The King Blues: Chinnerys, Southend

Well on a cold Tuesday evening, The King Blues walked into Southend’s Chinnerys and took pride in who they wanted to be punk rock legends.

For only their second gig in 4 years, opening with a spoken word piece might have been a risky move. For King Blues’ leader Itch, however, this was no gamble. For any budding performers, this is how you do it. During ‘What If Punk Never Happened’ he makes the crowd laugh, angry, cry, hopeful, and entertained by the meaning of every single word of the poem.

New single ‘Off With Their Heads’ sends the crowd into a frenzy and ‘Taxi Driver’ almost brings about a riot. This is no reunion gig to earn a few quid. The band are back and their small army are ready for the journey once more.

The rest of the gig is made up of their back catalogue and in short, is punk rock heaven. ‘Mr Music Man’ has the crowd skanking as one whilst ‘Headbutt’ and ‘Lets Hang The Landlord’ to name but two, send a raucous crowd into a frenzy.

Every band will love their fans and vice versa. With the King Blues though, it’s different. There is affection between the two as if their performance is an act of kindness where they drag a mate out of the gutter. Not to do a disservice to the band but this largely comes from Itch. Is there anybody who embeds as much emotion into each song?

10 years on, he still has time for everyone at the merch stall afterward and for this drunk adoring journalist in the bar afterward. It’s not for good PR or the chance to sell a few more t-shirts. It’s because he genuinely got love, so much love, love in his heart and it’s a feeling he will never let go. 

The King Blues - Off With Their Heads

The King Blues are back with a bang ladies and gents. Older, wiser, and old wounds healed among the band, they have hit the ground running with a punk rock banger.

We recently wrote about Victoria Hume's terrific measured political attack 'Ungoverned'. Her track was the musical equivalent of an intelligent Question Time audience response. Itch's is a furious polemic looking for swift and violent action.

Musically this is everything you would expect from The King Blues. Itch's distinctive punk rock via hip-hop vocals are met with thunderous riffage a la Crass and Minor Threat.

Lyrically, it is scathing of the Syria bombing campaign. Itch is riled by the 'bastards in power and nobody stopping them' and this is his response. Also, their is a great reference to 'Save The World, Get The Girl' in the opening blast:

“This is isn't stupid / It's stupid the sequel.”

It's great to have them back but better still, the video has been watched by 250,000 people inside 24 hours. It fills our hearts with joy that a King Blues audience still exists. It feels it with hope that so many are open to such a visceral record.

The King Blues tour kicks off tomorrow in Norwich. Get out and support them.

The Crookes - Lucky Ones

The Crookes are always a difficult band to review because they’re better read than any journalist. We might read Kerouac, Thompson and Ginsberg, they embody them. 2014’s ‘Soapbox’ introduced a darker tone to their repertoire with the introduction of Depeche Mode synths but, ‘Lucky Ones’, witnesses a return to their romantic pop music roots.

The Crookes have always been expanding on their archetypal romantic rock n roll sound since their debut. ‘Lucky Ones’ continues their journey with synths but this time, its into a world of lo-fi pop music.

‘Roman Candle’, at its core, is nothing the Crookes hasn’t done before. It’s light, dreamy and infectious but, the use of synths definitely takes them to pastures new. Without sounding like New Order, they embody the spirit of their Manchester peers with this carefree record.

The notion of escape and being on a journey is rife throughout ‘Lucky Ones’. There is an overarching sense they have escaped Sheffield for Route 66 in an open-top Cadillac. ‘No One Like You’ allows anyone to picture such a scene with a loved one and ponder how great life can be at times. The slight gravel in Waite’s vocal towards the end will have men yearning to be him and women falling at his feet.

‘The Lucky Ones’ acts as precursor to this road trip.  Our hero is determined to convince their partner in crime that they could be the lucky one. This is track has the same remarkable quality Oasis’ ‘Live Forever’ had. This type of songwriting is a gift for bored office workers and tradesmen alike. It gives a visualisation of dreams, hope,s and plans for freedom.

There is so much to admire with every Crookes album and ‘Lucky Ones’ is no different. Yet again they have expanded their sound without losing sight of their inner poet which makes them great. The essence of The Smiths and 50s rock n roll is still core to their beauty but now they diversified towards other greats such as Depeche mode and The Cure.

‘Lucky Ones’ might not be their best album but now their song writing is delving into broader themes for hope and escape, the chances of bigger audiences surely await.

Night Beats - Who Sold My Generation

Seattle’s Night Beats have made a break from the garage psyche pack early in 2016 with ‘Who Sold My Generation’, here’s why.

