Paul Draper – EP 2

Former Mansun Paul Draper returned earlier this year with EP One. He is back again with, yep, you guessed it, EP Two. here's our track by track review:

Friends Make The Worst Enemies

Draper’s ability to make grandiose anthems sound twisted and brooding has not diminished one iota. This EP opener will drag you in into his world of distrust head first and scream in your face until you understand that he “feels like my life is imploding”.

The way he tempers bravado with helplessness creates a unique world light at the end of the tunnel doesn’t exist.

Some Things Are Best Left Unsaid

The tender, yet wayward vocal begins to forge a calmer path following the intense storm that is ‘Friends Make The Worst Enemies’. With this clarity though, comes a bout of regret through the simple yet damming line:

“I wish I had told you when we first met”

This line, like the song, is so simple and so effective. Commuters the world over will be glued to the landscape drifting by them out the window pondering the whys and hows of secrets they should never have kept.

Don’t You Wait, It Might Never Come

For those who grew up with Mansun in the mid-90s, they will undoubtedly have their younger selves and dreams sound tracked by the ambition and hopefulness embodied by Oasis’ ‘Live Forever’.

Now their youth is behind them, a sense of last chance saloon is something that will appeal to those whose lives have not panned out as planned. That’s where this track comes in. Four minutes of frantic desperate rock n roll spew out of this last roll of the dice and it doesn’t disappoint.

Friends Make The Worst Enemies (Acoustic)

So often, acoustic versions of the lead track are just filler. Not here. Draper’s solemn version of the opener adds much needed sonic ballast to this delightfully unsteady EP.

Furthermore, the softer vocal allows the lyrics to sound more like a tale from a deeply wounded elder statesman full of resentment.

Cabbage: Old Blue Last, London

For 20 minutes of this 30 minute set, Cabbage are the best band on the planet.

They open with 'Uber Capitalist Death Trade' and hone the ramshackle beauty of The Libertines via the oddball genius of the Happy Mondays.

With barely time to draw breath, they launch into ‘Kevin’ cause everyone to question everything they know about music. A pulsating channeling of The Sonics via Bo Ningen provides a superbly violent anthem for this small but adoring set of fans.

Some light relief comes in the form of the decadent 'Fickle'. It strides drunkenly wherever the fuck it wants before a warped guitar solo chimes out like an acid ridden four minute warning siren.

Closing the show out are ‘Necroflat In The Place’ and ‘Free Steve Avery (Wrong America)’. The intensity remains, but, the quality dips ever so slightly as the peculiarities of ‘Kevin’ fade. What you are left with, is another dose of Palma Violets or Libertines b-sides. To be clear, they are matching their quality, no mean feat!

Cabbage, at their best tonight, are setting the agenda and blowing all their peers away. Be sure to be on their tour in the New Year.

James Dey - The Night Time

It’s been a decade since Leed’s James Dey released an album, and, on this showing, a decade too long.

The Yorkshireman’s hiatus from recorded music has not diminished his ability to write hushed and angelic folk songs. Opener, ‘The Yawn’, is never more apt than right now as winter draws in. Blessed with the warmth of Stornoway’s debut album, this quaint number is the perfect avenue for you amble into this album.

This is a consistent album, often serving as good background noise or relaxing commuting content. However, every now and then, Dey produces genuine moments of magic, often around the simplest and intimate discourses.

‘Hedgehog’ is one of these instants. Dey’s vocals adopt a whispered gravel and traverses its way to enriching and rousing blast on the trumpet. On paper, this has the hallmarks of Billy Bragg and Sam Duckworth. However, an amusing tale of a mid-twenty something being locked out of his parents and a dead hedgehog, not so much.

Dey is adept at writing songs about the imperfect like ‘Smokers In The Corridor’ and ‘Andrika’. The former is a majestic piece of folk-pop. Only Tom Williams has rivalled this level of intimacy in recent times. The mood and tone brings Noah & The Whale to mind as Dey evokes memories of a seaside holiday.

All kids should grow up with holiday memories like this. On paper, they’re shit, but those vague memories of your elders free from everyday stresses breeds a warmth as you get older and kudos to Dey, he encapsulates this beautifully.

Meanwhile, ‘Andrika’, is a boat that doesn’t sale in the garden of his childhood. A glorious display of childhood imagination of what this boat once was and the battles it once endured. Fans of this song, should read Andrew Collins’ ‘Where Did It All Go Right?: Growing Up Normal in the 70s’ now!

This is an album that you might be able to ignore because of under exposure, but, put it on and you will find it tough to put back down again.

You can and WILL download 'The Night Time' on James' bandcamp page here

https://jamesdey.bandcamp.com/album/the-night-time

Cabbage – Uber Capatalist Death Trade

There should be no doubts right now, Cabbage are the best band in the UK right now. Here’s our track by track review of their scintillating EP:

Uber Capatalist Death Trade

Danger lurks around every corner with an unerring confidence and originality, the like not seen since The Libertines in 2002. The power and ferociousness on display here will make recent excellent work of Palma Violets seem old hat.

