Kasabian - You're In Love With A Pyscho

Beats and psychedelia pumping out the stereo can mean only one thing, Kasabian are back!

Despite Trump and bitter confusion of Brexit, Kasabian had one hell of a 2016. They watched Leicester City do the unthinkable and Serge got married. The swelling of love in their circles was huge and has oozed seamlessly into this comeback single.

Kasabian’s affinity with Frankie Knuckles’ love drenched house continues as the teeth grinding beat marches on. However, when the bass and guitars chime in, it’s clear they are taking this in the direction of classic Talking Heads singles ‘Pyscho Killer’ and ‘This Must Be The Place’.

No Kasabian track is complete without masterly pieces pf psyche, synth and warped production and this is no different. They are spliced in with the funk of ESG’s ‘Bam Bam Jam’ and the bluesy trippyness of Primal Screams ‘Burning Wheel’.

Much like Primal Scream, Kasabian continue to be ambitious and experiment with clashing sub-cultures and pop music. Crucially, they mesh everything to make the latter, surface level alone, this is a bouncy sing-along, dig deeper and you’ll find many a hidden treasure.

Ryan Adams - Prisoner

Adam’s sixteenth studio album ‘Prisoner’, is a compelling memoir of his gut wrenching divorce from Mandy Moore. Mere mortals fall into a routine of heavy drinking and regrettable text messages when burned, Adams however, picked up his guitar and aimed for masterpiece.

What hits you immediately, and remains throughout, is the heartache. Former single ‘Do You Still Love Me’ opens the record with a self-destructive pattern everyone can relate to. The desperate longing to know the unanswerable of where it all fell apart are at the forefront. Couple this with a guitar solo that conjures images of Adams screaming and howling into the night at the loss of his marriage, you have one hell of an opening gambit.

On the tracks ‘Prisoner’, ‘Haunted House’ and Breakdown, there is an unexpected, but welcome move to some classic eighties sounds. ‘Prisoner’ is straight from the world of Cocteau Twins’ ‘Heaven or Las Vegas’. It utilises the airy production with little nodes of guitar psyche to channel his alt-country sound somewhere new. It’s remarkable to tread new ground successfully when, inside the turmoil is leading you to sing ‘Free my heart / Somebody locked it up’.

‘Haunted House’ treads the familiar ground of Springsteen’s melancholic work on ‘The River’ and ‘Atlantic City’ whilst, the production leans on early work from Kate Bush. On ‘Breakdown’, there are moments when the guitars shimmer and swirl with such glory, you’d be forgiven for overlooking Adams’ affirmation ‘my soul is black as coal’. 

The one chink of hope comes on the dreamy ‘Shiver and Shake’. All the self-reflection and self-loathing gets a dusting down, only lightly, but enough for the defiant declaration ‘if I wait here any longer I’m gonna fade away’ to suggest time is healing.

To compare and contrast 16 albums is almost futile, but, ‘Prisoner’ is of such consistently high quality it has to be mentioned in the same bracket as 2003’s ‘Rock n Roll’.  The sense of do or die comes shining through on ‘Prisoner’, and thus, we live you with apt quote from Byron:

“If I don’t write to empty my mind, I go mad”

Theatre Royal - Port Bou

Sometimes, bands can play but lack the human touch and vice versa. Theatre Royal have both, what they’ve lacked is just that little bit of luck. With their new single ‘Port Bou’ though, they have got their breakthrough on day time BBC6.

Its blend of the Paisley and Medway scenes is far more revitalising than rehashing. It injects them with an ‘us vs the world’ spirit that makes you want to ride into battle with them. It’s the immediacy of the opening riff which fires everything up, much like The Jam’s ‘Running On The Spot’ or ‘The Gift’.

‘Port Bou’ is not solely about its chest out bravado. Far from it. This is pop music! The jingle jangle guitars shimmer throughout which simultaneously, conjure visions of hope and loneliness. Couple this with an early John Squire solo and a final third which has a brief, but glorious Ian McCulloch vocal drag, you clearly have one of 2017’s (grandchildren) nuggets of gold.

