Spangled - Good Life Better

Manchester’s Spangled, charged up from ‘Tramlines’ and primed for ‘Y Not? Festival’, are back with their new single ‘Good Life Better’. Produced by Gareth Nuttal (The K’s, Lottery Winners), the track is released by This Feeling Records.

There’s rock ‘n’ roll like ‘Live Forever’, which is the purist of escapist dreams. Spangled are in the same cosmic sphere but here, they occupy a more intense personal realm.

The shimmer of Shed Seven’s ‘Long Time Dead’ combines with the heartfelt poetry of MOSES which takes them to the precipice of a Knebworth or Reading headline slot. For all those who gazed on at Liam this summer, step aside now, it’s their fucking turn!

As Johnson sings "All of the scars in my soul are gone" and the Soundtrack Of Our Lives guitars chime, their big stage destiny is so tangible you can smell it. It screams hope to all teenagers unable to wrench out their pain, but has the ambition to take dreamers with them too.

In an alternate reality, Nicky Wire would have written the great sloganeering here for Richard McNarama and Youth to produce. The eloquence of DMA’s is given an injection of British aggression via Ben Johnson’s vocal roar whilst Jamie Haliday’s guitars stray from the harrowing goth of The Cure to the grandiose of The Who.

‘Good Life Better’ is more than just a rock ‘n’ roll epic though. It’s a tribute to frontman Johnson’s father who tragically passed away after their triumphant Isle of Wight Festival set in 2021. If Johnson ever tops this vocal, the world is in for something special. The pain he wrenches from his soul is astonishing, but it is the ecstasy and hope he emits which is truly astounding. At his lowest point, Johnson manages to lift others up around him. There can be no consolation for the loss of a parent. We only hope that, knowing one of his last acts alive was to see his son with his best friends doing (and succeeding) what they love to do. No father could wish for more.

 *Image courtesy of This Feeling Records

Theatre Royal – 1994

Medway’s Theatre Royal recently supported the Human League at Rochester Castle. To celebrate this triumph, they released the lead single ‘1994’ from their EP ‘Beneath The Floor’.

The single & EP are available from their Bancamp page.

Johnny Marr is the undoubted king of riffs. However, loitering behind him are the guitars of Oliver and Robert. Single after single they find a new way to bring mod revival and c86 glory into the modern world. ‘1994’ is no different. The warming guitar parts alongside the dazzling brass conjure images of Graham Coxon joining Orange Juice. Meanwhile, the solo fires out from Steve Cradock’s majestic OCS cannon circa 1996.

The use of brass (Chris Kingman) is not new for the band. To be in full carnival mode is though. It’s the perfect accompaniment to this tale of an erratic friend. It places the wayward soul in the middle of a party they most likely should never have arrived at. The edge of darkness lurking beneath the celebratory atmosphere is a joy to behold.

‘1994’ confirms we’ve known for a decade and what Louder Than War professed perfectly:

 “why the fuck are they not really famous?”

Marseille – The Jungle

Derby’s Marseille have been on a hell of a run in 2022. Debuting at the Isle of Wight festival and playing Pride Park to name a few landmarks. Last week they returned with their new single ‘The Jungle’, out now on all platforms via Away Day Records.

Artwork courtesy of Karl Shaw - https://www.silverbirchcreative.com/

The day of release was one of celebration for the band but, for music lovers, the tragic loss of Paul Ryder was tough to take. A week on and, the loss still stings but, ‘The Jungle’ has served as a timely eulogy for the Mondays’ funk master. The new single locks in a Ryder and Mani-esque killer bassline and builds a baggy classic around it. Once it combines with the funk and flair of Mark Day’s guitars, the tribute is complete!

Coincidence aside, this is a single of unswerving talent and ambition. ‘Fools Gold’ it is not but, the spirit of the Roses looms large. A steep trajectory awaits and evidently they have the skill to get there.

Today marks the anniversary of the Hammond genius of Rob Collins. Marseille have celebrated the present with a nods to Manchester’s baggy past. Meanwhile, there’s a cloud with Ryder, Collins, and Liam Maher having it to ‘The Jungle’.

*Image courtesy of Jason Bridges.

