Thousand Yard Stare - Deep Dreaming

Like many bands between 1989 and 1993, Thousand Yard Stare found themselves in the unenviable position of battling for air time against grunge music from the States. As everything though, musical is cyclical and their return in 2016 seems like perfect timing.

With BBC6 providing a home for all, and festivals a plenty compared to only John Peel, Glastonbury and Reading/Leeds Festival way back when, Thousand Yard Stare seem destined to ride a more favourable wave.

Action Stations

Perhaps the hardest hitting guitar sound they’ve ever had is countered by Stephen Barnes’ subtle vocals.

As the lyrical self-deprecation grows, the guitars begin to reach for something, almost mainstream indie-rock but, never quite get there. This isn’t a Noel Gallagher quest for glory, this Thousand Yard Stare straddling mainstream guitar pop from the underground, a position few are finer at.

Black & Blue Sky Thinking

The melodic shoegaze opening, hints a drifting away in a Ride-esque moment of glory but, Thousand Yard Stare’s indomitable spirit keeps walking forward throwing uppercuts. The sonic blend of down but never out is the perfect tonic for this tale of self-doubt and urge to overcome.

When Barnes’ professes  ‘if I cant stay the course / just leave me on all fours’, you’ll be left isolated wondering where to turn and then, in pure Rocky Balboa fashion, Giles Duffy’s rock n roll guitars come charging through the battlefield to save the day.

Heimlich Mnvr

Far more immediate, ignited by their archetypal guitar sound from the off. With middle age onset, this urgency carries far more weight. As the imagery grows, Duffy detonates an escapist solo of intense focus and thoughts of ‘one last chance’ become unavoidable.

Marginal Gains – Stargazing

Sean McDonough’s deep rippling bass hook threads this shoegazing EP closer together. No matter how expansive the guitars and production get, they remain rooted in by this glorious throb.

Whist the other tracks hint at last chance saloon, ‘Marginal Gains’ remains forever dreaming of better times to come.

“and if the gains seem marginal / take the reigns, imagine all / where kingdoms come and stars align / the futures yours and could be mine”

Having this hopefulness in the latter part of the career is far more inspirational than coming from a teenager. To not have live, love and optimism kicked out of you by middle age is a glorious thing, especially in this political climate. Where Trump and May want to row backwards, where UKIP think everything has gone to the dogs, Thousand Yard Stare maintain their youthful desire:

“Make the change and charge in full / With every fibre heal scars / The future’s yours and could be ours”

This, can only be a great thing.

Snapped Ankles at Citadel Festival

As the giant door of the Jager Haus stage slides back, the remarkable Snapped Ankles emerge as only they can, tree loving warlocks!

Their blend of The Fall and motorik fires and swirls around the small stage with a tenacious flair not seen anywhere else at Citadel. The epic ‘Jonny Guitar Calling Gosta Berling’ rumbles along like the purist of post-punk outsiders.

The vocal on ‘Director’s Nostalgia’ is pure Mark E Smith but, more overwhelming is their sense of Flaming Lips fun. The big riffs roar almost sarcastically which inspire people to dance like no one’s watching and, this, is inherently what Snapped Ankles are all about.

Theatre Royal - Is That For You?

Yearning for pop music that matters? Well, Theatre Royal are for you. In fact, their recently released album ‘And Then It Fell Out Of My Head’ is littered with so many potential singles, it’s impressive they managed to pick one.

‘Is That For You?’ is yet another fine example of their Byrds via Primal Scream debut ‘Sonic Flower Groove’ guitar sound. Although relatively new in the consciousness of many, it’s taken from their 4th album so, don’t be surprised by the maturity of the song writing on display.

Like the great Verve songs, its hooks come from sublime use of the violin and it works with the impassioned vocal to tug at the heart strings. The emotive vocal delivery builds to a touching crescendo, which must leave frontman Oliver in a heap of his own tears each time.

The single and album are available on their bandcamp page:

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

Be sure to check them out at this year’s Shiiine On Weekender too!

Old Town Souls by Old Town Souls

The Kent four piece have returned with a new self-titled EP. Check out our track by track review:

Why Don’t You Hold Me

The EP opener sees some melancholic jingle jangle combine with a bombastic Faces swagger. It screams Oasis comeback single from the noughties a la ‘Lyla’, ‘Hindu Times’, ‘Shock of the Lightning’.

If you’re going to write about desperate relationship, you better sound like you mean it and, in Kevin Iverson, Old Town Souls have a vocal growl to do just that. At the mid-point, a big echoing riff acts as the protagonists last attempt to hold everything together before the effortless jingle-jangle drifts away along with the relationship.

In This life

There has been a lot psyche music of late, but few acts manage to insert guts and glory into their efforts. The rolling riff on ‘In This Life’ hints at a haziness, much like Oasis circa ‘To Be Where There’s Life’ and ‘The Turning’.

Without going full tilt on the trippy aspects allows their soul and Dr Feelgood side to come through. It gives everything a sense of adrenaline and need to breakout of their surroundings which music folk from the suburbs have so often adored.  

Gluing everything together on this murky Oasis circa are, what can only be described as kick ass drums.