The Claim at the 100 Club

The illustrious 100 Club played host to the inaugural Medway Weekender. Headlining the first night were The Claim, a genuine hidden treasure from Cliffe in Kent.

They open with the ‘Say So’, a solid reminder of a time when singles could be a blend of infectious and thought-provoking melodies. ‘Do You Still Feel’ furthers this notion, the Roses style drums are met with a withdrawn Boo Radleys-esque vocal during the verses. They serve as a perfect precursor to a rousing chorus and irresistible guitar part.

Closing the set was the classic ‘Sporting Life’. The guitars are as sharp as ever on this paisley gem. The contrast of the high and low guitar parts is a thing of beauty. It builds the tension expertly in this tale of gambling woe and then, as all hope is seemingly burned, comes the lightest of jingle jangle touches.  

What remains apparent, is without frontman David Read, there never would have been an audience for so many beloved alternative singers. He has a great nous of creating something truly interesting within a great guitar melody. Where Ian Brown and Mark Morriss were going for pop nirvana, Read straddles that line of underground/overground like The Simpsons did for its initial 8 seasons with aplomb.

How long The Claim will be back for remains unknown, but this was a special night with a special band so, here’s hoping for a lot more.

Jordan Allen - 110 Ways to Make Things Better EP

The rock n roll outfit from Bolton have returned with this 3 track EP to raise money for The Brain Tumour Charity. Here's our track by track guide:

110 Ways To Make Things Better

This is a rock n roll staple for the Bolton outfit. It’s not making any classic lists soon, but, every time they return, the momentum and positivity they bring to the table keeps rumbling forwards. The guitars are upbeat and when you see the charisma of Allen live, the penny will drop.

Imperial Leather Drama

Allen’s visceral vocals are so resounding that, it's as though he is standing on the ledge of building with no fear. This is also the first real glimpse of a guitar solo which blissfully carts you away. The relief it provides from this tense affair cannot be understated. There is a long journey ahead but, if they continue to blend the fury with the beautiful it’s going to be one hell of a ride.

Rosie

In the mould of early Arctic Monkeys Little Man Tate and The View, ‘Rosie’ is a jaunty indie romp which, if you can't smile at, then we assume you are Piers Morgan and a prick.

Antisocial - Attention

Ben Kingwell’s one man army Antisocial have returned with another punk banger, something must be in the water in Plymouth.

Kingwell has nailed his Billie Joe Armstrong vocals here which serve the simplicity of this song well. It snaps at you from the first second and demands your attention, which, is handy because it’s exactly what the chorus is professing.

Like previous singles ‘I Wanna Get Drunk’ and ‘Feel Alive’, ‘Attention’ gets away with the basic structures by having such an infectious carefree spirit coursing through its veins.

Jordan Allen live at Chinnerys, Southend

It was a dank and dark Monday night in Southend, everything about it said ‘tough gig’ Bolton’s Jordan Allen supporting The Sherlocks. From the opening notes of ‘Dancing In The Dark’, it’s clear that Chinnerys stage was being owned by one only act tonight.

Allen is still finding his feet, has an array of influences, ranging from Little Man Tate to Courteeners to Fat White Family. However, what shines through is their confidence, ambition and remarkable ability to play at such a young age.

New single ‘110 Ways To Make Things Better’, is played with great spirit and, by the time Allen snarls the great lyric ‘you got to resurrect your reputation’, the Essex crowd is clearly on board with their dogma.

’Rosie’, didn’t garner the interaction they were after but, a bellowing Brixton Academy looms for this infectious indie number. They ended on ‘Helter Skelter’, which, has set opener written all over it once they established. The Strokes-esque guitars are begging for a beer lobbing frenzy.

Standing out a mile was former single ‘White Lines’. How can a man so young produce something so brooding and accessible? It takes the darkness of Fat White Family and morphs it with the psyche-punk that shone so brightly for Oasis in their formative years.

This obviously early days for Allen and his band but, the spotlight is there for the taking as long as the focus remains.

