studio, the single is available via Reckless Yes and, will be followed shortly by their debut album ‘Ready Steady Bang’.

With the filth and sexiness of The Stooges in their hearts, Bugeye unleash a ravishing disco punk anthem. The quirks and class of peak Sleeper and ‘Modern Life Is Rubbish’ era Blur combine with their indomitable punk spirit.

They always had the feel of a band you would love live but, not necessarily buy the record. Here, they have shown just what risk taking pioneers they are and, can go on to be.

The hugely anticipated debut is due out 10th July. Not to be missed.

The Crooks - In Time

Chesterfield’s The Crooks, recently signed to Golden Robot Records. Their first release on the imprint is ‘In Time’, recorded at Phoenix Studios, produced by Hamish Dickinson.

Artwork & image supplied by Foundry Music

Prior to the recording of ‘Definitely Maybe’, Liam was a good singer. Not a great one. He was reaching for his idol, Ian Brown. Twenty-six years on, Chesterfield’s The Crooks, have, to date, lent their songwriting to the escapist melancholy of Noel Gallagher. At the end of 2019, they released ‘Nevermind’ (full review here) and, ‘She Walks Alone’ (full review here) at the start of 2020. Both singles began to manoeuvre Noel’s songwriting alongside their own.  

On ‘In Time’, they have settled into that groove again. Crucially, their sound is the predominant one. Out of the colossal Burnage shadow, they stride. The guitar playing is beginning to shudder souls like Steve Craddock on ‘Get Blown Away’ and reach beyond the early dynamism of Noel.

In this time of lock-down, who among us can say, we haven’t stared out of the window and dreamed? Dreamed of partners in different cities, festivals, parents, lonely grandparents isolated and lonely? It’s a shit time for the soul. Step forward the lyrics:

“Cherish these days before its too late / If you could turn the hand yourself / Would you hold on to your world? / Would you change what you have done?”

To be able to pang those heartstrings in a moment of reflection and, fire out a global clarion call for change is a gift. The sense that, everything we hold dear is worth fighting for, during Covid19 is life-affirming. To so boldly, decree messages of radical change is life-changing.

Whenever this ends, get yourself to the Brudenell Social Club in Leeds for This Feeling’s Re-Wired.  

Theatre Royal - TV Blind

The time has come, once again, to find new words to say, Theatre Royal are effing marvellous! The Medway outfit released TV Blind yesterday. It’s taken from their 5th studio album ‘Portraits’, due out this summer. The single is available on their Bandcamp page.

The video (see below), a remarkable piece of art, was made by friend of the band Oliver, a 12-year-old. That kid is going places us mortals simply cannot imagine. Take a bow kiddo!

‘TV Blind’, although written before the breakout of Covid19, it’s aptly about the best laid plans. It’s hard not to be struck by the lyrics ‘But when the time comes to pass, you shrug off what you hold dear / Scatter brained, your mind interferes”’ The artists conscious, forever pulling against real life commitments is displayed expertly.

Sideburns Fanzine, 1978

With a discourse of life ebbing away from the big ideas you plan, it would be a melancholic affair. Theatre Royal though, musically, are so light of touch, they can turn anything into dreams of sunnier climates. Lyrically, they offer the chink of light this lockdown period needs:

“You’re back to square one and although it’s no fun / You won’t come to regret it in years and years and years”

This is the indie-pop equivalent of Shane McGowan’s inspirational page in the Sideburns fanzine.

Covid19 has shown us all, just how mortal we are. Theatre Royal, through ‘TV Blind’, has displayed how counter it. To live, to do, to create. We must all try. Few will hit the quality levels of Theatre Royal, but, on the day you die, you can say, at least I fucking tried!

Kid Violet – Revolution Eyes

Last month, Kid Violet released their latest single ‘Revolution Eyes’ via Pin Bade Records. It follows on from killer shows for This Feeling at The Water Rats last November (full review here) and Nambucca in January.

From the moment the ‘Reason Is Treason’ guitars begin, the world will cease around you. Something dramatic is about build. Nothing but the impending eruption matters.

