Peter Hall – In Plain Sight

Nottingham’s Peter Hall follows the critical success of his debut album ‘Light The Stars’ in 2021 with the new single ‘In Plain Sight’. It was recorded and self-produced at his Daisyland Studio and marks the first run of new singles.

In Plain Sight is available via Bandcamp.

Hall’s vocals touch upon the pristine pop of Sice and the dogged beauty of Howie Payne on this cinematic pop gem. Hall’s vocals alongside the orchestration conjure a sense of wonder that can only come from a soul in love.

The carefree abandonment Hall journeys on are beset with so much joy that, you’d be forgiven for thinking it was literary nonsense (a la Lewis Carroll). However, luring beneath the sparkle is a man determined to look inwards and become easier to love. It adds depth to the musical splendour that Mick Head would be proud of.

Head rears his creative soul once again on the solo. Hall takes the windswept beauty of the Pale Fountains for a waltz with Weller’s gentle playing on ‘True Meanings’. It creates a glorious world of fantasy and love to indulge in.

Hall has not just returned, he has well and truly arrived as one of England’s finest songwriters.

This Is War – I Don’t get It

Image & artwork courtesy of the band.

Liverpool’s This is War are back with their new single ‘I Don’t Get It’. It follows their blistering ‘Pyramids’ and ode to Dylan ‘Exile Pet’.

This Is War have proven they can produce all sorts of tracks this year. It is though, in attack mode that they come alive. Launching into jagged riffs from The Jam and The Clash set the tone for what becomes a fine homage to 00s post-punk.

Vocally, Paul Carden brings the lo-fi power of The Strokes’ ‘Take It Or Leave’ to the fore before imparting great melody with his Rod-esque gravel in the closing stages.

The excitement of The Strokes’ ‘Is This It’ is never far away from this anthem but they don’t stop there. It joyfully explores many of the bands that The Strokes helped launch post-2001. The angular licks have the art school power of Franz Ferdinand and The Departure and the punk of The Rakes cult classic ‘Retreat’. This spirit combines with the ragged glory Kings of Leon debut as if they were played by the Jarman brothers circa ‘New Fellas’ and ‘Mens Needs, Women’s Needs, Whatever’.

It’s a thrill ride to the credible bands that plugged the heartache of The Libertine’s demise in the mid-00s to lift the scene back to dizzy heights. Carden’s former band The Black Velvets were criminally overlooked during this period; thus, this song has a cathartic justice to pulsing through it for fans of him then and now.

Make no mistakes though, this is not rehashed nostalgia. This Is War have yet again recorded something vital that feels as live as it can possibly be in the studio.

Marseille – Freedom

This Friday on ADR Records, Derby’s Marseille release their new single ‘Freedom’. In 2022, Marseille have dropped the angelic ‘Forget It All’, and the trippy ‘The Jungle’ which was followed up with a fine remix from Vega Rally. Can they keep the momentum going?

From the off their newfound five-piece status is reflected in the enthralling and debauched sonic. Tom Spray’s drumming begins with Tony McCarroll’s rawness before metamorphosing into the flair of Gaz Whelan and Reni.

Through frontman Will Brown, there is a window through which mortals can peer into the band’s soul. Offering his best vocal to date, he hovers above the siren-like guitars like the pied piper of noise and confusion.

Lyrically, they’ve condensed the spirit of The Enemy’s debut album into five minutes of ‘Definitely Maybe’ meets ‘Stone Roses’ escapism. Written about their home city of Derby, they encapsulate large pockets of the UK who used to feel but now know they’re left behind. For those old enough, they will be flung back to a time when we had libraries, leisure centres, and sure start centres. We had hope!

For The Enemy, they arrived just in time to get paid. What have the music industry or any creative industry for that matter offered the working classes since 2010? A gormless reality tv no mark perhaps. Thank the heavens for guitars here. They drag the baggy-mod vibes of ‘Some Friendly’ and ‘Between 10th and 11th’ the precipice of the Roses and Oasis’ escapist majesty.

Soul-enriching, life-affirming, poetic brilliance!

‘Freedom’ is nothing short of a triumph of the human spirit. 12 years spent racing to the bottom, where Spotify throws pennies at your face and expects you to like it, Marseille have emerged with the finest rock ‘n’ roll song of 2022.

*Image courtesy of Paul Dixon

Afflecks Palace - Dancing Is Not A Crime

Image and artwork courtesy of https://www.spiritofspikeisland.com/

Manchester’s independent kings Afflecks Palace recently returned with their new single ‘Dancing Is Not A Crime’. Released on their own label Spirit of Spike Island it was produced by frontman J Fender.