Lucigenic - Joy

Manchester supergroup Lucigenic returned recently with their latest single ‘Joy’. It was recorded at Far Heath Studio with Mike Bennett (Fat White Family, The Fall, Ian Brown) producing and Angus Wallace engineering.

Artwork Photo credit : Olivia McCaffrey/Rachael Flaszczak / Dylan (Fried Banana)

In 2021, they released the ’Hope’ and ‘Still Breathing’, reacquainting themselves with many of rock music’s classic moments from the 70s and 80s. A method that takes some courage with so many ready to sneer in the modern world. On ‘Joy’, they double down on this methodology. Does it pay off?

Lucy Davies taps into her Stevie Knicks and Patti Smith power at times but, it’s the little punky Siouxee or Ari flourishes and the Louise Wener whispering refrain that truly captivate. Mark Refoy’s guitars range from the shimmer Marr to the ecstatic Mick Ronson to the pop splendour of Bolan. Meanwhile, drummer Dave Barbarossa has that Mick Fleetwood or Terry "Bandsman" Howarth appeal which, no matter the vocals or solos in play, just make you want to air drum like a child.

It should come as no surprise this trio has this ability. However, it’s the childlike spirit that makes it great. This is the sound of friends laying their teenage record collections bare. From the Banshees to Fleetwood Mac all the way up to the Rob Collins inspired keys, Lucigenic have reimagined their past to produce a melodic rumble that few can match today.

*Banner image courtesy of Sonic PR and Trust A Fox

The Native - Changes

Plymouth’s The Native are back with their new single ‘Changes’. It was produced by John Cornfield (Oasis / Stone Roses) and mixed by Grammy Award-winning Adrian Bushby (Everything Everything).

Sam Fender’s positive influence on the UK guitar scene is laid bare in this new single. The infectious jingle-jangle is met with a breathy melancholic vocal in the intro. The injection of Tom Lumley-esque fury not only alters the song’s trajectory, but it also propels the band beyond any feeling of Fender parody.

The dramatic shift in urgency is the perfect sonic to this tale of standing tall. Whilst frontman Charlie Noordewier vocals strike a superstar accord, this record shines because of its gang mentality. Its chest-beating power comes with open arms, join them or be a naysayer, the choice is yours.

The us versus the world aura they conjure is truly intriguing. Most do via escapist riffs or some visceral polemic. The Natives walk the more dangerous tightrope of painting with broad brushstrokes. One way lies The K’s, The Jam, and Oasis, the other direction be the beige of Keane, Foals, and latter-day Coldplay. The Natives, interestingly, sonically have more in common with the latter but, the spirit of the former keeps the edges harder and their lyrics razor sharp. As Noordewier decrees “I can only do so much / I know the world is tired but at least just try”, images of those two tribes coming together formulate poetic images in the mind.

This Is War – E.T.A

June has struck which means, another new single from Liverpool’s This Is War. As the band embarks on a single every month, they serve up ‘E.T.A’ this month.

This time out, they embrace their funky mod souls and fire out Steve Craddock licks alongside their natural raw power. Craddock’s work with Weller on the underrated classic ‘Heavy Soul’ and the more recent ‘Wake Up The Nation’ come out to play with the effortless cool of Jonathan Richman.

Their previous singles have tended to see one member or certain sections of the band step up for their moment in the sun. Here, a togetherness builds on record to match their live spirit. The layers of guitar parts feed in and around the great bass hooks. Paul Carden’s vocals turn full power on but, only fleetingly to allow the mod beats to reset and begin their infectious shuffle once again.

This Is War is firm proof it’s about the journey, not the destination. 2022 is a year of release experimentation. It’s a roll of the dice that is proving more than fruitful for them. ‘E.T.A’ serves up new textures and a depth not yet seen from them. There’s so much here to admire it is a certainty you will return for more.

Rainn Byrns – Never Ending Story

Peckham-based Rainn Byrns returns on June 10th with his new single ‘Never Ending Story’ (via Futureproof Records). It Follows last year’s EP ‘Country Living’ and precedes his new album due later this year.

