Heyrocco - Waiting On Cool

North Charleston's Heyrocco are back with a new EP. Here's our track by track on the three pieces new offering:

Yeah

The EP opens with this single friendly gem. Sounding like Harvey Danger's cult hit 'Flagpole Sitta' via Grandaddy, it offers a lyrical nugget to why punk is a style, it’s a state of mind: 

“when everything stays the same I go insane” 

For anyone bitter with politics at the moment, don’t sulk, get mad and get even. 

 It’s Always Something New  

Across the pond lies a glorious alternative indie/punk tradition of male and female dual vocals. Yo La Tengo, The Rosebuds and Sonic youth to name but three. They are big shoes to fill but, if Heyrocco can maintain this standard for a decade, they might themselves in the mix.  

What’s really admiral about this song is the ending. Just when you think the inevitable guitar solo is coming they just reign everything in let it fade away gently.   

 Slice of Life

The most stripped back affair on the EP. For the most part this song is filler but then, emerging from the wilderness comes a sublime guitar part. Slightly warped and full of emotion, it says in 20seconds what the rest of the song doesn’t quite do. 

 Build It Up

‘Build It Up’ is an emotive version of Weezer’s ‘Beverley Hills’. Whereas Weezer build and build the humour, Heyrocco use the stop start riff to lead up to a heart wrenching release.  

Venice Beach

Heyrocco get in touch with their love of the Eels here as they combine hip hop, indie and odd ball production. There is a lot going on in this strange affair which makes us wonder, could they combine some these styles with the punkof ‘Yeah’ to create something truly unique?  

 Perfect World

A great stripped back riff loops in the verses that would make Beck proud. The subsequent eruption is as joyous as Weezer's 'Photograph'. Well played. 

Engine - Formulate A Plan

Timing is everything in music right? Well, Monday night, Radio X’s shining light John Kennedy played ‘Formulate A Plan’ by Leeds outfit Engine. As the flying ants swarmed and humans melted in the unrelenting heat, this single came floating by like the breeze we’ve all been desperate for.

Weather aside, this is a remarkable feat for a debut single. Some artists take three albums to carve out this sort of identity. Producer Dom Freeman has got the heart of James Yorkston’s ‘Woozy With Cider’ here and thus, allowed the bands scattergun nodes of psyche to really shine throughout.

Vocally, it provides many of the great dialectics alternative music can provide. Singer James Elson sounds a polished performer but, there is still a hint of fragility which makes you wonder, might this sun drenched dream drift away at some point? It’s something that Bobby Gillespie and Martin Courtney (Real Estate) have done better than most in recent times and now Elson can begin to dream of adding himself to that list.

Check out more from the band on their Soundcloud page:

https://soundcloud.com/the-engine-1/formulate-a-plan

Paul Draper – EP ONE

Feeling My Heart Run Slow

Draper’s voice hasn’t lost its edge. Noel Gallagher does big chord changes to convey escapism, well, Draper does it via his vocals on this track.

Draper channels his previous art with Mansun against electronic production from Underworld’s repertoire. Throw in a resplendent psyche guitar solo three minutes in and this is everything Mansun fans will have craved for a decade.

No Ideas (feat. Steve Wilson)

Draper is again on fine form as he creates a Bond-esque song. A Bond that is wired at 4am that is.

When they dark production collides with repeat of “because ive got no ideas”, this track becomes that much more sinister. The protagonist is oozing a deep lying sense of frustration and depression and has clearly had enough.

The Silence Is Deafening

Unfortunately, at too many junctures, this is Duran Duran. Some of the electronic production threatens to give this track its edge but never does.

Overall, two out of three is the message for this EP (not including the decent remix of Feeling My Heart Run Slow by Twiglight Sad). ‘FMHRS’ and ‘No Ideas’ both offer glimpses of Mansun’s past but, crucially, they propel Draper into where he is now. The last track fails on all fronts for TT but there is more than enough to be excited about for the album later this year.

Seazoo – Jumbo

The Wrexham outfit are back with yet another EP. Here is our track by track analysis:

The Heart of Hercules

This is all about its production values. It has the melodic nature of Delphic’s debut but waltzes along an alternative 90s US indie line. The combination serves up sublime pop music itching to sit alongside Beyonce and One Direction on radio playlists.