Figure It Out

A gritty, tale of city life where confusion and despondency reign supreme. Anyone familiar with Iverson’s former band Dogs, will recognise their Orwellian spirit taking a starring role here. Yes, everything is shit, but it’s all we have so we’re going to run with it.

As ‘Figure It Out’ grows, so does an undeniable sense of victory. It refuses to let the bastards grind them down and, in the closing moments, the togetherness doesn’t just rise, it swarms all over you, demanding a two finger salute to anyone trying to supress your dreams.

Now You’re Not Around

At points, this track will lead you to the edge but sadly, doesn’t really take off. It just doesn’t have that solo, or killer riff exploding into life to keep you coming back.

The Blinders - Brave New World

The desolate psychedelic outfit have come up with the goods once more on this punk via glam and psyche music stomper. Musically, its perhaps the most honed they have sounded to date, but fret not, all the danger has not evaporated.

This time, it’s staunchly in the lyrics as they venomously pull apart world and its leaders as it currently stands. The best references however, are unsurprisingly aimed at the Donald. The sarcasm is heavily laced in the chorus ‘oooohhhhhh to be / from the land of the free’ and the label ‘Idiot King’ is one which will stick around for a long time.

Happy 4th July. Fuck that, this is The Blinders and their coming to rip down dystopia as we know it!

Whistlejacket - Slam Dunk

Lovers of all things psyche, New Cross’ Whistlejacket are back and this time it’s seriously dreamy.

‘Slam Dunk’ is a sleepy as it’s possible to make guitars. Whilst a stark departure from their triumphant EP, ‘March Hare’, it does nothing to halt their march to glory.

Amidst the blistering heat this week, the woozy guitars and hazy production are the perfect tonic as everything grinds to a sweaty halt. In particular, the looping guitars in the final moments create a sense of blissful nothingness.

The Charlatans – Different Days

When The Charlatans released their 13th studio album ‘Different Days’ two weeks ago, few could have expected them to top their last offering ‘Modern Nature’. Beset with emotion, ‘Modern Nature’ was highly charged after the tragic death of drummer Jon Brookes and every emotive point felt that bit extra charged for fans.

Perhaps, the emotional stress ‘Modern Nature’ caused led to Charlatans becoming a collective of mates this time round (Johnny Marr, Paul Weller, Kurt Wagner, Sharon Horgan, Ian Rankin, Pete Sailsbury, Anton Newcombe, Gillian Gilbert & Stephen Morris all feature). In doing so, they have managed to mesh their mod-cum-soul-indie side with their more experimental New Order production side for the first time in their career.

This is witnessed tentatively on the opener ‘Hey Sunrise’ but really kicks in on the mixed trio ‘Different Days’, ‘Future Tense’ and ‘Plastic Machinery’. ‘Different Days’ (featuring comedy treasure Sharon Horgan on backing vocals), boasts big booming piano notes and sun drenched production which, comes in layer by layer. It’s such a seamless blend of the two, it allows them throw in a deranged guitar solo to counter any good will.

Immediately following, are the poetic tones of Rebus novelist Ian Rankin. Steeped in intensity, Rankin delivers a tale of hope, discovery and doubt before bursting into the big evolving single ‘Plastic Machinery.

Of the many guest appearances, its Johnny Marr that will leave you reeling. Marr should be the anointed the king of youth culture as he reenergises The Charlatans with spirit of ‘Tellin Stories’ on ‘Different Days’, ‘Plastic Machinery and ‘Not Forgotten’. On ‘Different Days’, their archetypal Hammond organ gets a run out and then, something magical happens. Marr splices in a guitar part reminiscent of ‘How Soon Is Now’ to provide the albums one true moment of ecstasy.

It would be negligent to ignore album closer ‘Spinning Out’. Co-written with long-time friend Paul Weller, this defiant ballad is an astounding end to the album. As the song drifts towards Weller’s luscious entrance, Burgess utters the most resonant lyrics of the album:

“Trying to get back there again / trying to get back there again with you”

On an album which saw their saw a mature approach to their mid-90s hedonism sound, this sense of love of and hope towards their mortality is far more rewarding than the usual fear and doubt.  

Youth Killed It - Modern Bollotics

The Norwich outfit released their debut album back in February but, with the election dust settling (sort of) there can be no better time visit ‘Modern Bollotics’. It’s an album, in their own words, to ‘make you smile with my cheese on toast and bubblegum pop’.

One of the striking things about ‘Modern Bollotics’ is it’s ever shifting roots. It shifts from the punk of Slaves to the boy’s day out of Twang to the thoughtfulness of Mike Skinner in a beat. Threading it all together is a sense of youthfulness that will inevitably fade away, but crucially, not yet!