Writing the drudgery of working day repeat has a become a fine UK tradition in UK counter culture. The Jam’s ‘Smither-Jones’ offered us an insight into the pretense working-class folk can break the glass ceilings, The Coral turned up the darkness on ‘Bill McKai’s train journeys whereas, Sleeper’s cannon filled in the gaps with the relationship and sex of these characters types (‘Inbetweener’ being the finest exponent).

Byrns has thrown his hat into the mix with ‘Never Ending Story’. With nodes of country and bluegrass, Byrns takes from ‘Sgt Peppers’ and The Kinks to paint pictures of a hopeless slacker. Spiritually, it beds in alongside ‘Importance of Being Idle’ with the protagonists growing sense of lethargy and alienation to success:

“Every waking day I’m painfully conscious that I’m fading away”

Whilst splicing in the laugh out morbid haplessness of Morrissey:

“Can’t find my soul in the lost and found”

It’s firm proof that Byrns, with the pen at least, belongs in esteemed company lyrically. Musically, Byrns hasn’t nailed the standout single of this writing lineage. It’s a more beloved album track than career-defining 3min alt-pop.

However, anything with a country-tinged Graham Coxon solo and ragged Jay Jay Pistolet vocals deserves everyone’s attention!

*Images courtesy of Futureproof Promotions

The Office for Personal Development – Do It All Over Again

Despite the incompetence and lies of no.10, one government office continues to its positive output. The Office for Personal Development have returned with its new mission statement ‘Do It All Over Again’. It was recorded and produced by Jesus at ODP HQ in Bexhill-on-Sea

Seemingly inspired by the blonde narcissist, the protagonist has adopted a messiah complex as they traverse the supermarket's cold meats and detergent aisles. Alas, this character is beset with doubts (“Or am I gonna fuss and fret away yet another fine day”) a trait our bedraggled goon could barely conceive.

‘Do It All Over Again’ is available from their Bandcamp page.

Musically, they move away from their modern take on Pet Shops Boys to the quainter and quirky areas of indie and dance. Lemon Jelly’s innate sense of fun infiltrates the effortlessly cool Computer Love era of Kraftwerk. Although more subdued than previous efforts, buoyant pop bombast akin to Junior Senior still lurks.

We only write about music we like. We see no point in highlighting things we hate. However, with OPD, it feels irrelevant. Objectively they are the best put-together pop outfit since Lady Gaga. Fully formed characters, intriguing narrative, fine costume, and above all, great singles!

Marseille – Might As Well Be Mine

Derby’s Marseille returned last Friday with their debut EP. It centers around their new single ‘Might As Well Be Mine’ written by their frontman Will Brown and produced by James Singleton. It also features the previously released ‘Forget It All’ and ‘She Knows Her Place’ from our New Band Spotlight section.

Artwork courtesy of Karl Shaw

As with ‘She Knows Her Place’, ‘Might As Well Be Mine’ taps into the heady party spirit of Oasis’ ‘What’s The Story…’ era with its ‘Step Out’ vibrancy and ‘Round Are Way’ debauched party vibes. The raucous rock ‘n’ roll celebration culminates in the scintillating guitar part. It fizzes with the early excess of Steve Craddock and others and drags the beauty of Lee Mavers towards the punky psychedelia of Noel’s early live work.

Despite the hedonist sonic, they eloquently conjure images of the fallen rock star who wants to recapture their humble beginnings. In these stark financial times, it’s a protagonist few would tolerate in public life. However, it’s hard not to fall in love with the character’s spirit. To go on the journey again from nothing, from youth to working-class triumph is a choice few mortals would ever turn down.

Marseille not only have the escapist rock ‘n’ roll to take them on their journey, but they also have the intellect to do it with a uniquely creative perspective. They are taking Weller and Davies’ fully formed characters’ narratives to the full-throttled nature of Oasis and it’s a joy to behold.

*Image courtesy of Jason Bridges.

This is War – Mona Lisa

Liverpool’s This Is War are embarking on a single release a month in 2022. Their 4th instalment released in April was ‘Mona Lisa’.

Like all three previous singles, their rhythm section is on point. Grooving like The Beatles circa ‘Rubber Soul’ with the fierceness of Dr. Feelgood. The beat and mod instincts infiltrate the licks and bass hooks to make this 2022’s coolest record of the year. While everything is sounding slick, frontman Paul Carden finds a soulful rage, almost despair to launch his powerhouse vocals. It takes the record from cool to vital!

