Darling Boy – Tea Drinkers of the World

Darling Boy is the creative machinations of multi-instrument Alexander Gold. Having already featured in bands with Carl Barat, films with Topper Headon, and musically directed the All or Nothing musical, Gold is already a star. His latest gift to the world is the single ‘Tea Drinkers of the World’, released on January 29th.

Not many singles can profess to encapsulate the last twelve months and remain euphoric! It’s balled up the hyper emotions of the Covid19 era and batted them away with ecstatic alt-pop joy.

Jagged riffs throb their way to your heart before the synths melt all cynicism away. Elements of Coxon and Super Furry Animals lurk but, this as fresh rock music has sounded, in a generation. It climaxes with thunderous guitars and a screeching cacophony of guitars, illuminating the desperate need to escape the wretched maze we find ourselves in!

This single has it all. Anthemic lyrics, raw emotion and bombastically pounding along at under three minutes. It’s not just what we need, it’s what the human race deserves. It’s less a cuddle, more the intense embrace we know is waiting for us out there.

Columbia – Waiting For You To Believe

Cardiff’s Columbia have released their latest single ‘Waiting For You To Believe’. Recorded at Kings Road Studios, it’s taken from their upcoming album ‘Embrace The Chaos’.

Decadent guitars join forces with the most robustly defiant vocal you’ll hear this year. In frontman Craig Lewis, there is a raging bull smashing away at the gate for freedom. Not many can carry the devilment of these guitars, in this instance, the guitars just about latch on to his behemoth spirit. When he wrenches ‘took too much and took it again’, the dark glow inside you will brighten. Whilst we care for his health, vulnerable but bullish rock stars are a depleted force.

After just ten seconds, a knowing wink comes from the lead guitar. Something special is imminent! Little gold licks flirt their way through this tale of debauchery. Then, from heaven, comes the divine solo. As though Richards’ devilment made its way into Stephen Stills’ soul in his Manassas period. Dark and satanic, it’s escapism at its best!

Their album ‘Embrace The Chaos is due out this Spring. With this kind of ambition and talent, it’s set to be one of the year’s underdog successes.

The Red Stains – Freezer Jesus

The Manchester post-punk four-piece have kick-started 2021 with their new single ‘Freezer Jesus’. After being championed by Tom Robinson and Tim Burgess in 2020, can they follow up on their early success?

The single is available on their Bandcamp page.

Their debut single ‘Mannequin’ was littered with post-punk bleeps and, ‘Freezer Jesus’ has upped the ante. The production and keys tentatively emerge before culminating in something far grander, akin to Bugeye’s thrill-seeking debut ‘Ready Steady Bang’. Escorting it there is a sexed-up bassline creating a groove worthy of Ian Brown’s lo-fi debut ‘Unfinished Monkey Business’.

Their attack on shopping as a release from boredom is one well-worn but, they keep fresh by adopting the position of a preacher in the closing stages.

In an era of such uncertainty, their unique and amusing take on the world is sure-fire to inspire new generations to pick up guitars and fight for their futures.

Tindersticks - You'll Have to Scream Louder

The Legendary Tindersticks have returned with a cover version of ‘You’ll Have To Scream Louder’ by their heroes Television Personalities. It’s taken from their forthcoming album ‘Distractions’, due out in 2021 on City Slang Records.

Back in June, with Cummings still at the helm and the cabinet increasingly showing themselves to be out of the depth, frontman Stuart Staples found TVP’s ‘You’ll have to Scream Louder’ stuck in his head. Buoyed on by the frustration of the UK’s failure to deal with Covid, he took to the studio to put his own take on the cult classic.

Staples has taken the anti-Thatcher rhetoric of TVP and retold it from a position of the elder statesmen passing on information to the next generation. Calmer, crisper, and funkier than the original, they’ve perhaps struck upon a clarion call to over 40s to reawaken their protest spirit at this abysmal government.

The focus and imagination on show here mark out ‘Distractions’ as a must-listen for 2021.

The Lutras - Give It Up For Christmas

When was the last genuine dent into the Christmas classic realm? The Darkness? Now, The Lutra’s have thrown their hat into the ring courtesy of ‘Give It Up For Christmas. All proceeds are split between Music Venue Trust (#saveourvenues) and Shelter.

It lacks that truly killer hook to take them into the leagues of Slade and Mud but, the gospel choirs and John Lennon meets Kyle Falconer vocals have it peeping through the window at the greats.

Humble, heartfelt, and crucially, fun, they take you on a frosty walk and arrive at a bouncing brass led party of joy!

It’s been a big and much deserving week of The Lutras. Not only this single, but they also featured on the Brits & Pieces compilation. Both signifying a bright future with much adulation coming their way.