When it comes, it’s more measured than first anticipated. However, it’s still irresistible. The sublime days of early U2 chime as Kid Violet ascend to the heavens.

At points, frontman Billy Cotter slots between Ian Curtis and Harvey McVeigh (White Lies) with his dank drool. When he cuts loose, he becomes more menacing than Yaris Philippakis and a more soulful Tom Meighan.

This is a sexy and dangerous record. Let it penetrate your soul.

*Image courtesy of Rhona Murphy

Cabbage – You’ve Made An Art Form (From Falling To Pieces)

It’s been a quiet period for Manchester’s Cabbage. Last year, they released instant pop classic ‘Torture’ (full review here) and then went to ground. Was this alt-pop gear change a one off, or was it a sign of things to come?

Their new single, ‘You’ve Made An Art Form (From Falling To Pieces)’ suggests it’s the latter. Their deranged guitars and, the spikiness of The Fall remain, everything else is cleaner, crisper, and ready for world domination.

The chorus is gloriously lifted from a 1988 episode of Coronation Street. It takes from a conversation between Deidre (free the Weatherfield One!) and Ken:

“I wonder what advanced state of dither we’ll find you in today, Ken, you make an art form from falling to pieces.’

Despite the obscurity, this is as accessible as Cabbage have been to date. Furthermore, their anarchic integrity remains intact. Someone unleash them on the mainstream now.

Asylums – A Perfect Life In A Perfect World

Southend’s Asylums returned in February with ‘Catalogue Kids’ (full review here). It slotted straight back into 2018’s high calibre ‘Alien Human Emotions’ (full review here). Can the second single, ‘A Perfect Life In A Perfect World’ up the ante?

All Artwork and images supplied by the band. DIY forever!

When recorded, it was an expression of not living in the moment. With the world in lockdown, it’s rapidly engulfing a sense of longing. For anyone without a garden, with their job, their business drifting out of sight, Asylum’s gothic punk ironically, has become the epicentre of sentiment.

There is so much emotion and raw power running through this single, it could have sound tracked ‘The Perks of Being a Wallflower’. It is, only a matter of time before Britain embraces them as national treasures. The ante is up!

‘A Perfect Life In A Perfect World’ is availble on the bands own record label Cool Thing Records.

Camens – Leave Me In Pieces

Camens are four-piece hailing from Stoke-on-Trent. They consist of Scott Powell (vocals), Josh Egan, James Corbishley, and Luke Brightmore. Their new singled, ‘Leave Me In Pieces’ is released Friday 17th April

Released Friday 17th April

In February, they released ‘Handbrake’it nudged the indie movement forwards by beefing up the sounds of Pete & The Pirates. This time round, they have upped the ante with a shove.

The pop immediacy of Two Door Cinema Club and The Wombats comes racing to the surface, but, Camens have something extra. Just a little splice of aggression, an uncertainty and menace lifting it to pastures new.

Scott Powell’s vocals, bitter, sniping and full of relationship bile are sublime. Despite the rage, you’ll be hard pressed not to laugh at the wry brilliance of “I don’t have a bendy toothbrush like you”.

Despite everything that’s going on, Camens are beginning to own 2020 with their boisterous, intelligent indie rock.

Children of the State - Big Sur

Doncaster and Bolsover outfit Children Of The State have released their new single ‘Big Sur’. It was produced by The Coral’s Ian Skelly at the iconic Parr Street Studios.

After a failed attempt of recording it Sheffield, they contacted jingle-jangle prowess of Skelly and boy, has it paid dividends. In similar fashion to the Medway scene of the 80s or, Scotland’s short lived Postcard Records, they are creating sun drenched visions from grey industrial surroundings.

The Sheffield influence of Alex Turner runs through frontman McCullagh’s croon. Meanwhile, musically, it owes more to the pop of Burt Bacharach and the subtle psyche of ‘Happiness Is A Warm Gun’ and ‘I’m So Tired’. That is, until the majestic solo from McCullagh, where he pays great homage jangle meanderings of Skelly’s The Coral.

Fresh from support slots with The Mysterines, Temples and Elephant Stone, it seems inevitable, once we’re out of this mess, that they go on to big things.