It is though, the solo where the true greatness of this record resides. It’s a glorious update on the ‘Taxman’ and ‘Pretty Green’ style/ In fact, the one thing it misses are those exact reference points. It’s as though Mick Jones wanted to rewrite the guitar parts of both songs in his indomitable style. 

This Is War have, so far produced 5 fine singles. They seem to be able to turn their hand to all eras of counterculture and find a new take on them. Here’s to the next 6 singles!

The K’s – Hometown

The Earlstown quartet returned recently with their new single ‘Hometown’ to support their near sell-out tour. Formed in the wake of watching The Jam, they have been tearing it up on the underground and in support slots. Could this be their breakout moment?

Hissing with hope, ‘Hometown’ roars its way to the hearts and minds of music lovers once more. The joyous rebellion of Slade and the everyman appeal of The Courteeners lurk but, this is the sound of the band entering their pomp. They’ve been defining their identity through aggressive but caring and humble tales and, now, they’ve hit upon the most accessible single to date.

Slade’s unifying debauchery hooks up with the Phonics early tales of local boys and big-time drinkers to ignite The K’s inevitable rise to main stages. Like The Simpsons or Scorsese, they walk the tightrope of underground art and mainstream appeal with an effortless. From Breslin’s stadium-sized riffs to Boyle’s poetic fury, this band with fierce polemic looks to unite the world.

On paper, as the protagonist “empty’s all his wages / Into the pockets of the boys he hated / When he was at school”, you’d be forgiven for feeling exasperated. However, The K’s have The Rifles and The Jam’s skill of making aggression and the downtrodden sounding lovingly Goliath to the point that, you’d throw yourself into the trenches for the character to fight alongside him.

Politically, this country is bankrupt. Liars, cheats and the inept fill the top 2 seats. The apathy towards them is yet more depressing still. The K’s are not Billy Bragg. They’re not standing dialectically opposed to them. However, what their brand of rock ‘n’ roll does is, breathe life into moribund souls. They put under the skin of those who are bored and down. They’re going to escape their woes; will you follow them into the light?

*Image courtesy of Songbird PR

This Is War – Ecstasy

Liverpool’s This Is War are back again with their new single ‘Ecstasy’, which follows the Clash-inspired ‘Nightclub’ from last month. Can they keep their fine run going?

Bewitching vocals at times, drawing from Jim Morrison whilst drummer Martyn Leah smashes on through to the other side with his ferocious and apocalyptic drumming.

Through Andy Williams’ bass, a throttling sense of entrapment clouds the mind. Holding you in a state of purgatory until frontman Paul Carden and guitarist Johnny Roberts relieve the pressure. Carden turn’s on the soul power in the closing moments with nods to Tom Meighan on ‘Fire’ and Roberts’ guitars are the touch paper to something far bigger than their means.

Their last four songs have all offered something different, all something irrepressible. There is a growing sense that, their upcoming album could pull together something far-reaching but with chest-beating power.

Cleargreen – Messiah

Manchester’s Cleargreen were in the ascendency before the pandemic. They were wowing This Feeling audiences across the UK on the ‘Big In 2019 tour’. Many had attempted to blend Oasis and The Roses, they were only true successors.

Then the pandemic hit. Nothing. Not a peep. Many, us included, feared another working-class talent had fallen by the wayside due to financial pressures.

Then, from nowhere, the second coming. A fitting term for the new single ‘Messiah’ on many levels. On previous singles ‘People’ and ‘Gone’, there was a sense of hunger, a desire to grab life by the horns and make it better for themselves. It was, unequivocally exhilarating. ‘Messiah’ is a different animal.

If the Roses hadn’t been hit with a lawsuit after ‘Fools Gold’, this surely would have been their next single. Mike Wilcock embodies Reni’s flair on the drums whilst lead guitarist Josh Haworth takes the roll of Squire’s funked-up Hendrix licks. Not only does Haworth adopt this role, but he’s also achieved what mid-90s Squire couldn’t be concise. ‘Messiah’ is condensed into less than three minutes, redefining what a psychedelic single can be.