Redwood – Honey Sauce

Redwood is the machinations of West Midlands multi-instrumentalist Ellie Williams. At the end of November, she released her latest single ‘Honey Sauce’, recorded at the legendary Rockfield Studios.

The opening moments do no justice to the power and pop prowess of this record. What tentatively begins as 6music fodder, soon sparks into something incredibly vital. Although musically worlds apart, it has the feel of an early track by The Coral. The kitchen sink is the first thing to be thrown as she twists and turns melodies inside out.

Lyrically, Williams is venting about a failed relationship that she lacked closure on. The mental torment of the line ‘I wish you’d get up and move out of mind’ rages with volatility that belies the sheer beauty of her vocals.

Williams may just be starting out but, this is the work of a third album national treasure.  

The Winachi Tribe - Time For Love (Dave Tolan remix)

Warrington’s Winachi Tribe arrived at the peak of Tory austerity. Their brand of disco grooves and love fuelled house couldn’t have been more aptly timed. Five years on, they have returned with a Dave Tolan (Primal Scream, Tears For Fears) remix of their debut single ‘It’s Time For Love’. Can they provide the tonic we’re all craving again?

Smiling through the tears, they keep on moving on. The guitars shimmering like Rodgers and Marr alongside the pop ecstasy of Donna Summer. Human League’s infectious production sparkles alongside a Sumner-esque solo. This is everything the second summer of love was about and more.

Frontman Liam Croker’s gravelly vocals give it a brashness that can only come from England’s North West. Tough but loving, he injects a working-class funk that was born to be adored.

Five years on, they have yet again provided the tonic. A hopeful bridge to lead us to the vaccine.

Ocean Flaws – Spirit Level

Essex outfit Ocean Flaws returned last month with their latest single ‘Spirit Level’. The DIY outfit had great success with their previous offering ‘Deep Sea Dreaming’, can they kick on?

This is pop music at its finest. Instantaneous? Check. Melodic? Check. Furthermore, like all the great top ten hits from the UK, it slips darker themes under the radar. Your parents will unknowingly singalong, while younger generations think about the descending love affair at play.

Bristling with the alt-pop of Blossoms, they intertwine sublimely eerie synths and heaven-sent vocals to provide a serious contender for single of the year. Callum Quirk’s vocals pay homage to Tom Ogden but never rehash. Quirk possesses a huskier devilment which, allows him to insinuate something more sinister.

‘Spirit Level’ was almost scuppered by lockdown one back in March. Thankfully, Ocean Flaws had the desire to power on and deliver a serious contender for single of the year.

Model Society - Are You For Real?

London’s Model Society have returned with their new single ‘Are You For Real?’. It’s the first from their upcoming EP ‘Entertainment’ via Kitchen Disco Records. Last time out, they delivered bona fide classic in ‘Public Service’, can they pick up where they left off?

Musically, they hit upon the oppressed realising they can struggle and break free of the chains. The guitars are bullish and unifying, but, are clearly in a fight, something we can all relate to.

Lyrically, it seeks to reject those of cultural totalitarian thought. A brave concept in an age where opposing sides seek to destroy rather than engage and enlighten. An aptly timed release with Biden’s election victory in tandem. Neither signifies a bright utopian future but, they are stepping back to consensus building and normality.

This is not the dizzying heights of ‘Public Service’ but, it gleefully sits in its slipstream!

The Institutes – All That You’ll Ever Know

The Coventry four-piece have been building a head of steam in 2020. Their escapist dreams ‘Alleyways’ and ‘Heal In Time’ have been championed by Lammo and, led them to sign with 42’s Records. Can their latest single push the envelope further?

With the pop hooks of Gigolo Aunts, they set out on a quest for meaning. Although isolated, they are never beaten into submission. The struggle leads them to the glory of 3 Colours Red’s ‘Beautiful Day’ and Feeder’s ‘Pushing The Senses’.

Andy Hall’s more aggressive guitars have drawn out something more vital from frontman Reid Currie. A desperation to be heard in a world falling apart couldn’t be more apt right now.

The Institutes are a band for right here, right now, and god willing, huge stages in 2021.

Columbia – Fat Catz

Liverpool’s Columbia have followed the up death defying ‘This Life’ and The Verve-esque ‘Nothing Left For Me’ with their new single ‘Fat Catz’.

Emerging from the sewer, ‘Fat Catz’ is dank and dirty, it’s the party you’re afraid of but know you must be at. Venomous guitars from the Manics combine with the viscous but melodic aspects of The Cult. All the while, Jonny Eccleshall’s bass and Jay Culkin’s drums combine on to create the hallmarks of a ferocious dance track. Jagz Kooner and Eddy TM must remix this!