Telephone Jones

‘Telephone Jones’ steers away from pure pop music and moves towards indie territory. The results, scintillating. The Church organ opens affairs and lays the platform for dirge guitars to blast out the traps.

The real magic though comes from the guitars and the insatiable spirit they deliver. Remember as a kid when you run against the wind with your coat above your head? Remember when you made yourself dizzy for the sheer fun of it? Well, combine the two and throw in a jaeger bomb and the spirit of this song will become clear.

Tenterhooks

Subtly, this a more subdued track which has familiar feel to it. It's that pair of boxer shorts you cannot part with because they’re so good to you on long arduous journeys.

Musically it has all the same elements of the previous two tracks but just dialled a little. It allows you to feel great but without the need to scream about it and thus, a perfect tonic after the opening tracks.

Pictures

There's a lot to be said about the final track but mainly, the words “that guitar part” should cover it. It loops over and over so beautifully, its almost unbearable. If it were a line from a film it would be:

It has a childish glee to it which, if played over a montage of a dear departed would bring tears of joy, not sadness.

 The main thing to take away from 'Jumbo' is the unique ability it has to sound crazy but achievable. If bugged out production was to be thought about in punk rock accessibility terms, then this is the starting point for anyone curious.

The EP is available to buy and listen to on their bandcamp page:

https://seazoo.bandcamp.com/

The Rifles - Wall Around Your Heart

The song opens in true Rifles fashion with guitars blasting out the traps like a four minute warning to the apocalypse. The pulse of the song is one we have seen time and time again from the Rifles and yet, it remains fresh and enjoyable.

This is, in part due to the guitars, particular the solo having a touch of jingle jangle a la Primal Scream’s debut to them. The Rifles though, do not do tranquil sun drenched songs. They offer an adrenalin fuelled ride to said genre and as a result, their massive following will be incredibly happy once more.

Many are criticised for not changing up their game enough. The Rifles often fall victim to said abuse. However, lifelong admirers will tell you what the subtle differences are, they’ll also tell you to fuck off and quite right. In an a time where bands life spans are one album, The Rifles are returning with their fifth in ten years and all without ever receiving airplay. You may not like them but you should respect them. 

PAWS - No Grace

The Glasgow four piece have returned with their second album ‘No Grace’. Their brooding debut ‘Youth Culture Forever’ was littered with lyrical nuggets to define teenage angst and coming of age. This time round, it’s the music which is providing the youthful exuberance.

Opener ‘No Grace’, combines the bashed guitars of early Billy Bragg with infectious pop-punk and features the golden line “are you tired of being told that’s not good enough”. This musical notion of the rough with smooth is a constant throughout with ‘Clarity’ it’s finest exponent.

It’s furious pace and accessible vocals will bring memories of Green Day’s joyous beginnings flooding back, especially when the bassline takes centre stage. PAWS are not content with rehashing the past though and fire out a warped solo of such depravity it will have everyone from The Fall to QOTSA looking on in envy.

Occasionally, the clash of styles seen on ‘Clarity’ fade away and the album suffers. ‘Complete Contempt’ and ‘Gone So Long’ have their influences shining through too much for PAWS’ distinct style to shine through, and it should, it’s great.

‘Impermanent’ however, is pop-punk and nothing else. It works, because it’s one hell of anthem. In bleak times, to hear the words “Don’t believe their heart, just work hard and be hyperactive” brings hope. Furthermore, it delivers it bubble wrapped in pop music form which should transcend Radio X and emerge onto Radio 1 playlists.

‘Impermanent’ defines everything this album is about. Short, sharp and life affirming. ‘No Grace’ is no ‘Sgt Peppers’ or ‘Dark Side Of The Moon’. It is however, an album to define (or evoke memories of) that momentous summer after GSCES or going to university.

The carefree punk-pop is in equal parts juvenile and carefree. Good. It’s obnoxious and angry. Great. Now go buy it!

Eagulls - Ullages

Yorkshire 5 piece Eagulls stormed into our consciousness in 2014 with their frenetic self-titled debut. In 2016, they have returned with a venture into post-punk and more withdrawn state of being.  