The garage-psyche scene in recent years has produced some great stuff but often its formulaic which, is probably the biggest reason we don’t hear enough of it. Night Beats have set themselves apart by edging towards sound that is broader rather than mainstream but, one which could reel in more casual guitar music fans. This is a bold move in an era when Ty Segall is an underground God.

Night Beats’ more refined sound within the noise and confusion of garage-psyche emanates from ‘Power Child’ and current single ‘No Cops’. Importantly, they both offer crisp vocals for fans to unite behind at live shows.

What Blackwell does well on ‘Who Sold My Generation’ is allow everything time to develop. This will hopefully begin to pull in the more casual fan and subsequently suck them in to the freaky world of garage-psyche.

‘Sunday Mourning’ is a fine example of this bcause of its slow build to a distinct escapist ending. The build-up is akin to the work of The Bee’s on ‘Octopus’ which sets a foundation for Blackwell to shred like Steve Craddock. Furthermore, there is an entrancing bassline which brings Oasis’ ‘Fuckin In the Bushes’ to mind.

Any fans of Miles Kane’s debut album will love ‘Power Child’. The mod hook is so catchy you’ll be desperate to get this on at house party’s to impersonate Jimmy from Quadrophenia. The Dan Auberch vocals complement the epic Segall via Peter green solo.

Many genre obsessives will be comparing various tracks to The Seeds, The Electric Prunes and The Creation on this album from a negative standpoint. Sadly its what happens with this kind of music. Our response to their negativity is so what? There is more than enough originality here to see Night Beats reap the rewards that 2016 has to offer them. 

The Sherlocks: Borderline, London

The Sheffield four-piece played only their second London date at the Borderline on Tuesday.

The two sets of brothers are both still young, and this youthfulness, at times, is a real weapon for them. Crowd favourites ‘Live For The Moment’ and ‘Escapade’ are so free-flowing that you can almost touch their teenage escapism.

There are other moments though, where their brazen rock ‘n’ roll loses identity and impact. Kieran Crook’s vocal delivery can imitate The Courteeners’ Liam Fray heavily and some of the guitar playing strays deep into The View and The Rifles territory. All good bands do it but, they are in such recent memory you have to question whether they need revisiting just yet.  

Nevertheless, you fault The Sherlocks too much. They have come a long way quickly and already look set to soundtrack many boozy nights out. Their performance is laden with versus the world attitude and you know what? They look like they will win.

Savages - Adore Life

In 2013, Savages announced themselves in a big way with their debut ‘Silence Yourself’. It wasn’t as the next big thing or a parody of 90s rock hedonism. No, it was as the most necessary band of the decade. Their searing moodiness and enamel stripping guitar playing was so immediate that, any long term plans seemed out of the question.

All classic albums begin with a track which creates a platform for everyone to blindly follow their heroes into battle with. ‘The Answer’ just does that with 3 minutes of filthy punk rock. Despite this, it’s the more refined guitar solo which sets the tone for what is to come. ‘Adore Life’ is the sound of a band outrunning the tumultuous sound of their debut.

Lyrically, the album broaches the age old subject of love. Interestingly though, it hones in on the darker facets of the discourse. ‘Adore’ is a modern take on The Smiths’ ‘There Is A Light Never Goes Out’. It’s a melancholic ballad a la PJ Harvey which hits euphoric heights when Jenny Beth sings ‘I understand the urgency of life / In the distance there is truth which cuts like a knife / Maybe I will die maybe tomorrow so I need to say / I adore life’.

What makes ‘Adore’ a great song is the harrowing landscape it operates within. Its impossible to not think of Ian Curtis or Kurt Cobain’s tragic suicides as Beth sings ‘If only I had been more shy / and hid every tear I cried/ If only I didn’t wish to die / Is it human to adore life?’

The more far-reaching output continues on ‘Slowing Down The World’. Killer bass lines and guitar riffs have not been issue in their career to date. Here though, they allow their post-punk style room to breathe. The main guitar hook has a Television circa ‘Marquee Moon’ feel whist the slower but equally aggressive basslines are reminiscent of BRMC.

The up-tempo tracks also have a more accessible quality to them this time round. ‘When In Love’ instantly brings to mind Joy Division with its undeniable hook and sense of desolation. The way it has you on tenterhooks waiting to explode but never does is exhilarating. Time with Bo Ningen is time well spent it seems.

As the album draws to an end, there is a potential glimpse at where Savages are going next. ‘Surrender’ and ‘T.I.W.Y.G’ introduce musical styles not seen before. The apocalyptic production on ‘Surrender’ creates a kind of electro-post-punk vibe which, as PiL have proven, has endless creative avenues. ‘T.I.W.Y.G’ is the kind of fall-to-the-floor dancefloor banger that The Music or Radio 4 did so well in the mid-noughties.