Their third release has once again, sonically, shown off another side to the band. Lyrically though, they remain constant. Their tales of working class life anchor their outlandish tunes and are all the better for it.

Tourists – Another State

Torquay outfit Tourists have released ‘Another State’, the title track from their upcoming debut album (out Nov 20th). Released via Modern Sky UK, it was mixed by The War On Drugs and Diiv cohort Daniel Schlett at his Strange Weather studios in Brooklyn.

The blissful swirling guitars chime perfectly with the Grandaddy circa ‘Crystal Lake’ production. It takes the sun drenched joy of Real Estate to somewhere fuzzier and unbelievably, more carefree.

Sonically, with so much at play, you’d forgive them for sounding muddled but, like a sun setting on still water, they have conjured a simple beauty to marvel at.

For anyone desperate to escape Trump, covid or personal woes, ‘Another State’ is the artistic ticket to elsewhere you have been waiting for.  

The Kecks – All For Me

The Kecks are back with their new single ‘All For Me’. Released on the 23rd October, it once again saw the North West via Hamburg outfit link up with producer JB Pilon.

Sheffield has always produced great romantic song writers. Cocker, Walker and Hawley possess a romanticism tha now, the Kecks are tapping into. ‘All For Me’ unlocks the heart of Pulp’s ‘Dishes’ and Hawley’s ‘Coles Corner’ whilst flirting heavily with Bowie’s Berlin phase.

On the surface, there is enough warmth in the guitars to enrich the most broken of hearts. By the time of the solo, they will be dreaming of their wedding bells. Lurking though, is something more twisted and interesting. As front man Lennart Uschmaan sings of “take off your gloves and lay into my guts” and “you have got to have some stuff”, something darker bonding this love affair is clearly at play.

Uschmaan delivers such affection through his vocals that, you can’t help be sucked into this alternative love story. This is one hell of a return from The Kecks. May it long continue.  

Howie Payne - It Feels Like Summer

Back in late August, Liverpool’s Howie Payne returned with his new single ‘It Feels Like Summer’. The former Stands member is on the trail of his new solo album, due early 2021.

With Payne playing all the instruments, it should come as no surprise that this is a deeply personal record. The eerily tranquil opening serves up the expressive failure of the male identity.  

Set after the tough times, Payne utilises jangling guitars and heavenly Scouse vocals will be sonic perfection to fans of Payne. Underlying though is the torture he endured to display his gratitude and affection for those who stood by him in the tough times.

As the big key change lands, Payne delivers the lyric “how can I explain, all the things I want to say”. It will leave many a British man dead in their tracks. Hamstrung by their inability to talk, sometimes even be affectionate to their partners, Payne displays masculinity with supreme probity.

Once through this looking grass, Payne serves sheer ecstasy. Love and warmth ooze from every pore so much that, you’ll look back at those dark times in humble amazement they occurred.  

Nobodies Birthday – Shattered Dreams

Reading five piece Nobodies Birthday are back with their fourth release of 2020. ‘Shattered Dreams’, released 30th October, follows ‘Bridges’, Drift Away’ and No Place To Hide’ but, can it inspire escapism to the same level?

The Waterfall-esque guitars contrast with Dom’s robust vocals to create a glorious contradiction of shimmering guitars and a lyrical tale of life ebbing away.

There is robustness to this record we havent seen from the band before. There is a personal anguish when he decrees “leave it all behind leave it all behind / I don’t care for consequences” but, it lends the listener a defiance for the times we live in to rally around.

With the winter crashing down on the UK like a horde of White Walkers, Nobodies Birthday have delivered another set of guitar licks to cart you away elsewhere. However, it’s within the lyrics they begin to move to the next level. This tale, often forlorn and heart-breaking offers a hand of the canvas. It’s that flicker of hope we all have when turning the news on, is there a vaccine yet? No, well, maybe tomorrow.

*Image courtesy of Benji Walker

Bradford - Like Water

Blackburn’s Bradford, back in 1988 were handpicked by Morrissey for a support slot and then signed by Stephen Street to his Foundation label. Their wit, charm and kitchen sink drama pop songs were all set to make them the next big thing.

Alas, they found themselves in the unfortunate category of great songs, unfortunate timing like The Claim, The Orchids and Thousand Yard Stare. The aforementioned all returned in recent years and were met with sell out gigs and albums of critical acclaim. In this vein, Bradford have returned with their first original music in 30 years with new single ‘Like Water’.

With Street at the helm in the studio once more, Bradford’s relaunch begins where it left off. Social observations of the highest calibre. This tale of town centre characters is told with heart and never scorns. It’s this integrity which sets them apart. When its twinned with an effortless sonic flow, it becomes a joyous occasion.

