Trampolene – Tom Hardy

Trampolene's head honcho, Jack Jones, wrote this track about his mate from school and his outlandish boasts. We all had that Jay from the Inbetweeners mate right?

Such common reference points will have seasoned songwriters screaming 'why didn't I think of that'. This is a great piece of punk rock which, with lines like 'he's mum is a fit belly dancer', is destined to be bellowed on indie dancefloors in 2016.

The riffs are dirty and ooze a level of aloofness and coolness many aspire to but few achieve. The real star of the show are the raucous drums. They drive the track from start to finish with a relentless tempo that live audiences are going to lap up.

Public Access TV - On Location

Traditionally, bands from New York are effortlessly cool and Public Access TV are no exception to the rule.

'On Location' opens with a riff you better expect to hear all summer long. Sitting somewhere between the Buzzcocks and The Strokes, this riff will lift your hopes and conjure thoughts of sunnier times instantly.

Adding to this, singer John Eatherly's vocals are of the classic garage rock persuasion. The almost monotone nature allows him to switch from nihilistic to euphoric as if its the most natural thing in the world.

It's easy think there is no space left for anything new these days. One look around the festivals in the UK and its Noel Gallagher and Coldplay everywhere and the shit heap V Festival has gone fro the drivel of Bieber and Rihanna. However, this 4minute record will renew your faith in alternative pop music.

It is inspirational, escapist, punch the air and spill your pint greatness. In the words of the great Grace Petrie 'Be strong / Be resilient / Be young / Be fucking brilliant'.

Woodpigeon – Whole Body Shakes

The new single from Canada's Woodpigeon is a precursor to the highly anticipated 6th album 'Trouble', due for release on April Fools day.

The intro is as good as they come. The eerie atmospheric sound will have Grizzly Bear listening on in awe. The simplicity of the acoustic guitars, the moody piano, and the harrowing bird-like noises make it so special.

Band leader Mark Hamilton's vocals offset the sonic dejection with their lightness but lyrically, the shade remains a permanent shade of bleak.

The protagonist immediately creates a sense of being crushed by the pressures of a relationship as Hamilton sings 'I'll always be true and blind / To your call'. Dig a little deeper and the water becomes far murkier. The immature and boorish claim 'I don' take kindly to being caged' will initially make your eyes roll. However, as Hamilton sings the title of the song repeatedly an abusive and controlling undercurrent emerges from our protagonist.

This is a fantastic return from one of Canada's most overlooked bands. This is intelligent songwriting but not just for the sake of it. It has heart and guts which all can relate to. Furthermore, it’s something the independent music community can be proud of pledging allegiance to.  

Lusts: The Barfly, London

Lusts formed whilst searching for the ghosts of Oscar Wilde and Ernest Hemmingway. This kind of purity comes across in abundance during their headline set at John Kennedy’s Xposure night.

Brothers James and Andy Stone played tracks from ‘Illuminations’, a decent but not great album. Tonight though, their performance takes these songs to another level. They inject a style and a sense of marvel into everything they do on stage and its infectious throughout the intimate crowd.

Their debut album showcases classic pop sensibilities in the style of New Order and Echo & The Bunnymen. Live though, Lusts get across their distinctiveness a lot more. There is just enough punk aggression to suggest these brothers are set to travel a very interesting path. 

Perhaps the biggest signifier that Lusts will go on to become a great live band is the difficulty in selecting a highlight. Support bands Whistle Jacket and especially FEWS, both built towards their big hitters whereas, Lusts hit the ground running and didn’t deviate.

They have dates coming up at the legendary Night & Day venue in Manchester and festival appearances at SXSW and The Great Escape. Expect them to make a big impact. 

Lusts – Illuminations

Lusts are a two piece from Leicester made up of brothers Andy and James Stone. They released their debut ‘Illuminations’ in October of last year and with new single ‘Sometimes’ due for release, TT felt it right to revisit the album.

At the heart of ‘Illuminations’ is a carefree spirit searching for a release. The aforementioned single ‘Sometimes’ opens the album. Not for the last time here, a strong Echo and The Bunnymen influence looms but with a hazier touch. The chorus scratches around the edges of Stone Roses levels of euphoria, not bad for a first effort.

‘Careless’ and ‘Mouthwash’ also maintain sense of intemperance. The former takes the dreamy landscapes of Tame Impala and injects them the urgency of pop music. ‘Mouthwash’ on the other hand, is more direct with a New Order soul which is hard to dislike.

When your influences are the illuminati of the indie world, it’s tough to punch your way into their realm. Lusts, for the most part have walked that fine line just right. ‘Temptation’ aptly has Bernard Sumner vocal in tandem with looping Psychedelic Furs guitars.

Title track ‘Illuminations’ may sit in the shadows of the Bunnymen’s ‘Lips Like Sugar and ‘Bring On The Dancing Horses’ but its not to be ignored. The only thing preventing it standing alongside the scousers is the absence of Ian McCulloch’s great vocals.

Sadly the album does offer up some filler in ‘Waves’, ‘Bad Weekend’ and ‘Fountain of Love’ which, lend the album an unwanted perception of repetitiveness.