It has everything to unite the alternative world. Blistering guitars for the mainstream Radio X crowd, feral post-punk vocals a la Lydon with PiL, and biting lyrics to boot.

Fickle

All the stomp and pomposity of the recent Arctic Monkeys albums is made to look irrelevant in this 5min affair. This is a fragile juggernaut rampaging its way around town with a bottle of port in one hand a sledgehammer in the other hand.

The opening is a death storming stomp, the lyrics are dark humour at its best and the guitars, well, they are crazed and escapist, they raucous and offensive. This does it all!

Tell Me Lies About Manchester

Hilarious from start to finish. A tale of a monster bullshitter, bigger than Jay Carwright and Del Boy put together who claims:

“I've had a pint with every member of The Fall”

And

“Rowetta rubs my feet”.

BBC6 stalwart marc Riley recently told the NME that Cabbage are the rightful heir to Happy Mondays throne. He is not wrong. The music grooves along with the wayward effortlessness embodied by the Mancunian icons and embodies the wit and charm of Shaun’s great lyrics on ‘Bummerd’.

Free Steven Avery (Wrong America)

Musically, this is most light hearted on the EP. It’s a spritely thigh slapping pub song. Fittingly then, the lyrics are cutting and profess to killing Donald Trump.

The Treatment - Treatment

Nothing this aggressive has ever emerged from Cambridge surely? The Treatment have the spite of Slaves but combine with the style and substance of The Horrors and The Doors.

Here is our track by track review of their self-titled and FREE EP (available here http://treatment1.bandcamp.com/releases):

The Dead Whale

A dark brooding assault of distortion combines with a Joy Division riff on the opener. Mid-way through, comes a surprisingly uplifting section hinting that chart domination may soon follow. This is closely trailed by a killer baseline as the song draws to an end.

Pride On The Fire

A glorious ode to The Fall via The Horrors circa ‘Sheena Is A Parasite’.

Aboriginal Splendour

Imagine Franz Ferdinand’s catchy guitars and baselines given an injection of fury and you’ll be carted to your favourite sweat dripping venue for this banger.

Last Mirror

The rage drops some gears but lurks dangerously throughout. Especially as it builds towards the Libertines’ ‘I Get Along’ territory before resetting to their own unique guitar part.

Beyond Hunger

The EP closes with baselines reminiscent of Dogs’ debut album ‘Turn Against This Land’ combine with distorted post punk vocals to create another menacing gem. 

Whistlejacket – Oh Brother

The Fierce Panda label have unearthed another beauty in the London five piece Whistlejacket. Championed by both Simone Marie and Faris Badwan, they are band destined to join the rock n roll psychedelic elite sooner rather than later.

Here is our run through of their new four track EP:

Oh Brother

This opener takes the swirling psyche of Temples and injects it with Primal Scream’s sense of counter culture. Its big riff is demonic and intent on partying at the gates of hell.

Lyrically, ‘Oh Brother’ tells you all you need to know about their head-space, they don’t give a shit. As cinemas gear up to embrace the Gallagher's at their peak, this song feels an apt modern day nod to this spirit.

GB Ache

Another set of heavy hitting guitars combine with distant vocals on this Broken Hands meets latter day Arctic Monkeys effort. Throw in the bugged out production and the etchings of something special are clearly materialising on the horizon.

Hotter Than Heaven

The immediacy dissipates but it feels like they're searching for it at times. However, when it lets go, a beguiling, fuzzy and understated guitar solo emerges in the closing seconds to redeem itself.

March Hare

If this were a Facebook status it would state:

"when a band pulls everything together to create magic"

Combining the distinctive guitar work of The Cure at their peak with everything great about The Horrors, Whistlejacket have found their groove. Doing everything at once is a commendable effort but an almost impossible trick to pull off consistently. Allowing everything its space lifts them from 'great support band' to 'get the fuck out of the way, its our time'.

Farewell to The Enemy

Ten years have passed since Coventry's three-piece The Enemy rolled into town. They were a rare working-class voice in British rock music and Friday witnessed their last-ever London gig at The Forum. Although, from the riotous atmosphere, you’d think it was a band on the brink of the big time.

Nobody left Kentish Town without losing a stone in sweat and jaded vocal cords. It’s what all gigs aspire to be. For anyone who reads TT regularly, sentences such as “why are Radio X and BBC6 not playing this” feature regularly. A sentiment echoed by frontman Tom Clarke on stage as to why they are splitting up.

It’s a cast-iron fact that their debut album is a classic. This should have given them the right for their singles to be a-listed when they returned for the second album. But the indie bubble of the time burst because major labels were destroying it with Scouting For Girls and the fucking Hoosiers, so they deemed The Enemy irrelevant. The presence of these tuneless gutless witless fucktards made the band more vital than ever. Clark’s venom and lyrical insights were needed to uphold a generation of indie fans who were about to be left behind.