‘Dancing Is Not A Crime’ is the lead single from their second album due for release in 2023. They have doubled down on the lysergic energy of the debut album and produced their best work yet. There’s a confidence to J Fender’s vocals now which allows the guitars to become, ever so slightly more muscular. This slight tweak gives them an aura that befits their dreams!

The added aggression elevates Dan Stapleton’s guitar licks (and the backward ones) to a mind-altering reality where everything feels rushed, in the best possible sense! Everything bristles with excitement, poised on the edge of a dancefloor waiting for that solo or piano loop to release souls.

It’s easy to see why it has been c-listed on 6Music and their shows with Pastel at 100 Club and Thekla have sold out.

Gazelle – Violet Hour Blues

Leicester’s Gazelle returned recently with their new single ‘Violet Hour Blues’. It follows the success of the ‘Clementine’ back in July.

In 2020, Chesterfield’s The Crooks were on a roll with windswept Oasis-esque ballads. By the end of that year, they sadly imploded. It left a song-writing void that Gazelle have not only filled with ‘Violet Hour Blues’, but they’ve also surpassed them by adding lyrical depth and orchestration to kill for.

This aching character-driven tale lights up the ordinary and mundane like no other. They have The Verve’s ‘History’ at their fingertips with the lyrics and strings but, they go much further. The torment of Richard Hawley and the heart of Frank and Walters lift this to instant classic status.

The guitars pertain to the anguish of Andrew Cushin’s ‘Where’s My Family Gone’ & ‘Waiting For The Rain’ and Noel Gallagher’s regret-filled classics ‘Dying Of Light’ and ‘The Right Stuff’. Subtly and deftly adding licks only when needed. Less is so much more here.

Credence they carry into the guitar solo too. The obvious choice would have been to lift the mood-blistering escapist solo, a talent they are more than capable of. However, what emanates is a divine autumnal jingle-jangle to further enhance their credentials.

Gazelle’s new EP is on the horizon and is becoming the most sort after of the year on this basis.

THIS IS WAR – Pyramids

Liverpool five-piece This Is War continued their run of a single a month in September with ‘Pyramids’. It follows their fine ode to Bob Dylan, 'Exile Poet’.

Even in the band’s quieter moments this year, there has been an immediacy to their music. However, this is the most direct yet and it results in their finest guitar work to date! Frontman Paul Carden snarls “here we are. Here go” like a statement of intent. Less so as courteous information, but more as a condemnation of everything you know. They were coming and they will destroy!

Mike Mullard and Johnny Roberts guitars tap into early BRMC, 00s cult heroes Dogs and Carden’s former outfit Black Velvets on this dirge-laden classic. Leather-clad filthy licks from the gutter bellow out before the garage solo melts cynicism with its fury.

It’s been one hell of a year for the band, and this has been its peak to date. Check back next week to see if their new single ‘I Don’t Get It’.

*Artwork courtesy of Donnie Grant

The Shakes – Sorry Officer

On 7th October, London-Liverpool hybrid The Shakes release their debut single ‘Sorry Officer’ via iii Records. To date, they have been wowing audiences at Shiiine On and This Feeling. Can their studio time match the live prowess?

You can buy ‘Sorry Officer’ on the 7th October via their Bandcamp page.

In 1994 Liam Gallagher bedded in between And Lydon and Lennon to become an icon. In the past 18 months, frontman Zac Nimmo has been finding space between Gallagher and Miles Kane as rock ‘n’ rolls heir to the throne. His looks, attitude, snarl, and dancing are too good to be denied. On ‘Sorry Officer’, he switches up from anthemic punk to beat poet spitting venom as the guitars hiss and swirl all around.

However, this is not a band all about the frontman. The riffs, the keys, and the solos are phenomenal. The Strokes are dragged by the throat to a brawl with the Small Faces and Oasis on this guttural single.

Not since The Libertines released ‘What A Waster’ has rock ‘n’ roll tapped into such a rich vein of disquiet. The immediacy of ‘Pretty Vacant’ and raw power of ‘Holidays In The Sun’ is rewired by Sam Gibbs’ scintillating gunshot guitars. They set ablaze to everything as ‘Sorry officer makes the aforementioned seem like nursery rhymes.

It’s the sound of Steve Craddock and Peter Green off their tits duelling with Will Seargent and Steve Jones in a late-night bar. Ian McLagan and Rob Collins pop in for a sesh whilst Entwhistle holds it all together!

*banner image courtesy of the band

**artwork courtesy of iiiI Records

They are not to be missed on their upcoming dates:

Shackites - Vintage Crewneck

After a recent sell-out show at their hometown venue The Snug, Atherton five-piece are back with their new single ‘Vintage Crewneck’.

The irresponsible guitar intro searches for an escape with a fizzing authority that could only come from close friends taking on the world. Far-reaching but always humble, they conjure a fighting spirit that seeks to unify rather than destroy.