‘Adore Life’ is an album that delivers on the potential of the debut and explores new realms and thus, offers yet more prospects. Savages are, without doubt, a great band and should be obsessed over by teenagers, and reawaken their parents’ youth simultaneously. Go. Buy. This. Record.​

Suede - Night Thoughts

Before 'Bloodsports' was released in 2013, the band and fans had been apart for 11 years. It reminded everyone that it was okay to look, feel, and be different still. With the loss of their hero Bowie a week prior to ‘Night Thoughts’, it suddenly became imperative that this feeling remain alive.

On paper, this is a wet dream for Suede fans. The album and song titles suggest their darker side has been tapped. God bless, because no one does shattered Bohemia like Brett Anderson.

This is never more evident than on ‘Outsiders’. Glorious memories of ‘Trash’ come flooding back as Oakes fine riff rattles around with an air of desolation. It may be a tale of fetid romance but the closing repetition of outsiders is far more formidable. It serves as a familiar clarion call, which the marginalised will always be glad to hear.

The rest of the album may not live up to the outstanding quality of ‘Outsiders,’ but it has enough to resonate with loyal fans. ‘No Tomorrow revives the Bowie-esque glam, while ‘What I’m Trying To Tell You’ delves into the guitar parts of the ‘Coming Up’ era.

‘I Don’t Know How to Reach You’ allows Oakes to sparkle once more on the album. Interestingly, though, it takes a more introspective path. The melody throughout and the guitar solo are more akin to Noel Gallagher or Johnny Marr’s recent solo efforts. Anderson builds the tension and anguish of the protagonist in verse, thus allowing Oakes rare extended guitar solos that are steeped in emotion.

‘Night Thoughts’ shines at times brightly but too often deviates from this level. It never strays into poor territory, but some of the slower efforts don’t add to the narrative for what is clearly a fine effort in songwriting by Anderson. 

Victoria Hume - Closing

Victoria Hume released her new EP 'Closing' on the 15th January. Her previous efforts have been beautiful affairs so, how will this body of work fair.

As soon as the pianos begin on 'Miles Away', you know something special is about to unfold. Sitting somewhere in between Sandy Denny and Joni Mitchell on the scale of great female singers, Hume delivers a gentle but incredibly meaningful vocal.

possibly on the new album, coming this autumn... thank you to Andy Hamill on bass.

'Ungoverned' proves that political song writing doesn't have to be rabble rousing polemic all the time. She sets the tone with opening line 'Government abandonment / these people don't care' and goes on to deliver haunting messages about refugee neglect and a political system which views human life in financial figures.

'Lanterns' is the only anomaly on this otherwise sophisticated EP. What starts out as melancholic Richard & Linda Thompson track, alters its destination for a piano led Bat For Lashes via Bon Iver number before changing gear again in the closing moments. The creativity here cannot be denied but it is a difficult listen.

The EP closes with its finest moment, 'Wild Wind'. Again she defies alternative music protocol. Usually, messages about taking you chances and being brave are left to all male bands full of teenage angst. Hume however, proves that no matter the age or gender, life is there to be lived and to fight against its traps of boredom and apathy.

'Closing' often has beautiful cinematic qualities to its music. It’s poignant, grand and understated all at the same time. What's remarkable is Hume's ability to make her vocals fit around these tropes to add to the beauty.

This may not be a full album but at seven tracks long, this will be in the running for album of the year unless lyricists out there significantly up their game in 2016.

States Of Emotion - Rag n Bone Men

It’s been a long time coming but States Of Emotion release their debut album 'Black & White To Gold' next month. To whet the appetite, they have released 'Rag n Bone Men', a free 5 track EP.

Here is our track by track analysis:

I Broke The Mould

This opener is brimming full of confidence and attitude. The strings and crashing drums give this a menacing impetus. The guitar parts and the breakdown towards the end are steeped in desperation and determination for success. There is a trippy element to them akin to Noel Gallagher's 'Stop The Clocks' but with more intensity.

Rag n Bone Men

This is by far the most interesting piece on the EP. It is a real gear change for the band who had been paving their way with indie anthems up until now.

Desolate Drum loops, short blasts of psyche on the guitars and distant vocals move away from their defiant rock n roll towards the sounds of Hurts and Bipolar Sunshine. That fall to floor rock n roll attitude is forever lurking though. Their is a sense that this measured approach could descend into chaos at any moment which, is equally exciting as those all guitar efforts.