Albums often begin with a statement of intent, The Stone Roses’ ‘I Wanna Be Adored’ or Oasis’ ‘Rock n Roll Star’ for example. Eagulls have done just that on 'Ullages' with ‘Heads or Tails’. From the first second, the darkness and struggle descend like a ceaseless thunderstorm. Despite the call to ‘take a stab in the dark tonight’, this opener will not leave you feeling positive about any gambles taken.

This new approach comes with varying results. ‘Psalms’ is a damming indictment of our grey political times (not the past fortnight obviously) but, it lacks the edge to drive home this point. Its fine, not bad, and that is its problem. It doesn’t have the destructiveness of The Horrors’ ‘Three Decades’ or the pop prowess of The Cure’s ‘Just Like Heaven’ to land a flush punch.

When Eagulls manage to clash cultural styles into their work, they elevate themselves above their influences. ‘Velvet’ is by far and away the standout exponent. The production is brooding and lurks dangerously in the background whilst, the guitars echo the dreamy jingle jangle of Real Estate.

Driving ‘Velvet’ to higher heights is the vocal work of George Mitchell. The Robert Smith comparisons will be made but, the pain and darkness oozing from him in this tale of Cupid’s demise is remarkable.

Furthermore, Mitchell has that rare ability to drive the melody through his singing. The narrative shifts from line to line, sometimes within a line, all because of Mitchell’s capacity to convey a whole songs emotion into just a couple of words.

Unfortunately, Mitchell’s vocals don’t always impact with the same force. When the Echo & The Bunnymen influences come into play on ‘Lemontrees’ and ‘Blume’, Mitchell’s delivery lacks that star quality which shone so brightly for Ian McCulloch. Musically though, these tracks are a solid addition to this branch of the rock family tree.

On the surface, ‘Ullages’ will not glow as much as its predecessor but, like so many records, after a few listens, it will permeate its way into your soul. The doom and gloom starts to become a more beautiful state of being.

The greatest thing about ‘Ullages’ though, is the creative leap from the debut. So many bands make a death defying punk debut, then they make another and no-one cares. Eagulls’ foray into a post-punk will give the band room to breathe despite the varying results. Also, if they ever return to the sound of their debut, it will mean that much more for those who go on a journey to that destination. 

Boxed In - Jist

It feels like a barely a moment has passed since the self-titled debut album was released. Nevertheless, Oli Bayston’s outfit are back, and they have served up a slice of sun-drenched electronica to kick-start the summer.

The former head honcho of Keith has built on Boxed In’s debut with crisp and catchy production that Michael Jackson’s ‘Off The Wall’ would have been proud to include.

The melody running through is simple but joyously hypnotic. Picture yourself in sunnier climates than a storm ridden train platform with endless cancellations and this song is the perfect fit.

Bayston maybe in hot demand as a producer these days but, for TT, it’s his own work and that we find so compelling. Combining the opulent production with his grainy vocals is a mix certain to prosper.

Bear's Den - Auld Wives

Timing can be everything in the music biz, catching that mood of the public just right can make your career overnight.

The new Bear’s Den single ‘Auld Wives’ isn’t going to resonate like Pulp’s ‘Common People’ but, the distance sounds, faint beauty and subtle melancholy will certainly catch the mood of 16,141,241 people in the UK today.

Tomorrow there needs to be a call to arms, and a fight back against little Englander’s and inept Tories. Today, let us wallow together in the swirling production of the verses here. As the euphoria slowly gathers momentum in the second half of the song, let us gather our thoughts recognise the good in others once more.

The sweeping vocals combine with synths to provide just enough beauty to keep spirits up. Meanwhile, the sublime bassline rattles through with enough edginess to keep you guessing and ample familiarities to give you hope it will be ok. How apt. 

Recreations - Baby Boomers 2

It’s hard to believe that ten years have passed since Sam Duckworth’s debut album via the Get Cape Wear Cape Fly moniker was released. Duckworth now goes by Recreations and recently released ‘Baby Boomers 2’.