Ian Hodgson’s lyrics have been affected by time but, never jaded. As he sings “everybody’s life runs out / like water”, it doesn’t dwell or recoil inwards, rather, they meander with que sera sera in their heart, pondering what might yet occur.

Ewan Butler’s guitars by no means take a back seat to Hodgson’s song writing. They lend the track the maturity it deserves. A sense of outward facing wisdom permeates throughout the crisp licks.

With their new album ‘Bright Hours’ due in 2021, a post covid world is set to see Bradford sell out many a venue with records this distinct and powerful.

Andrew Cushin - Where’s My Family Gone?

Newcastle’s Andrew Cushin is back with his latest single ‘Where’s My Family Gone?’ and, this time he brought his mates. Having forged a friendship with Noel Gallagher after his praise of former single ‘Waiting For The Rain’, Gallagher stepped in to produce, provide guitars and backing vocals. From demos to Virgin Records and supporting Two Door Cinema Club, Cushin’s rise is one of 2020’s music industry success stories.

From the moment took Ashcroft’s modern classic ‘They Don’t Own Me’ and channelled it through Gallagher’s aching,

It was inevitable Gallagher would become a kindred spirit. They share the ability to paint broken and battered landscapes with the merest of chinks of light to sow seeds of hope. ‘Where’s My Family Gone?’ reaches into the heart of Gallagher’s ‘The Dying of the Light’ and ‘Right Stuff’ and pulls out another aching gem.

Where Cushin departs from his idol and mentor is lyrically. Where Gallagher buried his family past, Cushin has opened his heart and, in a time of such despair, is highly welcomed.  

Noel’s influence is apparent to see, the ‘Riverman’ solo illuminates Cushin’s pain and the production begins to paint broader horizons for him to search. The past eats away at the mortals. For the greats, well, they turn into something we all want to follow.

Shambolics - Love Collides

With the world maligned and the arts being sold down the river by the short sighted Chancellor, hope and escapism are drifting out of site. As the dam is set to overflow and surge away for good, Alan McGee’s Creation23 stable is providing the glimmer we all need.

Leading his charge are Fife’s Shambolics. A string of shimmering rock ‘n’ roll meets Big Star singles behind them, they have returned their latest record ‘Love Collides’.

With Marr’s jangle set to drug fueled release, they channel their love of Fleetwood Mac into this sauntering pop gem. Behind the glory of the racing guitars lies a relationship clinging on for dear life. Its fingernails claw at the dirt as life’s pressures damningly swirl above all the while guitars howl with anguish.

Shambolics rise to glory is inevitable. Their effortlessness hits a mid-point ecstatic rush where nothing else in the world matters which, when, in a time when everything matters, might just be the most important thing of all.

Fightmilk - If You Had A Sister

Last Month, London’s Fightmilk returned with their latest single ‘If You Had A Sister’ via Reckless Yes Records.

Having built a solid reputation on the underground as a budding pop punk outfit, this offing marks a big shift in direction but not unwelcome. Lily Rae’s vocals have been a huge hook from day but, now, Stevie Knicks’ stardust emanates from her soul.

This is effortless pop worthy of early Madonna via Wolf Alice, Ash and ‘Tusk’ era Fleetwood Mac. It’s the perfect vehicle for its heavyweight message. Rae eloquently highlights, at best, the casual offense women have to tolerate all too often. Sadly, as the song grows to its crescendo of crashing drums and sublime solo, its apparent this is a worst case scenario of domestic abuse.

This new approach has catapulted their new album into the eagerly anticipated category for 2021. Few can walk the tightrope of integrity and bombast, Fightmilk just took an assured stride onto the said rope.

The City Gates - Siegfried 1969

The single is available on their Bandcamp page.

Canada's foremost post-punk cum shoegaze outfit The City Gates present their latest single 'Siegfired 1969'. The single is taken from their new album, due for release in the autumn on their own imprint Velouria Recordz.

The Cure's Gothic guitars get taken to dank landscapes not even they knew existed on this tale of art in East Germany. The track collaborates with Alexander Donat (Vlimmer, Whole & Fir Cone Children) and Francis Nothingwater (La Mecanique). Donat's grandfather was a famous pianist during the cold war era and it is he who is being compared to the Berlin Wall during this colossal noise stomp.

Despite their Canadian roots and German origins, at points, the warped thrust of Middleton's The Chameleons cut through its industrial power. The closing stages ignite into a brooding Depeche Mode via White Lies fire cracker that is simply undeniable; an astonishing force of pleasure.

If only all collaborations were like this.

*Image courtesy of Renee Coutlee