Elbow - Little Fictions

The Bury outfit, now a four piece after drummer Richard Jupp departed, have returned with their seventh studio album ‘Little Fictions’. This deep into their careers, you have to wonder whether they can keep adding to their fine body of work.

So, unsurprisingly, they open with ‘Magnificent (She Says)’, the archetypal Elbow euphoria soars through the chorus. Before its big release, the band expertly build a tension and injustice, can’t imagine what world they’re living in! Then, Garvey’s vocals some swooning in singing ‘a world that doesn’t even know / how much it needs this little girl / it’s all going to be magnificent she says’. It’s like a wormhole sucking in all ill feeling and spewing out a sense of hope only a child could have.

Jupp’s departure has lead the band towards a more beat heavy album than previous. On ‘Kindling’, the simplicity of the percussion allows the strings, vocals and guitar to have a hymnal quality.

On ‘Gentle Storm’, the constant percussion anchor Garvey’s tale of not wanting to argue with his wife. Again so simple, they neatly tie this complex tale of Garvey begging his wife to just love him at all times. To portray such a vulnerability after years of growing adulation from fans is a glorious feat of song writing and will only adhere him to the bosom of many more.

Garvey got married in the period between albums and wrote some of the lyrics whilst on honeymoon in Sardinia. So, you would forgive him for writing a lot about love, particularly the romantic ‘Head For Supplies’. However, on ‘Montparnassa’, Garvey again is achingly honest with himself post-breakup and lying to a therapist to get sympathy.  

Having Elbow back is like welcoming a friend into your home for a boozy night of catching up and reminiscing. It’ll leave a mark in the morning but you’ll be yearning to do it again and again. ‘Little Fictions’ is the blueprint for how a long standing band can subtly evolve and take their fans along for the ride.

Kevin Pearce - Heartbeat Mind

The Essex singer-songwriter returned last autumn with the sublime single ‘Jump’. Pearce’s new release ‘Heartbeat Mind’, again showcases his ability to push the boundaries of folk and electronica.

‘Heartbeat Mind’ is a slow building affair, with Pearce singing over the top a disconsolate heartbeat drum loop for most of it. Like Leonard Cohen’s ‘You Want It Darker’, it has the ability to sound warming and otherworldly simultaneously.  

Vocally, Pearce has often been compared to Turin Brakes’ Olly Knights. Here though, Pearce adopts a deeper and smokier tone not a million miles away from John McClure. This allows Rebecca Hammond to sprinkle a lightness on the backing vocals, which, immediately prior to the songs euphoric conclusion are nothing short of beautiful.

The closing moments of ‘Heartbeat Mind’, are beset with the hallmarks of a Hollywood hero going through hell to save the world and get the girl. The strings and piano soar with such majesty, it defies belief that Pearce isn’t a global phenomenon.

Engine - Truth Be Told

Engine recently told the excellent http://www.theskinny.co.uk/: 

"The song was conceived and recorded at our respective home studios in the Leeds suburbs; the inner heart of Burley and the outer ring of Headingley. A patchwork of sketchy samples and reverberated live recordings, we built the track up over several weeks.”

The results of this DIY effort are remarkable. Put Steve Mason's vocal on this and you have a Beta Band classic on your hands. The drums cascade their way through an array of synths and bleeps to conjure images of an aimless dissident.

 This is apt as lyrically, ‘Truth Be Told’ details the confusion of what is real in this politically moribund era. The glorious reference below to the advocators of “post-truth” could only be topped by a GIF of Farrage and Trump flinging their own shit at walls until sticks:

"Say what isn't seen and / Then it's seen / Then it's meant to be"

Three quarters through comes a guitar part so sublime it offers up hope in its purest form. This supplemented with the lyrical call to arms at the songs conclusion:

"No more dreaming, no more respite / No more sleeping, no more respite"

Steve Mason: The Barbican, London

Scotland’s finest singer (FACT) brought an extraordinary show to London’s Barbican Centre. Accompanied by arranger and conductor Joe Duddell, a string and brass section, two drummers, a percussionist and pianists, this was something truly remarkable.