Duckworth has always been a consistent and prolific songwriter but, for our money, ‘The Chronicles of a Bohemian Teenager’ and ‘The Mannequin’ are classics. So, can ‘Baby Boomers 2’ get in amongst them? Yes, yes it can. It combines the youthful euphoria of the debut with the intelligence and melancholy of ‘Mannequin’ to set him on another great adventure.

The album opens with ‘Zones 9 & 10’ and, quite frankly, could end here too because, in the words of Triple H:

“I’m that damn good”

The effortless flow of the acoustic guitar and sun-drenched production meanders away like the Thames estuary from “Wapping to Barking to Thurrock towards the sea” which he mentions. The main highlight of this song, especially for a fellow lost soul in Essex, comes from the hope he offers. Duckworth is not content to grow up to be a commuter in London and rejects the financial district as it is today (an industry which employs a large proportion of the county).

Duckworth has painted the picture of an Essex where hope for change seems (and is) bleak but his genuine plea to look at your immediate surroundings in a different light to the status quo is remarkable. It offers achievable change for anyone wanting to make an imprint on the world.

‘Red Spex’ immediately follows this and paves the way to the pop music via electronic production which dominates most of the album. It’s a spritely track, littered with relevant social comment, aka, classic Duckworth. ‘Outdoor Type’ serves up a Block Party style Balearic synth alongside his trademark EMO-lite vocals to create an unique and incredibly engaging new style.

The house music styles continue to filter through on ‘Pipe Down’. The slow build of beats, acoustic riffs and bubblegum pop synths will conjure memories of Lemonjelly circa ‘Lost Horizons’. Behind the sonic bliss however, lurks a tragic tale.  As our protagonist earnestly pleads “Don’t you know you could have it all / all you ever dreamed off / all you have to do is keep it down / keep it down down down”, the images of gut wrenching and life changing break up become inevitable.

The way in which Duckworth changes gears on ‘Baby Boomers 2’ is ultimately its biggest success. For fans of alternative pop music, this album is perfect. It moves from downbeat electronic folk to Calvin Harris pop cutting lyrics and thus, is always intriguing. The track ‘Forgiveness’ is brilliant prototype for a single. It’s emotive, great strings, and lyrically, it will speak to people of all ages reflecting on life. For a man of Duckworth’s talents, it would be easy to put out an album of these tracks and become a superstar. Less is more though, and when you reach this track you are left stunned and then you move on to the next, and crucially, different piece of art.

The only way to conclude this review is to quote the rousing moments of ‘Zones 9 & 10’:

“All these years of stress have taught me this / That hope begins at home / I just wish that glint in your eye was there all the time” 

https://www.facebook.com/recreations2k/videos/10153576390806434/

Stone Roses – Beautiful Thing

After the poor man’s Beady Eye debacle that was ‘All For One’, the Roses have found their form. Ian Brown’s influence reigns supreme as he invokes his ‘Golden Greats’ solo era. The beats and production allow Brown to deliver trip-hop style lyrics to their Mancuninan swagger in the verses and then just beautifully drift away.

All the combinations are working their magic on this record. Brown is the undeniable star of the show which holds back Squire’s guitar wizardry. A good thing, it allows various trippy manifestations to come through in short blasts, which, makes the psyche solo a reward rather than an inevitable outcome.

As ever, Mani and Reni hold everything together with their iconic groove and style. Old or young, their unique class remains. The alternative soundtrack of the summer begins right here.

States Of Emotion - Black & White to Gold

Do not underestimate how much blood sweat and tears went into this album. Record labels are not interested bands right now, the ones that are, have no money and the one that did show interest, treated the Essex outfit poorly. If there is a game to be played in life, States of Emotion have already won it. 

‘Black & White To Gold’ for the most part, is a rare gift which delivers so many avenues of joy. Where it doesn’t however, are valiant attempts to achieve big rock n roll epics. 'Inside Out' is one such instance, it throws bombs from the opening bell but none of which land that clean shot. Nevertheless, in the context of this album, you can see why they went for it, its in there locker and one day, it will be theirs.   

‘Back To Back’ and ‘Seeking Oblivion’ are great places to start for any newcomers to the band. ‘Back To Back’ slowly builds an escapist and slightly warped indie anthem which, when in the final moments packs so much heart and soul, the desire to change life for the better will coarse through your veins. 