Already the UK is a poorer musical landscape without them. As much as we love Frank Turner and The Vaccines, their middle-class and private school backgrounds can never write a song like ‘You’re Not Alone’ or ‘Be Somebody’.  Let’s hope Nicky Wire never gets bored of music!

The night itself was a joyous send-off for the band and its fans alike. The crowd was bang up for it from the moment the DJ played ‘Parklife’ 30mnis before they came on. Any opportunity to sing “now this song is about you” in-between songs was gladly taken, especially in the tube station and, for some, all the way to Bank.

The chink of light for fans should be Paul Weller. His varying and consistently high career since The Jam split will hopefully provide the inspiration for Tom to carry on in some guise.

So. Farewell to Tom, Liam, Andy, and everyone I’ve shared a sweat-filled room with since 2006. You’re not alone!

The Academic - 2003 Mixtape

As a generation of Olympic heroes like Bolt and Ennis are reaching the end of their careers it’s impossible to not feel nostalgic for their glory days. Sound tracking this feeling, is The Academic's '2003 Mixtape'. 

Musically, its indie-rock drowning in sunshine and so carefree. However, can a tale of nostalgia ever truly signify happiness? Despite its unrepentant feelings for yesteryear, you wonder hurt has hit the pause button on this part of their life.

As with all their previous singles, The Academic have produced great riffs and euphoric vocals but, the highpoint emanates from Craig Fitzgerald’s delivery of the chorus:

“You and your mistakes / Me and my mistakes / Nothings gonna change the way I feel” 

Fitzgerald cuts a British version of Julian Casablancas in despair and, for anyone hung up on missed chances, well, expect to feel forlorn afterwards.  

Man & The Echo - Distance Runner

Fresh from playing Billy Bragg's curated Leftfield Stage at Glasto this year, the Warrington four piece recently released the single 'Distance Runner'. 

It has the drum roll hallmarks of Milburn's 'What You Could Have Won' and vocal cadence. However, this is just a small part of what makes this cracking single. The Northern Soul swagger radiates from every pore and is certain to have audiences both young and old clamouring for more.  

As with all their work to date, ‘Distance Runner’ is blessed with a warmth which feels cathartic and has the ability to unite. Now more than ever, we need Man & The Echo.

Hello, World!

The Rumble Strips - The Lightship Recordings

It seems an eternity since we heard from The Rumble Strips but, at the end of July, they released a new EP ‘The Lightship Recordings’. Here’s our track by track review:

Another World

All memories of Rumble Strips tend to lean towards their sun filled pop numbers, so, Another World is the perfect comeback for them. The pianos and guitars breeze on by without a care in the world as the chorus reflects perfectly:

“when we're living in another world / what a feeling” 

Around The World

Who needs melancholy when you have this? For anyone pondering the point of meetings where nothing happens and officious emails to 30 people when only 1 is needed, this, this song is the answer:

“Gonna buy me a car / Gonna put you in it/ I’m gonna die in that car when I’m old / all around the world”

Bistro Paris

Where do they conjure these melodies from? The deeper tone to Charlie Walker’s vocals lends this quaint lullaby a different tone to the previous two ‘sing your heart out’ numbers and, is much the better for it.  

South Harbour

This is a pleasant and jaunty affair but never really goes anywhere. This is a pity because, as the vocal harmonies 2mins come in, it threatens to do something interesting but sticks to the status quo.

Ticking Over

Does exactly what it says on the tin. Plods along pleasantly but there are no real lifts of excitement or escapism as seen elsewhere on this album. 

Wildlife

Walker’s opening howl of ‘wildlife’ is a thing of beauty, much like what he is describing. The power he summons is like a melodic town crier. Couple this with the Belle & Sebastian meets King Creosote indie-folk-pop verses lead to an encapsulating end to this EP.

King Creosote - Wake Up To This

Fife’s Kenny Anderson, has become best known for his experimental work of late, including the bad ass Mercury nominated collaboration with Jon Hopkins. On ‘Wake Up To This’, he has returned to his intuitive pop sensibilities which saw him rise through the ranks of folk royalty during the late ‘00s.

His trademark electronica combining with his infectious acoustic melodies and Celtic vocals is joyous and evokes memories of ‘You’ve No Clue Do You’. The use of strings is a no brainer for Anderson’s brand of melodic folk but, not one we’ve seen a lot of. When you revisit classics like ‘Marguerita Red’, ‘678’ and ‘Home In A Sentence’, thoughts of a full orchestra and the Albert Hall become a burning desire

Whatever it is KC is striving to achieve, surely lies within this single. The combination of folk traditions and electronica offers everything that’s ever been great about him and still finds space for innovation.

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.