The Blinders - Camden Assembly, London

The Blinders took to the stage last Friday at the Camden and then, then everything changed.

In three minutes of ICB Blues The Blinders have rendered The Wytches obsolete and made The Horrors classic 'Primary Colours' a footnote. Cabbage might be the frontrunners in the punkadelic scene right now but, make no mistake, The Blinders are its heroes in waiting.

From start to finish, this was more than a gig. It was a piece of art, it was pure drama and exciting as fuck. Frontman Thomas shuffles on stage as if the idea just occurred to him decked out in a John Motson fur coat and black face paint, everything about him screams your new hero. Meanwhile, bass player Charlie, parades around like the offspring of Nick Drake arching his bass at the crowd like Wilko Johnson. This is a band with style and substance.

There is a sense of theatre and poetical beauty despite the mayhem, especially on ‘Swine’. As Thomas decrees ‘I need not to be the man on the street’, a sold out crowd looks on wondering how he has ever been one of us. He is a god.

For 40 minutes tonight, it wasn't about hope or potential, it was about the present. That longing for something heroes to set alternative music lovers is over. Punkadelia has landed in the form of a vomiting, gut wrenching visceral juggernaut from Doncaster.

Queensburys - Won't Shut Up

The Essex outfit have released their debut single ‘Won’t Shut Up’ via Label White Room, home of TT favourites States of Emotion.

It wastes no time in punching out its big bluesy riff to compliment frontman Thomas Champion’s new found gruff soul-rock vocals.  

Big guitar hooks have become a dirty phrase of late, a backing track here and a keyboard, not on this single! The guitar part leading into the chorus is awash with escapism and akin to Oasis’ shimmering ‘Columbia’ and the trippier work of The Verve’s Nick McCabe.

If that wasn’t enough, then the solo from George Brown is going to satisfy your needs. It has the hallmarks of Ride’s classic ‘Like A Daydream’ channelled through Peter Green and QOTSA.

Sisteray - Camden Assembly, London

Sisteray have been making a lot of good noises with their newly released EP 15minutes and opened a memorable night the Camden Assembly.

The fast and furious ‘Who R Ya?’ opens with it’s Strokes-esque guitars meets the Buzzcocks . It encapsulates everything to love about Sisteray. Every time you have them pegged as a kick ass punk band, guitarist Dan Connolly fires a Pete Townsend via BRMC slice of swirling mayhem.

Social comment is tough get across to live audiences when you’re the second support band. However, with the election looming and frontman Niall Rowan’s charismatic aggression, the Camden crowd are braying for Tory and reality TV blood by the end of this set.

The most poignant moment of the set emerges on ‘Nostalgia Trip’. The QOTSA riot attacks the endless stream of bygone acts hogging the limelight and delivers the line ‘'it's a nostalgia trip I can't afford the ticket', a message not lost on the gig lovers present.

This is a good set with great moments, such as ‘A Wise Man Said’, a furious homage to The Libertines’ ‘Delaney’ or, halcyon rock n roll of ‘White Knuckle Joyride’. Nevertheless, Sisteray seem to have merely scratched the surface of meshing punk, rock n roll and lyrical sniping. This is a journey you must be part of!

Childhood – Californian Light

Following their terrific debut album ‘Lacuna’ in 2014, the Brixton outfit return with sure signs of reinvention.

Their new single ‘Californian Light’, is from their forthcoming second album ' Universal High' and is a a great stride towards Philly soul. Fans of 'Lacuna' will not be left wanting though, it blends the soul with their trademark psyche-pop.

The crisp soul vocal from Ben Romans-Hopcraft sits somewhere between Love's Arthur Lee and Marvin Gaye on his 1971 classic 'What's Going On' album. Hopcraft has the ability to reel you into a warming soul arena and then, in a heart beat just drift away with an aloofness. It's the perfect tone for Childhood's sun drenched sound in a world that is struggling not destroy itself.

If the standard of 'Universal High' is like this, well, Childhood could quite possibly unite the musos and the mainstream.

The Blinders – Ramona Flowers

Anyone who has seen The Blinders recently will attest to the fact that the times they are changing. Fuelled by the political climate, the three piece from Doncaster via Manchester bringing punkadelic toe forefront of the UK scene.

Their latest single, 'Ramona Flowers', is powered by brooding and violent guitars, bridging the gap between psychedelia and Nirvana's 'About A Girl' and 'Love Buzz'. The results are spectacular.

'Apathetic but inviting / She's amazing / You're amazing / Hell raising' drools frontman Thomas. The slow and slightly deranged delivery will lead you down the dank backstreets of the most exciting city.

This year's festival scene has been put on red alert with this single. With their venom and visceral brilliance, The Blinders are going to crash the indie party which, has become far too safe for its own good.

British Sea Power: Shepherds Bush Empire, London

BSP’s new album ‘Let The Dancers Inherit The Party’, has reawakened everyone’s love for the 6 piece with its social comment and string of pop anthems. So, this tour surely could not fail.

BSP have always bred a respectful and loyal following, so, unlike most bands 6 albums deep, the new songs were a treat not an excuse for a piss. That said, 6 of the opening 7 being new tracks dimmed the mood after opening with the protest banger ‘Who’s In Control’. The pop prowess of ‘Bad Bohemian’ and the introspective Nick Drake-esque ‘Electrical Kittens’ are destined to remain in the set for a long time.

When BSP get into 5th gear with ‘Lights Out For Darker Skies’ the west London crowd spring into action. Their unique spirit rises to the surface as Martin Noble unleashes his brand of Springsteen meets punk rock.