‘Seeking Oblivion’ takes the early work of the Editors and combines it with a unique pacing style to lift it beyond their peers. The rasping drums and firing guitars come at you in sporadic assaults and, without any warning fall away like a dubstep breakdown. Once the element of surprise of these moments has passed, the anticipation of the tempo quickening becomes enthralling.  

Taking themselves further away from their indie roots is ‘Rag n Bone Men’. The desolate drum loops combine with short blasts of guitar psyche to produce a truly defiant and free-spirited record. To take their image and shove an alternative one so good right in your faces is a glorious act of rock n roll rebellion.  

The album is not without its moments of pop music either. ‘Lena’ has guitar riffs and parts of sublime beauty. The bubblegum pop nature of the verses is so romantic and infectious, daytime radio should be clambering after this.  

Yet again, band leader Olly Hookings has conjured a character that offers hope and a desire for something. So few bands have this ambition or effect now. There seems to be an apathy now that BBC6 heeds a career for bands. For States of Emotion, there is a purity oozing from them that this is a vocation. It was this or die and that, that is what is truly beautiful about them.  

The pop sensibilities keep coming with ‘She Cuts Shapes’. In essence, it’s an indie standard but, the production and backing vocals are so free-flowing, and soul-cleansing bedroom dancing is inevitable. Lyrically, this is straight out of the Jarvis league of brilliance as Hookings tells the tale of a of young enigmatic female tearing up the dance floor on drugs. 

As mentioned earlier, this is an album that can only make young folk want to be in a band. There appears to be a case that Noel Gallagher had this effect on the band. 'Black & White To Gold' is that rare thing that replicates the heart and soul of Gallagher's work which is overlooked for the bravado and soundbites. The juxtaposition of sun-drenched escapism and melancholy combine regularly here and will leave you feeling inspired and nostalgic simultaneously.   

The ability to stir creativity in others is what this record should be remembered for. For the first time in a long time, a band has transcended the greedy and spiteful age we live in. Thank you States of Emotion. 

Little Green Cars - Ephemera

The Dublin five-piece returned in March to release their second album ‘Ephemera’. The album title suggests this will only be of importance for a short time. However, the blending styles of the two vocalists suggest longevity more often than not.

The Stephen Appleby-fronted songs tend to have Fleet Foxes and Grandaddy sense of melancholy and beauty to them. Opener 'The Song They Play Every Night' sets the tone by decreeing 'If you don’t love me now / You didn’t love me before'. Set to a steadily increasing tempo and jingle-jangle guitars, it’s a bona fide indie winner.

‘The Garden Of Death’ continues on the same veil with the harmonies heavily influenced by the Fleet Foxes’ debut. There is a solid slice of The Shins served up too, this gives the song a genuine sense of purpose, rather than just showing off harmonies which, this kind of song can often fall victim to.

What also sets this song above the rest is, the conflicting styles and contrasts within. The defiance from the song’s lead character provides the uplift whilst the music pulls towards a gloomier state of affairs. That ability, to enjoy oneself despite the constant knocks, is something to heed.

The tracks sung by Faye O'Rourke on the other hand, have a far more immediate impact. This is because of one simple fact, O'Rourke is a powerhouse vocalist who combines the power of Adele with the indie-punk nodes of PJ Harvey.

‘Easier Day’, with its XX guitar riff witnesses O'Rourke set her vocals to stun. As the floaty riff holds the sound in a more mainstream indie realm, O'Rourke delivers a rage of angst and hurt as the story's lead laments her mother's reactions:

“It gets better, better, better / When I hear my mother crying in her sleep / It gets better, better, better / When I know that all the crying is for me.”

The problem with vocals so obviously great are, the tendency to just rely on them. This is fine when you’re Whitney Houston or Mariah Carey and your average fan just wants to hear an amazing set of pipes. In a band as talented as Little Green Cars, songs like 'I Don't Even Know Who' makes you think, where's the juxtaposition of sound etc. Maybe we are just being greedy.

The album closes with 'The Factory', and is the album’s best track. Everything the two singers attempted on their own combined on this record and it’s so much better for it. The innocence and fragility of Appleby take the lead for the most part, but, when they combine with O'Rourke, something magical happens.