Mason’s ability to blend folk, psyche, electronica in to alternative pop music is feat everyone should see live. However, the first part of the second half saw Mason’s angelic vocals twinned with just the orchestra. This, particularly on ‘Boys Outside’, brought out a purity in the song not heard before which, is remarkable as it details his former demons.

Throughout the set, Mason revisited his Beta Band days and rightly decries “I’m extremely proud of all the work”. There is a strong feeling that Mason is enjoying these postcards from his younger self as much as the audience.

‘Dry The Rain’ brought a respectfully sat crowd to its feet and to the Barbican's aisles in many cases. The orchestra shined brightest on this classic, as the song builds and loops over and over, the true spirit of this song encapsulated the room.

Mason though, is not someone that needs to rely on his early days to lift a crowd. ‘Alive’ and ‘Planet Sizes’ go down as well, if not better than anything from his past. On this kind of form, Mason has to be considered for big festival slots this summer. 

Echobelly – Anarchy and Alchemy

Echobelly will forever be tagged with Britpop, but with albums released in 2001 and 2004, they have already proven they can outlive that bubble. They return with their first single in 10 years after successful acoustic and full band tours in recent times.

With the use of a stand up bass, 'Anarchy and Alchemy' takes on a distinct jazz foundation. Meanwhile, Sonya's vocals add a sense of anxiousness, particularly within the abstract chorus. It's a terrific reflection of the times, the chemical sense that things are going nowhere or often backwards looms larger all the time.

Sonya's chief partner in crime, Glen Johansson, is also on fine form too. His guitar playing stokes the fires and provides the anarchy to Sonya's alchemy on this subdued yet raw single. What a pleasure to have them back once more.

You Can purchase this now via their Pledge Music page here:

http://www.pledgemusic.com/projects/anarchy-and-alchemy

Listen to the new single and Sonya in conversation with BBC6's Stuart Maconie here:

http://www.bbc.co.uk/programmes/b088nkyy

Elbow - All Disco

Oh Guy Garvey, that voice, from the first word it instantly feels like your best friend has come home from a long spell away.

‘All Disco’, inspired by an interview Garvey did with Pixies legend Frank Black, details how he learned to let go of his ‘be all end all’ attitude towards his songs. This seems odd, as Elbow have always sounded at their best when their mind body and soul have been left out there for all to hear.

That said, fans should rejoice at Garvey’s new reflective stance. The world lost too many heroes last year and to have another one slide into murky waters trying to be perfect would be a tragedy.

Elbow’s archetypal sound is out in full force here, lending itself to all things beautiful in the world. So, to combine it with a wise message of letting obsessions will hopefully have a positive effect on the simplistic dialectical discourse the world has adopted of late. 

Temples – Strange Or Be Forgotten

A great pop music return for the Northampton psyche band.

James Bagshaw vocals beautifully borrow from Mercury Rev’s Jonathon Donahue and Tame Impala’s Kevin Parker. Sonically, this is similar to their Aussie peers as well, however, it’s a four minute pop song. The conciseness of this record proves that pop music doesn’t need to boring.

Lyrically, this is the most symbolic to date. Questioning the necessity to be so individualistic that no-one cares about you is one all bands could heed presently. Identity is great, but, if you cannot make it tangible to something real and make fans feel anything then what is the point?

The way Temples have driven their love of psyche and prog into the realm of pop music is remarkable. It feels the right time Tame Impala to become path makers and allow Temples’ pop majesty to flourish.

The Slow Revolt – Sketches

Aiming to become Peckham's finest export since Del Boy is Joe Mirza, aka The Slow Revolt. He recently released the Sketches EP. Here's our track by track review:

Lean

The spirit of Bon Iver’s debut album is invoked with the infectious guitar riffs on this EP opener. Vocally, you’d be forgiven for thinking this was a hidden Jeff Buckley track. The upwards inflections lend a pleasant riff a anxiety which lifts ‘Lean’ above his peers.

Stitched Hearts

The more measured and downbeat approach taken showcases Slow Revolt at their best. It allows for the intricate vocal harmonies to bounce around the subtle production as if they are one in the same thing.