Black and White to Gold

What will be the title track of their debut album showcases band leader Olly Hookings' vocal abilities. The emotion he conveys is reminiscent of Sam Duckworth's early Get Cape work. Again though, its more intense than their peers. There is a real sense this is everything to Hookings, that this album has to be a success.

For a band who haven't done anything of note yet, one assumes the budget was minimal. This only makes the use of strings on this track more impressive. They are not here to provide the big single which their career is made off. No, they are haunting and create a mood of uneasiness which is risky for a fledgling band but, the greater the risk the bigger the reward.

The Unsung

Long time fans will know 'The Unsung' well. They self-released it back in 2010 and had long time friend James Buckley in the video.

Despite being an older track, it still resonates. This is the song which defines who States Of Emotion are and what they are about. The euphoric and fist in the air chorus of 'We are the unsung' is soon to lure the big following of The Rifles to their cause on their February support slot tour.

The guitars and the backing vocals are hypnotic from start to finish. We said it back in 2010 and we will repeat it now. This should be a staple of any indie disco. It's a fiery and infectious anthem!

Rag n Bone Men (Draig Cavid Remix)

Last up is a Draig Cavid remix of the title track 'Rag n Bone Men'.​  

Oscar - Sometimes

Oscar’s distinctive DIY style has been putting him on the map in the past 12 months but his new single ‘Sometimes’, is taking him towards pop music royalty.

'Sometimes' is a great pop song. It has a classic structure but is delivered with lo-fi production values and brilliant deadpan vocals. Think Blur's 'Coffee and TV' meets Man Like Me and you're almost there. 

This track has brought back a much-needed quirkiness and wit to alternative pop music. Oscar's ignorance about who to support when the TV channel is turned on to a football match is priceless. 

The closing moments of 'Sometimes' will be some of the most joyous heard in 2016. The dual vocals slowly build toward a euphoric climax. We dare you to not like this song.

Old Town Souls - Old Town Souls

Kevin Iverson formerly of Springtide Calvary and Dogs is now fronting a new band Old Town Souls. The Kent based band have released their new self-titled EP via Bandcamp.

It opens with ‘Crawl’, a cross between the pub rock of Dr Feelgood and the driving riffs of Queens of the Stone Age. There is much to admire about this breezy rock affair, not least keyboard solo.

This opener sets the tone for the rest of the album. It’s good and in parts promising but there is a sense it could have been better considering band leader Iverson’s fine pedigree with Springtide Calvary and Dogs.

For example, ‘Guiding Light’ for the most part is a solid rock number and enjoyable to boot. However, the Curtis Mayfield-esque breakdown mid way through is terrific. The clash between the smooth soul sound and their instincts for classic British rock feels like something which could achieved great results.

There can be no real complaints with his mini-album. Its a solid rock effort and at times, has some real flair. To say those moments leave an air of 'what might have been' is too pessimistic for an EP. If this develops into an album however, one hopes they combine the more diverse moments with their fine ability to make British rock music.

The EP is availble to download here:

https://oldtownsouls.bandcamp.com/releases

The Crookes - The Lucky Ones

Sheffield's The Crookes feel like a brand new band every time they resurface with new material for several reasons. Firstly, THEY NEVER AGE!!!! Secondly, and more importantly, they continue to add layers to their 50's rock n roll via The Smiths sound.

The previous album 'Soapbox' had their hardest guitar sound to date and was without a doubt, the most free-spirited they have ever sounded. New single 'Lucky Ones' continues down this path but the levels of experimentation have been upped with the inclusion of synths and fuzzy basslines.

As ever though, it’s the carefree attitude of The Crookes which makes them so appealing. As the chorus breaks joy, love, and hope are brought back to life in the alternative pop world.

When frontman Wait sings 'Oh come on / Don't you wanna be the lucky one / It goes on and on / Like staring at the sun / Do you wanna be the lucky one' the feeling that lovers are on a journey or best friends are making plans no-one else will understand looms large. Their ambition, quality, and infectiousness cannot be ignored for another album, can it?

The dream of being a great poet and a life-affirming band doesn't appeal quite so much now big record deals are off the table. The Crookes though, buck this trend, and this new single are demonstrating just how much can still be achieved.

The Last Shadow Puppets – Bad Habits

Miles Kane and Alex Turner returned this week with the first single of their forthcoming album ‘Sophomore’.

The bombastic nature plays to the strengths of Kane. It allows him to exude his aggression naturally and channel Richard Ashcroft on ‘Come On’ which live, he does better than anyone today but not always on record.

Turner meanwhile, has developed his most interest sound since ‘The Age Of The Understatement’. The twisted and hostile sound generated on the guitar has is as though Pixies or Nirvana have been re-recorded by a 60s British psyche artist.  