Essentially, 'Ephemera' has repeated the successes and failures of their debut 'Absolute Zero'. There are some stand-out moments which, inevitably will win lots of favour at festivals this summer. Unfortunately, there is some filler as well. The difference this time round is, that the bar has been raised significantly. The weaker tracks rival the debuts middling to good tracks and the highlights comfortably eclipse the likes of 'Harper Lee' and 'The John Wayne'.

The Bluetones: Roundhouse, London

With a little charm and a lot of style, Mark Morriss and co were back playing the greatest hits set and Camden’s Roundhouse.  

A lot is made of bands who tour without new material these days and, it's usually negative. In the case of The Bluetones though, they made new music until 2010 so this isn’t a massive trip down nostalgia lane. Even if it was, there is clearly a demand from their fans to watch their concise alternative pop songs still.   

Nothing can be written about the anthems ‘Bluetonic’ or ‘Cut Some Rug’ that hasn’t been written before. They were, are, and always will be classics. What probably wasn’t written enough about the band, was their 2003 album ‘Luxembourg’. 

It should have been another hit album for the Hounslow band and adoring indie fans. However, a new decade was well underway and the Britpop tag was impossible to shake, especially when the lacklustre Nu-metal scene was dominating the share of alternative airplay.  

The performances of ‘Fast Boy’ and ‘Never Going Nowhere’ highlight just how overlooked they were in this period. ‘Fast Boy’, the tale of their weed dealer, demonstrates a shift towards more riff-heavy guitar tracks. Meanwhile, ‘Never Going Nowhere’ took all their classic pop sensibilities and romantically tumultuous lyrics with a slightly more glam-rock-tinged guitar and a bass breakdown so good, it is acceptable to dribble over.  

Morriss’ between-song banter is a stern reminder of just how much new bands could learn from the Bluetones. The dry wit, anecdotes, and jokes are continuous throughout, and crucially, it endears the crowd to the band even more. After their cover of Prince's 'I Could Never Take Your Place of Your Man', Morriss asks that the audience show their love for The Bluetones before its too late by buying something from the merch stall.  

There are sure to be many more nights like this for Bluetones fans to enjoy, it’s a good money-spinner for the band and clearly fun for them. However, to those who booed when Morriss said no more new music was coming, TT begs you, support Morriss' fine solo efforts. Last year' The Taste Of Mark Morriss' is a cracking little indie-pop album that should be in every Bluetones fans' collection.  

Broken Hands - Four EP

Broken Hands just get better and better. Every time they return on record or live, their riffs are more aggressive and better crafted. Everything is tighter, faster, and more polished. This is a band with momentum and hopefully, on the brink of a breakthrough to bigger things.

This time they have returned promoting the latest single ‘Four’ with a UK tour. Here is our track by track review of their latest EP:

Four

Short and sharp, ‘Four’, showcases everything there is to like about Broken hands. Bullish yet infectious vocals combine with aggressive guitar riffs which, if were written by Josh Homme, would be garnering far more attention.

Levitation (Magic Carpet Remix)

Remixes are often a token gesture for single and EP releases. This one however, refreshingly elevates the song into interesting new areas. Broken Hands are rock band with lots of nods towards its glorious past. This remix demonstrates there is still new ground to tread, possibly by them.

The psychedelic and floaty beats take the song from balls out rock to a record with a sprinkling of magic. Will this be something the band work towards? Probably not, but, it’s definitely exciting territory to consider for their b-sides of the future.

Cadet H (Demo)

The flip side to adding production wizardry on a remix comes from this raw demo. There is a great sense of danger lurking in the basslines here whilst Dale Norton’s vocals stray from powerful to prog rock seamlessly.

The bands fascination with outer space continues and its one that serves them well. It appears well educated but better still, it comes loaded with emotion and fanaticism that makes the listener immerse them in their world.

Gravity(Scott Demus Remix)

This remix is a solid affair and the type which is common on b-sides for bands. It doesn’t create any real excitement but is perfectly pleasant enough for background noise. Part of the problem here is that it remains one paced. However, fans of house music would probably argue that this sets a good tempo and grooves along quite nicely. 