Pre-pandemic, anthems like ‘People’ and ‘Stargazed’ were littered with dazzling moments on the guitar. They were always offset by frontman Ali Staley. He had a great skill to let the audience into their genius through his everyman appeal. That spirit remains but, overriding this is a defiance and righteousness that wasn’t present before. The pandemic hit us all hard, now Staley is here to lead the fightback for the people with his newfound snarl.

For many, the last two years feel lost to a sense of nothingness. In Cleargreen’s case, it’s been totally worth it. They have come back in the mood for success but, moreover, more talented than ever!

Berries – Wall of Noise

London trio returned earlier this month with their new single ‘Wall of Noise’. Recorded and mixed by Antony Smith at Big Smith Studio it was released on the iconic Xtra Mile Recordings label.

Image and artwork courtesy of Sonic PR

‘Wall of Noise’ bravely tackles mental health issues. It poignantly portrays the nagging voices and the exhaustive cerebral fog this brings about:

“The wall of noise / Threatens to leak all the things we don't see / Distorted voice /Blink and it's gone but for now it lives on.”

Rather than just serving up platitudes to raise awareness, they have taken aim at us all who do so:

“Conversations inflate / Spread it on sure / But don't leave it here / As it may interfere / Because we wait / Patient irate / Unsociably perfectly placed”

Their pain and fury are set to a gloriously destructive set of Bugeye basslines and Cribs-esque licks and the righteousness of Liines. It continually threatens to explode, the perfect soundtrack to those who are suffering. When it does erupt, the solo takes on the angst of Sleater Kinney, the power of The Breeders with Yeah Yeah Yeah’s “fuck you” attitude.

Their debut album is expected for release this summer. Here are their live dates:

Mexican Dogs – She Cries Blues

After supporting Jamie Webster on his sold-out tour, Liverpudlian rockers Mexican Dogs are back with their new single ‘She Cries Blues’. Produced once more by Andy Fernihough, it was recorded at Liverpool’s 3rd Planet Studios.

‘She Cries Blues’ is available on the Bandcamp.

There is, seemingly a lot at play here. However, it is never confusing, only desperate for your attention which, it will inevitably grab! The soul power of Shed Seven’s great comeback ‘Room In My House’ is met with nodes of disco and truly scintillating glam rock guitars to make it an instant hit.

Frontman and lead guitarist Gary Wilcox star continues to burn bright. His guitars have the prowess of The Black keys and the rock ‘n’ roll desperation of Soundtrack of Our Lives in the early stages. It is though, in the closing stages where he unleashes a siege mentality with the gargantuan strut of The Datsuns ‘Harmonic Generator’ and vitality of 22-20s. Meanwhile, vocally, he slots in-between Marc Bolan and Peter Hays (BRMC) to produce his best work to date.

Click the image for tickets to their live dates:

Skylights – Outlaw

Artwork by Paul Evans. Courtesy of 42’s Records.

Off the back of sold-out shows in their home cities of York and Leeds, Skylights are back with their third single ‘Outlaw’. Released last Friday via 42’s Records, it was recorded (&mixed) by John Greatewood and will feature on their upcoming debut album ‘What You Are’.

The Instantaneous energy of The Clash and the dark power of The Cult roar into life. Nodes of glam rock and Happy Mondays wobble psyche-guitars lurk with intent to lift this ode to Aberdeen fans.

It’s a stark contrast to the windswept Feeder-inspired anthem ‘Darkness Falls’ and the colossal spiralling guitars of ‘Enemies’.

*Image courtesy of Mark Tighe & 42’s Records.

The evidence is stark, ‘What You Are’ is shaping up to be the underdog album of the year!

Click the image below for tickets totheir upcoming gigs:

JWP Paris – Electric Candle Light

Fresh from their Leave The Capital tour, JW Paris are back with their new single ‘Electric Candle Light’. Recorded at Buffalo Studios. It was produced by Kula Shaker cohort JB Pilon and released last Friday via Blagger Records.

‘Electric Candle Light’ is a tale of nostalgia and yearning for better days but, is musically rooted in the present wave of punk! Danny Collins’ twisted and deranged guitars look to The Kecks with hints of Shame to conjure a future of lawlessness which, oddly is incredibly appealing. The nihilistic psychedelia combines with the resounding hook akin to Sleeper’s classic ‘Inbetweener’ to make it truly irrepressible.