That said, the pro’s far outweighthe cons and if they drop these tracks for more experimental bugged out numbers like ‘Attraction’ then their next offing will see them striding towards the big time.

Misty Miller live @ Oslo, London

There are few finer feelings in life than witnessing a support band steal the show. Misty Miller, accompanied by her band, did just that.

Miller’s performance was one well beyond her years. The wryness and humour in her smirks and movements were joyous. If you are OCD and demand to know the meanings behind songs then she is not for you. On ‘Happy’, her delivery is so ambiguous you’ll wonder if this is Shakespearean tragedy or a huge sardonic piss take.

‘Best Friend’ however, leaves no margin for interpretation. The despair of losing someone close is relatable for all and, Miller embeds so much emotion in every word it transcends almost everything.

Miller’s vocals on ‘Best Friend’ are astonishing, they stray from the punk fragility of Poly Styrene on ‘Germ Free Adolescents’ to the Patti Smith’s powerful ‘People Have The Power’ and leave a packed crowd stunned.

 Miller is on tour in April in support of her debut album, neither should be missed!

Richard Hawley live @ Hammersmith Apollo

Rock ‘n’ roll stalwart Richard Hawley played the Hammersmith Apollo last night, his biggest London gig to date. His quiff was impeccable, comic timing perfect and guitar playing to saviour.

Hawley’s breakthrough as a solo artist came in 2005 with the classic ‘Coles Corner’. Remarkably, it only charted at 37 but is there a BBC6 listener who doesn’t own it now. Hawley, like Paul Weller, possesses a drive to work only with new material and leave nostalgia to the meek. As a result, ‘Coles Corner’ and ‘The Ocean’ only make the encore.

The bulk of the set consists of 2012’s psyche-drenched ‘Standing On The Sky’s Edge’ and his latest offing ‘Hollow Meadows’. ‘Don’t Stare At The Sun’ and ‘Down In The Woods’ are propelled with such genius, the tag guitar legend is not far away for Hawley.

Recent single ‘Heart Of Oak’ is given the full beans to mesmerise whilst slower efforts ‘Tuesday pm’ and ‘I Still Want You’ allow for soul searching and lumps in throats.

It’s no surprise to see Hawley cutting loose on the guitar but, with three crooning classics ‘Coles Corner’, ‘Lady’s Bridge’, and ‘Truelove’s Gutter’ in his arsenal, the urge to use that material is highly commendable.​ 

States Of Emotion live @ The Underworld

States Of Emotion in large, played to a packed audience of loyal hometown followers from Essex at the Underworld. It’s a poignant moment for the band, their debut album has finally been released and based on this showing, they are set to far outrun their roots in terms of fans.

They open with the defiant ‘I Broke The Mould’ and the intimate venue suddenly feels like a big academy venue. It’s clear to see why Huw Stevens and John Kennedy are championing this single.

Defiance is key to States Of Emotion as a band and this gig. Crowd favourites ‘The Way That I’m Wired’ and ‘The Unsung’ are thrill seeking and recalcitrant to the core. They also offer a sense of ambition which, many profess but few deliver in the indie world.

Amid the anthems comes a resounding gear change with ‘Rag n Bone Men’. This diversion combines a more desolate electronic sound with some more familiar psyche guitar parts. A tough sell amongst fine indie bangers but, from the moment frontman Olly Hookings laments his former label Rinse FM, a sense of anticipation is in the air. The slow building number hits a heavenly crescendo and the audience are eating out the palm of his hands.

The desire to make this succeed is bursting from States Of Emotion so much during this gig it seems almost impossible not to imagine bigger venues awaiting them in the future. 

Stick In The Wheel - From Here

After The Beatles came the Sex Pistols, after Oasis came The Libertines and now, after Mumford & Sons come Stick In The Wheel to rejuvenate the folk genre.

No one could have predicted the dizzy heights Mumford & Sons, Noah & The Whale and Laura Marling would take the nu-folk scene to. Headline slots at Glastonbury and several smash records later, folk music needed a return to its grass roots and this debut does just that.

'Seven Gypsies' will have fans of Richard & Linda Thompson's work drooling. Nicola Kearey’s cockney-cum-traditional English folk vocals deliver an innocence and danger simultaneously. This is a slice of folk music dowsed in punk.

'Me n Becky' is tale of looting during the London riots with dispiriting consequences. There are clear folk tendencies with the use of accordion and drums but, this could easily be fronted by Jamie T. There is a danger and desperation to this track which could see it rise to cult classic status if pushed by Radio X and BBC6.

There are several instances of 'From Here' tackling varying social injustice. Best of all is 'Common Ground'. It uses an acoustic hook to lay the foundations for Kearey to snarl ‘The softest hands have sealed the feat / The roughest ones would never make’.

'By The River' is a glorious slow building number. The Celtic folk influences give it grandness and stature worthy of Aragon charging into battle at the Black Gate.

'From Here' may not have set out to give folk music back to the common man ordinary but it’s achieved it. The combination of traditional folk and an essence of punk gives the album a real edge that Richard Thompson fans are certain to enjoy.

It’s the perceived injection of punk into well-worn folk music sonics, ‘Me n Becky’ in particular, which give them a relevance and impetus which few can match at presence. 

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