Blossoms – Getaway

When discussing the new single from Blossoms at TT towers, the following derogatory comment was made:

“It’s a step towards generic chart fodder”

This writer however, feels this is extremely harsh. The musical components maybe more middle of the road than ‘Charlemagne’  and ‘A Hot Kiss’ but there is a bigger picture to consider, the debut album as a body of work.

The broad appeal of ‘Getaway’ should be viewed as a positive. For when the album comes out, it will provide a depth and difference to the album. Also, is it not the job of a single to be radio friendly and entice listeners in to the album?

The NME recently asked Richard Ashcroft whether the success of ‘Urban Hymns’ and Oasis drove the alternative into the mainstream. His response was:

“But we do it better. You can get as many songwriters in a room as you want for your new talent show contest winner, it’s never gonna sound like a great Noel Gallagher song sung by Liam, it’s never gonna reach ‘Live Forever’, it’s never gonna be [Verve song] ‘Lucky Man’. We know that.”

(full article can be read here: http://www.nme.com/features/richard-ashcroft-a-legend-returns-the-full-nme-cover-interview)

He’s correct. The collective ‘we’ here is music lovers. In a band or a fan, we have a bullshit detector and Blossoms do not fall foul of it. They should be backed up by the alternative world for being brave enough to write something commercially viable with substance. This kind of symbolism matters.

The synths used on ‘Getaway’ have enough risk in them to aid the ridiculously catchy melody. This juxtaposition is lacking in far too many bands today.

Obviously, there are acts out there like The Fall who continually produce great music without straying towards the mainstream areas of the industry. However, can a change in attitudes be made on the outskirts? Possibly, but, it can’t help to kick against the pricks once in a while. 

Recreations – Digital Ghettos

Recreations are the new sobriquet for Sam Duckworth (aka Get Cape Wear Cape Fly!). His nationwide tour with the excellent Rob Lynch and Sean McGowan begins on 22nd April so, we thought we'd check out his latest EP 'Digital Ghettos'.

Built To Last

This Bridges the gap between the melodic and inspirational Get Cape material and the melancholic introspective solo albums perfectly.

From the outside it seems outrageous to claim “im not built to last” as he is about to release his 8th album in ten years. An 8th release which, based on this showing, is set to maintain an incredible level of consistency.

We sometimes wonder whether he should release an album of tripe so his next album can be seen as a heroic return to form because glory is

Icicle

The DnB and jungle influences, so often his USP, serve this track well as ‘Icicle’ ebbs and flows from spiky to euphoric. This tale of trying to be cool in an impossibly cool world inside the M25 has a wryness that should be thoroughly enjoyed by all.

Shake It Off

The shackles are off on this track. This is the most unabashed track Duckworth has written for years. The Get Cape moniker may be no more but the hordes of fans who flocked to his debut ‘The Chronicles Of A Bohemian Teenager’ should be ready for another joyous journey.

This is everything alternative pop music should be. It’s spritely, catchy and bears witness to heavyweight social commentary:

“So throw out your rage / it’s the 70s again / a disgruntled youth / Who will not go away / But they don’t like bands / Because everyone is sleeping with their favourite brands”

This writer and Duckworth maybe the only two in the world that see things this way but the alternative music world of yesteryear with tears in eyes at the levels of corporate attachment today. Yes record sales are down because people steal but principles and symbolism are everything in this world right? Purists may be losing in this world but making a great album, juxtaposing art with commercially viable single and entertaining crowds is art and should not be cheapened.

Polemic aside, this is a great pop song. The soaring chorus is destined to be echoed around far bigger audiences than the upcoming tour is set to play to. Simply put, it is too good not to.

Digital Ghetto

To round things off is a simple and warming ballad about the isolation that technology can bring about. Technology is supposed to bring us together, and in a way it does. However, what Duckworth brilliantly gets to here, is that sense that we know more about our friends than ever before but arguably know them less.

The torture in Duckworth’s vocals as he sings “oh I don’t want to be another one” is gut wrenching. He is detailing how he doesn’t want to drift apart from friends and the world in general but, his lyrics and melancholic music signify it is inevitable:

 “If knowledge is power / why do I feel so powerless”

It’s a horrible sense of hopelessness and remoteness he gets across and he should be applauded for it. No matter how happy you are, this song will stop you in your tracks and reflect for four and half minutes.