A big part of ‘The Age Of Understatement’ were the grandiose string arrangements. The strings here are courtesy of Owen Pallet but grandiose they are not. They too, echo a more deranged sound which is conjuring excitement at TT towers for the album. 

Pete Astor - Spilt Milk

Any fans of Astor's early work with The Loft and The Weather Prophets will be delighted with his return to the jingle-jangle indie spectrum. After two decades of more experimental music, 'Spilt Milk' is a welcome return home.

The opening two tracks, 'Really Something' and 'Mr Music,' could easily be part of the Kinks’ greatest hits collection due to Astor’s fine vocals. 'Really Something' is a simple and beautiful number that will have fans of Real Estate drooling.

'Mr Music' is the star act on this album. Astor nails the Kinks classic 'Waterloo Sunset' vibe so well that you'll believe you have heard this song a thousand times before on first listen. ‘Mr Music’ is more than just a Kinks pastiche though. Astor’s skill of supplying wit, charm, and melancholy in character within a song gives him a great identity.

Astor’s sombre route continues with ‘Perfect Life,’ which has a healthy dose of Ian Brown’s ‘Deep Pile Dreams’ about it. Switch off mentally, and you'll mistake this for a love song. Dig a little deeper, and the sarcasm and bitterness come to the surface as a partner continually lets an unwanted third person into a relationship.

'Oh, You' closes the album with more straightforward pop brilliance. The opening riff is similar to Lemon Jelly's classic hook on the 'Staunton Lick' and as the track meanders along it conjures memories of Belle & Sebastian's glorious 'Boy With The Arab Strap'.

With the deaths of Lemmy, John Bradbury, and Bowie within two weeks, Astor's foray into his past delivers richness and warmth much needed in the alternative music community. They say timing is everything, and this mid- to slow-tempo pop music is the perfect tonic for the recent swelling of sadness.

Paul Smith & The Intimations - Contradictions

'Contradictions' is the 3rd solo effort from Maximo Park frontman Paul Smith. On this occasion he has the hired help of Peter Brewis (Field Music), Wendy Smith (Prefab Spirit), Rachel Lancaster (Silver Fox) and Andrew Hodson (Warm Digits).

Smith described the record as 'an alternative pop record' to the NME last year and for the most part, this is true. What it demonstrates more is, Smith's prowess as a lyricist as he reflects on love and life.

Maximo Park fans tentative of Smith's solo work should dive in with the second track 'The Deep End'. It's a perfect bridge between what the two try to achieve. It has the classic indie guitar sounds of New Order and The Cure combined with the nostalgic melancholy often featured here. The production has the blissfulness of Bloc Party's 'So Here We Are' which is a great juxtaposition to Smith's confession that 'all my dreams are contradictions'.

Former single 'Break Me Down' continues in this vain. It is the perfect vessel for Smith to wrap his distinctive North East vocals around. The fragility Smith reveals here is where the real beauty lies though. The line 'break me down / It wont be hard' acts as the nail in the coffin for the relationship Smith is reminiscing upon as a lost opportunity. We are all for the Liam Gallagher standing fearless on stage but, the sense of 'what might have been', especially with a loved one is something more of us can emphasise with.

Perhaps the finest lyrics of Smith's career to date appear on 'All The Things You'd Like To Be'. The use of poetry paints brilliant grey landscapes of Smith's North East roots. The chorus of 'the office blocks of asbestos rocks / the corporation that fed the family' depicts the world which most us fall into to survive superbly. Not content with a great chorus, Smith's verses are littered with industrial reference points where he and a lover discuss what their ambitions were. This is without doubt a triumph of working class song writing and one that should be lauded from the rooftops.

Sadly this album only stacks up for the first 9 songs. The final four tracks fall a bit flat and ironically, you are left with a feeling of what might have been. The pop sounds dissipate and whilst the lyrics have their moments, they lose their impact without the power of the music to back them up.

Nevertheless, put the blinkers on and stop the album after 'People On Sunday' and you are left with a solid to good indie album with with some great lyrics. 

The Coral – Chasing The Tail Of A Dream

The Coral's release 'The Curse Of Love' seems to have reawakened the band's darker side and this continues with their latest single 'Chasing The Tail Of A Dream'.

The wonderful guitar solo will evoke the melodic genius of the 'Butterfly House' album, but the tinge of Edwyn Collins' 'Understated' and the apocalyptic drums give this song the edge they so richly needed.

Their new album 'Distance Inbetween' is released March 4th with UK and European tours in March and April and on this showing, the album and tour are not to be missed.