Opener ‘(Jean Claude) Van Mann’ combines the volatile big riffage and punk aggression of Slaves with the lyrical delivery of The Twang’s Phil Etheridge and Martin Saunders. Unlike The Twang though, they are emerging during a period where getting paid is tough. As a result, a frustration and self-righteous angst arises (and rightly so) in the lyrics:

“And there's no money doing this anymore
If I was doing this for money I wouldn't be sleeping on floors”

The dry wit keeps coming on the sardonic ‘Popstar’. As frontman Jack Murphy decrees, ‘maybe if I was a little better looking I could be a pop star’, the initial instinct is to laugh. On further listening, the urge to question the dominance of identikit Disney turds comes soaring to the surface. When Oasis played Maine Road, Liam walked out in an Umbro and looked like one of us. Today, he’d be called a chav and vilified as underclass scum. A working class hero is still someone to be!

‘Fudge’ meanwhile, drives straight to the heart of not fitting in and being simultaneously proud and doubtful about it. Whilst written about those who fail at exams and work, it has a universal appeal which could tip them into the mainstream.

One criticism of ‘Modern Bollotics’ is, at times its quite one paced with its subject matter. However, flipping everything on its head is the poignant moment of self-reflection ‘What Happened?’ In particular, the lyrics in the bridge:

"I wish I could go back in time
Take myself away from the future
As a man nothing ever feels right
Every day I feel older than I used to
I wish I spent a little bit more time
Preparing myself for the future
It comes out of nowhere, right?
And drags you down lower than you’re used to"

‘What Happened?’ is the working class alternative to Frank Turner’s brilliant ‘Photosynthesis’. The tension that develops when life edges away and frailness sets in is portrayed perfectly here. Furthermore, to embed this into a sing-along anthem is remarkable songwriting.

Whilst only thirty two minutes long, ‘Modern Bollotics’ is an album of life affirming and challenging punk, rock n roll and hip-hop anthems. The disenfranchised haven’t had their day in the sun for a while and, with this offering, expect a glorious scum to rise once more.

Kevin Pearce - So On

In 2017, where opinions are so dialectically opposed, and aggressively so, you have to question where Kevin Pearce’s latest offering ‘So On’ fits in.

It’s steeped in the English folk heritage of Fairport Convention and Pentangle during the verses. Where there is Kevin Pearce, a form of folktronica usually looms large. Here though, its minimal but, the blending of the two genres has never been this seamless.

There is a swelling of bands at present, full of rage and teenage angst, and rightly so. On ‘So On’, Pearce goes beyond instinctive polemic and lurks in the shadows of ‘work of art’ territory. It’s a stark reminder that music can create new realms and lift consciousness to higher planes.

Sisteray - 15 Minutes

After witnessing their cracking set at the Camden Assembly recently, TT decided to check out the London four piece's new EP 15 Minutes. Here is our track by track rundown:

Queen’s English

This twos and throws from rock n roll and punk to pretty good effect. It has enough swagger to reel in the Kasabian crowd but enough spikiness to alert the punk rockers.

There are times when the prose of Pete Doherty or Richard Hawley can be all that is needed to enrich the soul with their Blake-esque tales of Albion. Sometimes though, there is desperate need for youthful angst ridden social comment and ‘Queen’s English’ is most definitely that.

Kicking and screaming at everything the Tories have delivered in the past 7 years, Sisteray remind us of the class divide and how the other half expect us to live:

“Taught to live within our means / swap our dreams for repayment dreams”

The next ten years cannot be about Noel Gallagher again. They cannot be about Foals. It needs to be desperate, furious and all gut instinct once more.

Nostalgia Trip

Having defined who and where they come from, Sisteray lead on to who they are going to destroy. The past. The UK’s musical taste, on the fringes at least, has always been something to be proud of. The various scenes, labels and club nights springing up in pockets of Cities and suburbs has always been progressive. That is, until the past decade when the arse fell out of the industry.

The alternative scene has no TOTP’s outlet and the alternative scene is awash with middle class acts because the working classes have been priced out and ignored by the industry. The concept of building stars for the future seems lost, with the exception of John Kennedy, a few at BBC6 and This Feeling (the greatest club night and tv channel going).

Faaast Food

Musically, there is a slight disconnect between the great Coxon-esque riffs and the droll vocal delivery. Nevertheless, it’s another great swipe at the plastic 100mph lifestyle of the culturally vapid:

“Fame comes cheap / When you’re the scrap heap / Roaming round the jungle / To earn your keep”

Famous For Nothing

On Matt Forde’s Political Party podcast, Michael Portillo joked last year that if he remains on the BBC for another 5 years he is half way to becoming a national treasure. He’s right. Making quaint shows about trains has admonished his greedy Thatcherite voting record.

The same scenario has developed for the “stars” of Towie and Made In Chelsea. From our standpoint, a fart in a lift is never getting better with time. So, whilst some may say Sisteray’s rhetoric is old hat, we say it’s more needed than ever. The attack on their fake tan emptiness draws a line in the sand and demands everyone to pick their sides.

White Knuckle Joyride

All the angst and hatred of modern society fades away as this free flowing rock n roll number gives life to a more hedonistic realm.

The ending is nothing short of mesmerising. It has the escapist stadium friendliness of Oasis’ ‘Slide Away’, the cascading frenzy of BRMC’s ‘Whatever Happened To My Rock n Roll’ and all the joy of Charlatan’s all encompassing ‘Sproyston Green’.

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