The looping keys deliver a tension which rub against the angelic vocals expertly. The feeling that this melancholic Everything Everything-esque number will explode into life or sink further into despair constantly looms with this loop but neither outcome emerges. Yet another indicator that brave song writing will define their future.

Messina

Perhaps Mirza’s most soulful effort to date. The feeling stems from the recurring line “the plague is mine” with a rawness rarely seen in the electronic genre.

Small Fires

You’d be forgiven for thinking Burial had a downbeat pop track on Small Fires. The beats and synths, although firmly from the world of Burial, are delivered immaculately. Furthermore, set to these sublime vocals, it raises itself into more accessible realm of industrial music than perhaps the brooding genius of Burial ever could. 

Ocean Flaws - 20:22

What a remarkable step up in class from one of 2016's most promising bands. Previously, they have touched upon The Verve circa ‘Storm In Heaven’ and ‘A Northern Soul’ but, here, they take the genius of Nick McCabe and spliced it with their own magic.  

The throbbing riff that pulsates throughout is a demented heartbeat in this slow building epic. It could, trip along like this and be fine but, the addition of Olivia Russell on dual vocals allows them to expand their sound monstrously.

It would be remiss not to mention the insatiable bugged out psyche via rock n roll solo in this song. As brilliant as Tame Impala have been in the past decade, this solo is serving notice on them and all prog-psyche, it’s time for psyche to get dangerous once more.  

British Sea Power - Bad Bohemian

BSP guitarist Martin Noble recently told the NME:

“It was made to a background of politicians perfecting the art of unabashed lying, of social-media echo chambers, of click-bait and electronic Tonka Toys to keep us entertained and befuddled. All this can easily make the individual feel futile. But I think we’ve ended up addressing this confusion in an invigorating way, rather than imprisoning the listener in melancholy.”

Noble’s sentiments are clear from the off as their archetypal wistfulness soars all around you. In the early days, there was a sense of trying to two foot the doors of hinges with ‘Apologies to Insect Life’ and ‘Favours in the Beetroot Fields’. The charm still remains intact but, it comes with a wisdom and a loving arm around the shoulder. In such a divisive world, BSP’s alternate reality of love and hope is needed more than ever. 

Matt Edible & The Obtuse Angles - Advent Beard

With Christmas fast approaching, the will inevitably be a slew of shite Christmas songs being released. This is not one of them!

Holy Orders frontman Matt Edible has taken time out from the band, and served up what a Christmas classic. It’s a raucous and funny pop song that should be echoed around pubs for the following days of Advent.

Edible's infectious nature is larger than ever and the love just oozes from him. Not even the shit stain Teresa May could fail to feel a bit happier after this jaunt. The bass stomp invokes Slade whilst the backing vocals provide a drunken sense of fun to be shared by best friends.

If you make one Christmas single purchase this December, make it this. 

Luna Bay - Smoke & Mirrors

London four piece Luna Bay have been making solid inroads in 2016 but, they have saved the best till last. Their new single ‘Smoke and Mirrors’ is going to announce themselves as serious players for 2017.

The gorgeous opening will transport people back to those closing moments of a great party in the sun. The dreamy riff just floats about, almost touchable but always out of reach. It feels like a big ecstatic release is coming but, never quite does. Nevertheless, The Maccabees and Foals to find that magic formula and Luna Bay are inches away from it already. 

High Hazels - Joined At The Lip

Sheffield's heir to the Dreampop throne, High Hazels, are back with their new single 'Joined At The Lip'. Small steps are made away from their wistful roots but, their ability to produce beauty remains strong.

Vocally, James Leesley gives a nod to Fury and Como’s crooning skills here, but via his Sheffield roots, much like his great peers George Waite (The Crookes) and Richard Hawley. Lurking lazily in the background is Lou Reed circa the Velvets, which, lends the song an aloofness not yet witnessed from the band.

The closing moments of this song are a thing of majesty. The gorgeous licks on Scott Howes’ guitar float by carelessly, whilst, the synths and faded vocals conjure a gentile haze.