The Coral - Distance Inbetween

The boys from the Wirral have returned after a six year hiatus to release their 6th studio album ‘Distance Inbetween’. Previous efforts ‘Butterfly House’ and ‘Roots & Echoes’, whilst good efforts, were not great so, is ‘Distance Inbetween’ worth the wait?

A return of oddness to their production to supplement their god-given talent of crafting pop songs is back and, as a result, is their edge. They stray into pastures new as well, experimenting with prog rock styles inside three and four-minute tracks.

Leading the charge are the tracks ‘Connector’, ‘Chasing The Tail Of A Dream’, and ‘Million Eyes’. It’s a tough call as to whether the production or James Skelly’s vocals add the more sinister tones to ‘Connector’. In four minutes, The Coral have opened their album with dark psychedelia, haunting prog, and quality melodies.  

Shining through the mesh of darkness is ‘Miss Fortune’. For any band starting out today, this is a fine example of what years of dedication can bring. It is simultaneously fresh and familiar, weird and accessible. This is how to create an identity and cement it into pop culture.

Not content with just reaffirming themselves to the world, The Coral have set about introducing key aspects of prog into their pop songs. ‘Beyond The Sun’ uses spellbinding organs, allowing this track to float away into the ether. Meanwhile, ‘Distance Inbetween’ pays homage to Dave Gilmour’s archetypal Floyd sound with a slow build and superb solo release.

This is a fine return from the Wirral outfit. To remain pop-friendly and ‘out there’ is a credit to their talent and work ethic. This is laudable in an era where most play it safe as the money is scarce to be seen.

Liines - Blackout

Just as Savages cement themselves as the best female-fronted band around, Manchester three-piece Liines come surging along to threaten their reign.

'Blackout' opens with an assault of drums and a great guitar hook reminiscent of their aforementioned peers. The difference between the two comes with the directness of the track. Whereas Savages might look for alternative routes to the conclusion, Blackout seems hell-bent on getting there as quickly as possible.

The riff is like an aggressive post-punk version of the many catchy pop hooks of Franz Ferdinand. Couple this with Zoe McVeigh's violent and destructive vocals and alternative DJs have a go-to record to liven up indie crowds on Friday nights.

Sunflower Bean - Human Ceremony

Hailing from Long Island and Manhattan, Sunflower Bean released their debut album 'Human Ceremony' on Fat Possum Records last month and TT is here to check out the hype.

The opening three tracks are bizarre, to say the least. They don't lay down a marker of what they hope to achieve. The opening moments of the title track 'Human Ceremony' provides the only glimpse of what is yet to come. Most of the opening tracks feel like a lacklustre nod to Pond circa 'The Pond'.

Then, finally, on 'This Kind Of Feeling', emerges a sense of who Sunflower Bean are and what they are good at. This first emergence of a Zeppelin-style riff ignites the album and when it's spliced with a more experimental style, it provides a great juxtaposition for Cumming's vocals.

'I Was Home' vocally, is akin to the Subways with the back and forth between Cumming and Kivlen. Kivlen's ability to produce magical dirge on the axe a la Queens of the Stone Age gives them more depth than their English counterparts. Again, there are some lush notes of bugged-out guitars too. It’s a combo that isn't effortless as yet, but it comes mightily close and is clearly a niche they are going to own.

A big section of the album pays homage to The Cure. 'I Want You To Give Me Enough Time' in particular, is sonically The Cure through and through. The production and guitars trickle along like 'Lullaby' which is apt as, Cimming's vocals are beautifully dreamlike.

Sunflower Bean's debut ultimately, doesn't live up to the hype. This isn't because the opening three tracks don't add anything. No, it’s because one minute there is a great blend of Zeppelin and Byrds in the psychedelic phase and the next is an amalgamation of The Cure and Real Estate.

They have recorded both styles well but you can’t help but feel that committing to one style solely would achieve great things on the record. This is one hell of the platform to be springing from though and in Kivlen, they have an x-factor with his guitar playing.