Conspicuous by their absence are tracks from their classic album ‘Open Season’. The fact that BSP can pull off such a top draw show without classics ‘Please Stand Up’ or ‘It Ended On an Oily Stage’ is a testament to their quality, but what is it a brave step too far?

One note of Abi Fry’s violin on set closer ‘The Great Skua’ gave an emphatic answer of no. The colossal beauty and warmth was enough to think ‘fuck the encore, it’s never topping that'. Perhaps only their early firecracker ‘Carrion’ came close.

One thing is for certain, where there are dancing polar and grizzly bears, there will be a group of indie and punk lovers willing to cherish one of Britain’s best kept secrets.

British Sea Power - Let The Dancers Inherit The Party

Brighton's British Sea Power returned with their 6th studio album 'Let The Dancers Inherit The Party' this month. With a loyal following, nothing is particularly at risk, but, after various side projects and previous album lacking a little, their relevance was certainly on the line. How glad we were to hit play on this glorious indictment of the times then.

The underdog as the optimist is a difficult position to win from, when, easy answers to complex questions lay with your detractors. However, British Sea Power have come out with swinging with messages of togetherness and crucially, wrapped them up in radio friendly pop anthems.

The first half of the album is as unifying as any record in recent memory. Whether it be the driving guitars of ‘What You’re Doing’, the defiant messages of ‘Bad Bohemian’ and Keep On Trying (Sechs Freunde) or Sunkist tale of honesty ‘The Voice of Ivy Lee', BSP reminded everyone that to be heard, you must do what the mainstream does and do it better! Change will never come from playing to the converted at boutique festivals. With the pop majesty of these tracks, BSP should be forcing their way into V Festival and onto 4music to remind everyone pop music doesn't have to be dull.

BSP will not have sat down thinking, we need to do deep and meaningful better than Ed Sheeran or deliver messages of togetherness with unashamed glory better than the UK’s right wing, but, in doing so, for the first time in a long time, the cogs feel like they are gaining some positive traction.

‘Bad Bohemian’ walks the line of cult classic and victorious anthem, a skill BSP have not delivered since 'Who's In Control'. Sonically so effortless, it feels like a one take wonder.

The flip side to BSP’s renewed singles form is their destructive melancholy. ‘Electrical Kittens’ and ‘Praise For Whatever’ give a sense of something good being lost to evil (the BBC to the Tories for the former). Much like the This Is England film and TV series, darkness looms throughout, but, its so enjoyable your attention will never fade.

‘Don’t Let The Sun Get In The Way’ stands atop of everything here like a bombastic beacon of light. The introspective verses are tempered with infectious shimmering riffs and angelic backing vocals until the inevitable spotlight descends upon Martin Noble. His solo is 30 seconds of arms around the world positivity which will not settle for Farrage or Trump.

Go pick up a guitar. Now!

Odina – Why'd You Make Me Cry

The London via Barcelona singer-songwriter is back, and she is on stunning form. This slice of melancholy is as morbid as it is beautiful.

Everyone has questioned the actions of a loved one like this, but, most of mortals have lack the purity of Odina’s vocals.

To date, Odina has written about toxic relationships and depression, and once again the darker aspect of her soul is getting airing here. However, the early Bon Iver guitar style, enriching horns and dreampop production will never fail to raise spirits.

Theatre Royal - ...And Then It Fell Out Of My Head

The Rochester outfit are back with their fourth album 'And Then it Fell Out Of My Head'. They have been a secret for far too long, but, with backing from Steve Lemacq, this record seems set to spread their message far and wide.

Despite their lack of coverage, their confidence has certainly not diminished. It is an album packed with potential singles (if only people bought them). So, its only fitting they lead off with the former single 'Port Bou'. It bristles with their archetypal Mersey-psyche sound and has the feel of a beloved underdog.

'Locked Together On The Lines' recalls the tale of frontman Oliver's Nan finding a dead sailor and prostitute at Chatham's war memorial, The Great Lines. Every facet oozes brilliance. Vocally, the human touch shines through on what is a tragedy. Sonically, the guitars blend the breeziness and haziness of The La's with the pop instincts of The Bluetones.

The real star though is the lyrics. They build the intrigue immediately with brilliant opening ‘did he woo her / did pay her’. Prostitutes are so often viewed as second class citizens which, is deftly portrayed here with anonymity:

‘a sailor lay with a stranger now frozen in time’

This album’s real success lies with 'Standing In The Land'. The bravery alone to talk about fear and confusion over refugees should be applauded. The opening line will stop all in its wake:

“it seems clear to me / how can we be free/ when there is dying in the sea / Because of you and me”

Usually, the social comment is reserved for political angst or sub-cultures in full flow. This goes one further and relays an actual conversation with the accessibility of Gogglebox. It's laced with anguish, guilt, and regret, it is a triumph of inputting pure feeling into a song not seen since Primal Scream's 'Damaged'.

At times, on 'Teardrop' and 'Will Someone Please Write Me A Song', your left with a sense that their magic has waned somewhat. Upon further reflection, it's a testament to how many potential singles they have. Few can deny the brilliance of the harmonica on 'What Has Become of Me', witty lyrics, and the dejected isolation projected in its closing moments.

Theatre Royal may not be new, but with this album, they have certainly arrived.

The album is out now. Find it on their Bandcamp page here:

https://theatreroyal.bandcamp.com/album/and-then-it-fell-out-of-my-head

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.