The Blade Runner scenery is enhanced by Collins and Forde’s vocals as they inject raw aggression into the joy of James McGovern (The Murder Capital) and add a snarling immediacy to Opus Kink’s Angus Rogers.

Intense, yes, but it’s riddled with great pop sensibilities. The soft vocals before the climactic end, the big bluesy riffs, and, the incredible synth solo all serve as a reminder of what alt-pop can be.

As powerful as PJ Harvey and as unhinged as The Fall, JW Paris will surely wow crowds on tour with The Skinner Brothers.

*Image courtesy of C24Photography

Thousand yard Stare - Measures

After the success of their comeback album ‘The Panglossian Momentum’, fans may have feared that Thousand Yard Stare had said everything they needed to. Fortunately, the hunger remains as they return with new single ‘Measures’. It’s part of a run of four singles to be released via their Bandcamp page.

The harder edges of ‘Heimlich Manoeuvre’ and ‘Action Stations’ return on this tale of principles and the struggles to maintain them. The volatile riffs are continually threatening to boil over, the perfect accompaniment as Stephen Barnes outlines the joy in taking a stance and then the tension to hold the line.

‘Measures’ has a great directness, bullish but never throttling. It’s also imbibed with the carefree spirit of ‘Version of Me’. It serves to reawaken their younger angst in the opening stanza:

“It’s the measures that you take to define you / It’s the measures when you tie up loose ends / It’s the measures that you take to align you / It’s the pleasure in the message it sends.”

As the song roars to a close, clutching the early years of the band close to the heart become more joyous with the lyrics “It doesn’t matter how you arrive here / Just be sure that you are here at the end / It doesn’t matter how you arrive here / Take pleasure in the message it sends”. Their sage advice to new generations of punks doubles up as a reassuring to the elders who may have lost their way.

Since the ‘Deep Dreaming /Stargazing’ double EP return, they have not rested on former glories. The hallmarks remain but, the sprinkling of Grandaddy synths and the ferocious wall of sound continue to push Slough band on.

Long may it continue.

Gazelle – Magic Carpet Ride

Leicester’s Gazelle have returned with a brand new single ‘Magic Carpet Ride’. Recorded at Hope Mill Recording Studios, Manchester, it was produced by Matt Cotterill and the video features the iconic Danielle Watson (Trev, This Is England).

Their last material was released back in 2019 ad it saw them on blistering form. ‘Guilt Trip Gun’ was death-defying and ‘Finger on the Trigger’ was social commentary destined for big stages. If There was a criticism, it was their lane that remained full throttle which masked their great lyrics too often.

Upon return, the bombast and relentless flow remain but, now they spliced with the glory of Spencer David Group’s ‘Keep On Running’ and the affection of The Isley Brothers. The romance of 60s Motown is put through the prism of gritty UK life and, with lysergic Johnny Marr guitar licks lurking, has found a fuller sonic which will inevitably launch them towards bigger audiences.

Gazelle head out on tour next month. Click the image for tickets:

This Is War - Nightclub

Liverpool’s This Is War returned yesterday with their new single ‘Nightclub. It follows last year’s anthems ‘Autumn Savage Rose’ and ‘Sugar’. Can it match their standard?

In a similar vein to ‘Autumn Savage Rose’, it’s in your face from the off without being particularly explosive. The riff has The Clash’s ‘Should I Stay or Should I Go’s stop-start style which, is taken for a walk on the wild side by bassist Andy Williams. His bassline takes the sexed-up disco-punk of The Slits ‘Heard It Through The Grapevine’ to the edge of Yeah Yeah Yeah’s power.

Frontman Paul Carden steps back from the bombast of the previous two singles to deliver a great Rod circa The Faces vocal for the most part. Carden moves from Rod to the beguiling psyche howl of Jim Morrison which allows for Roberts’ remarkable solo. Roberts finds a way to make Cream sound like a post-punk band.

Everything about this record screams danger. The kind tentative souls yearn for. The ilk of which, once you’re sucked in, you’re never leaving!