Vocally Matthew Jarvis taps into the criminally underrated work of Dylan Giles of Polytechnic and Driver Drive Faster. Fragile but righteous, Jarvis serves up a fine display of 00s indie that Cajun Dance Party fans will love.

It won’t be long before the sold-out shows extend way beyond their hometown on this showing.

The Skinner Brothers - Lonedon

The Skinner Brothers are wasting no time after the success of their latest album ‘Soul Boy II’. Their new single ‘Lonedom’ will be released on August 19th ahead of their new EP of the same name on September 23rd.

Images courtesy of Fear PR

Frontman Zac Skinner’s vocals should be iconic by now. On this latest offing, he has the gruffness of beans on Toast, the insolence of Jamie T but, crucially it’s his soul-boy persona that shines brightest. Theirs an air of the 80s wide boy donning the finest Fila jacket sipping G&T’s surveying the chancers who know better to cross him.

Despite the coolness of the record, their anxiety permeates throughout as our protagonist struggles to belong in London. The big smoke is a vibrant joyous place full of choice if you can afford it. For anyone slipping financially, mentally or emotionally, it can be a pressure cooker waiting to blow. The Skinner brothers take those infectious laid-back licks of The Astors and the chilled bombast of Eddie Floyd for a walk along desolation row. The solo that blasts out twice takes the band to another level altogether. The Coral’s ‘Magic and Medicine’ unites with Miles Kane’s dreams of rock star status to conjure a perfect blend of isolation and toxicity.

“I wanted the EP to have a mixtape kind of feel” says Skinner, on this showing, it’s shaping up to be of a very high calibre.

Tour Dates

OCTOBER 

1st - Manchester, Neighbourhood Festival 

2nd - Blackpool, Bootleg Social 

4th - Southampton, Joiners 

5th - Southend, Chinnery’s 

6th - London, O2 Academy Islington 

8th - Cambridge, Mash 

9th - Guildford, The Boiler Room 

10th - Oxford, Bullingdon Arms 

12th - Edinburgh. The Caves 

14th - Stockton, KU 

15th - Live At Leeds 

The Utopiates - Best and Worst Days

It’s a special release day for The Utopiates. ‘Best and Worst Days’ is their first signed to V2 Records and marks the official run to their debut album.

Single is available from their Bandcamp page.

The shimmering acoustic guitars of ‘Kinky Afro’ and the chilled sunset beats of ‘Dennis and Lois’ chime gloriously in the intro of this tale of looking back. Frontman Dan Popplewell’s ability to bring influences into his indie-soul vocal continues to grow. This time out, he softens his snarl to allow nodes of Bernard Sumner and Danny Wilson in. It adds to the sense of self-reflection permeating throughout but, in the closing moments, he turns on his raw power to say goodbye to his younger self.  

They’ve taken the classic rock ‘n’ roll adage of “you have to go there to comeback” and juxtaposed it with their archetypal trippy sound. It’s an astonishingly open ode to their early twenties. Nights of excess, relationship failure, and letting people down are examined from a wiser perspective. It’s that latter point that gives the track’s lyrics brevity the sonic deserves. Without the protagonists understanding that it’s made them who they are, a Cobain nihilistic nightmare would be looming.

No matter the torment of the discourse, through Ed Godhsaw’s keys, the single finds a way to cruise effortlessly to the sun. He’s lifted The Horror’s distressed seaside sonic of ‘Primary Colours’ out it’s their despair and slipped them a pill whilst dancing with New Order.

The Utopiates formed during lockdown. Quite how the bleakest of times produced something so entrenched in love is beyond us. This is not the sound of a band on the rise to their debut album. This is The Mondays approaching ‘Pills Thrills and Bellyaches’ or Depeche Mode gearing up for ‘Violator’. Fully formed and brilliant!

Catch them tonight at Colours in Hoxton.

This Is War – Exile Poet

Liverpool’s This Is War are releasing a single a month in 2022. Their seventh of the year is ‘Exile Poet’, their tribute to Bob Dylan.

Former Black Velvets frontman Paul Carden has been showcasing an array of influences through the singles run. From Rod Stewart to Jim Morrison to Tom Meighan. This time out, he takes his punk-soul spirit to the precipice of Dylan’s iconic drawl. The shorter breathier cadence illicit joyous images of the 00s indie-punk scene jamming Dylan songs.

The guitars in the closing minutes light up this ode to Dylan. Johnny Roberts and Mike Mullard’s escapist Rifles-esque licks collide with killer basslines worthy of Maximo Park and The Enemy at their peak.

‘Exile Poet’ is at its best when their own archetypal sound roars. The destructive drumming of Martyn Leah and the desperation Carden’s vocals could set fire to an ocean. They bleed passion, cut them and you’ll see Iggy tattooed on their spleen!  

Roll on next month’s instalment.

The Shed Project – If You Know You Know

The Shed Project returned last Friday with their new single ‘If You Know You Know’ via One Love Records. It comes hot on the heels of their debut album ‘The Curious Mind Of A Common Man’ which only came out in April. Album number two is underway, how does the new sound fair?

They may have formed in the garden, but with guitar power like this, they’ll end on big stages. The expansive sonic of Squire’s ‘It’s Begging You’ is given the snarl and hiss of ‘Be Here Now’. Crucially, unlike the latter, The Shed Project have honed its power by keeping it under four minutes.

Despite the ‘Second Coming’-esque power, their baggy spirit hasn’t dissipated. As the hedonistic riffs strive for the heavens Roy Fletcher’s vocals float alongside to anchor their roots. Fletcher could be forgiven for delivering a more ethereal vocal alongside the heavy psychedelia, more interestingly though, he takes his early Tim Burgess-esque style towards the early raw punk spirit of Liam Gallagher with hints of Daltrey circa ‘I Can See For Miles’.

The hate, the anger, and the lack of agency we all feel toward these incompetent and corrupt energy companies posting record profits pour out of the Cream-esque crescendo guitars in the closing stages. It’s the perfect tonic for the masses to release their angst at a world going to shit!

Be sure to catch them at K Festival in Rhyl on August 6th

Click image for tickets.

Matilda Shakes – Fast Lane

Sheffield-based Matilda Shakes returned at the end of June with their new single ‘Fast Lane’. It follows their glam stomping anthem ‘Up All Night’ and the dirge joy of ‘Shakedown’. Can they continue their run of form?

‘Fast Lane’ does exactly what it says on the tin. It’s a genius display of blistering leather-clad rock ‘n’ roll. The Doors mysticism and the Bunnymen’s snarl has picked a barroom fight with BRMC and no one is giving up!

The frenzied attack, like BRMC and the Bunnymen, remains melodic no matter how often its gang mentality violence threatens to spill over. The pace briefly drops for a sumptuous Will Seagrent-esque guitar breakdown. No matter the violence embedded in their sound, this brief moment showcases that, Matilda Shakes are a band in control of their destiny.

Click image for tickets.

Thousand Yard Stare – Isadora

The Slough missive embarked on a series of single releases in 2022. ‘Isadora’ is the third in that run and was recorded at Raffer Studios in Kent where their stunning psyche comeback album ‘Panglossian Momentum’ was made.

Guitarist Giles Duffy originally created this surreal frenzy as an instrumental. In many ways, it pays homage to his more drawn-out work of the initial run in the late 80s and early 90s. However, once the singer and lyricist Stephen Barnes got to work, it became a condensed, almost demonic nursery rhyme befitting the post-pandemic world we find ourselves in.

During lockdown, with nowhere but to look in the past or inwards, Duffy and Barnes have conjured the dark and weirdness we all strayed to. Hope is often coursing through their melodies. Here, they’ve attacked the studio like a Dadaist nightmare where the concept never existed.

If only uncertainty always sounded this good.

The band will return to the stage again later in the year:

Click image for tickets.

Gazelle – Clementine

Leicester-based Gazelle, fresh from the success of the ‘Magic Carpet Ride’ are back with their new single ‘Clementine’. It was recorded at Hope Mill Studio in Manchester.

Like ‘Magic Carpet Ride’, their love of soul music again comes into play. The combo of Motown’s stomp and the acoustic jingle-jangle of the DMA’s sparkles like Stevie Wonder fronting The Byrds’s with Steve Cradock on lead guitar.

Their step-back time is blessed with a warmth that demands playlist recognition immediately. The psyche-jangle effortlessness of The Left Banke’s ‘She May Call You Up Tonight’ and ‘I’ve Got Something On My Mind’ combines with the emotive pop hooks of Bee Gee’s ‘I’ve Gotta Get A Message To You’. All the while, Richard Sorbi, and Danny Wright’s rhythm taps into the vitality of Spencer Davis Group and Them.

Despite the R'n'B influences, it’s their punk spirit that drives their success. Gazelle, like The Jam and The Rifles before them, delves into the past and produce new subcultures for the next generation.

The best bands always look and sound like a gang, Gazelle are no different. There are times though for the frontman to step up and shine and this is Ryan Dunn’s. The cadence he deposits is divine. From the quick-fire Stevie Wonder chorus moments to the euphoric Steve Winwood in the closing stages, Dunn showcases immortal talent.

Click the image below for tickets to their headline show in August.

*Banner image courtesy of https://www.trustafoxphotography.com/

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.