The Spitfires - Chinnerys, Southend

All too often, The Spitfires are written off as just another Jam revivalist band. Anyone in Southend last Friday surely has to dispute this, loudly!

They are band steeped in the English greats such as The Jam, Specials, Billy Bragg, and Madness. Sometimes, The Jam comparisons shine a little too bright but, with this much melody and passion, they seem destined to outrun this tag. 

This is particularly pertinent on ‘4am’. This earnest tale of abusive landlords stops Chinnerys dead in its tracks. Social comment is always a plus point in the alternative music community but, this poetic, and with this much integrity, a rare thing indeed.

Former singles ‘So Long’ and ‘Move On’ go down well. The Clash via The Beat inspired ‘Move On’ has the Southend faithful skanking whilst ‘So Long’, reminds us all of when The Ordinary Boys first emerged and were not fame hungry whores.

Whilst we have all be lauding Liam Gallagher’s new found confessional song writing style (and rightly so), The Spitfires, Sullivan in particular, nail this one epic song. ‘Spoke To Soon’ recounts a tale of degradation and personal failure towards a loved one whilst all around it, is a swirling Who via Arcade Fire epic.

With new material on the horizon, watch out as this has to be their breakthrough year.

Liam Gallagher - As You Were

“Gonna take you off my list of to do’s / Gonna sing my soul / Shake of these blues”

The opening lines of ‘Bold’, says all you need to know about Liam Gallagher’s comeback. It’s confessional, heartfelt and, to quote the god like Alan Partridge, Liam has “bounced back”.

Anyone who lived through the 90s will have been worried by Liam’s solo album. He embodied so much that was great in the epoch, another lacklustre effort would render him redundant cultural capital.

As the album kicks off with ‘Wall of Glass, the alarm bells ring. It’s that faux chaos comeback single that plagued Oasis for so long (‘Hindu Times’, ‘Lyla’ and ‘Shock of the Lightning’). However, from ‘Bold’ onwards, a remarkable, almost psychoanalytic approach to his character is explored.

Most striking in this respect is ‘For What It’s Worth’. An apologetic ode to brother Noel set to Oasis via ‘Let It Be’ strings was always grabbing headlines. It’s the honesty that shines brightest though. Calling his brother out on his calculated media persona to accept his apology and get the Oasis juggernaut back on the road is a story that writes itself.

The lyrical directness befits Liam’s vocals far better than the hazy psyche of latter day Oasis and Beady Eye. Whether it’s Lennon via Lydon snarl on the bluesy rock n roll ‘Greedy Soul’ or the angelic ‘Paper Crown’, Gallagher’s confessional style has the effect of healing wounds and defying the odds far more than “Gold and silver and sunshine is rising up / Pour yourself another cup of Lady Grey”.

This is yet again exemplified on ‘You Better Run’. An attack on bands and artists who are just happy to be at the party. Liam reminds everyone that being an outsider is something that you live and breathe. It’s not for Chris Martin to write fair trade on his hands. It’s not for James Bay to put on a hat. It’s not for Ed Sheeran to pick up a guitar. It's not for Radio X to have an all male line up. It’s not for Pitchfork to wank themselves silly over an obscure German industrial influence on a Radiohead album and then slate Liam for being inspired by T-Rex.  

When the ‘Supersonic’ documentary came out, it felt the perfect end point for all things Oasis. It encapsulated everything that youth culture and youth culture could achieve. Like a Smiths reunion, it would detract from the power of being young and dampen their greatness. But, when Liam sings “Let's leave the past behind with all our sorrows / I'll build a bridge between us and I'll swallow my pride”, the emotional side of any Oasis fan will find it tough to argue.

Theatre Royal - Locked Together On The Lines

Objectivity is a great thing but, fuck that, this is the single of the year! We knew it as soon as their album ‘And Then It Fell Out Of My Head…’ came out in March this year.

This is a true story of front man Oliver’s Nan discovering two dead bodies Chatham’s war memorial. One a sailor, and the prostitute, they lay “locked” as one may well imagine.

Vocally and lyrically, the human touch shines through on this tragic tale. The second verse opens with ‘a silent face / ', such bleakness has not been shrouded in pop majesty since The La’s ‘There She Goes’.

The blending of such grey English characters and landscapes with the colourful paisley guitar playing and indie harmonies is joyous and should be celebrated across the land. 

The double A-sdie also includes ‘All I Need’. A short emotive blast of English pop music. Fronted by guitarist Robert, this luscious romantic ode is further proof that intelligent pop music must have its place in the mainstream.

Iridesce – Carved In Stone

The Camden outfit just go from strength to strength. ‘Carved In Stone’ has adopted emotive melodies of Editors, Chapel Club, and The National and channelled them through a beacon of togetherness.

So many people are turned away from the term Britpop. Yes, it had some ugly sides, what scene doesn’t. Ultimately, it was a period where earnest song writing brought working class people together. Iridesce clearly have that spirit on this showing.

It’s not for the chin strokers of the world, this a song to immerse yourself in. Let the soaring vocals and guitars wash over you like a cleansing power shower on the worst of hangovers.

BRMC – Little Thing Gone Wild

Last time out, BRMC were, by their high standards, coasting with their album ‘Specter a the Feast’. This return single though, sees them at their dank and furious best.

As the drums thud in the intro, Hayes and Levon-Been vocally stride back into ‘cool as fuck’ territory. Their deep, Jim Reid via Ian McCulloch drone screams sex and throbs danger which, combining with the blustering guitars is a heavenly match.

Genre wise, they’ve not strayed from dirty garage rock sound but, when it’s delivered with such pulsating urgency, it’s impossible to be critical.

Shed Seven – Room In My House

“There’s room in my house for love and affection”

As there is in the hearts of thousands of Sheds fans rapidly selling out their biggest ever UK tour. Bigger news than this though, they’re back with new material for the first time since 2001’s overlooked ‘Truth Be Told’.

So, does their new single bring a mature jazz enthused sound ready for coffee shops? God no! Thankfully, it bristles with the swagger of their 1996 album ‘Maximum High’. Middle age has brought a rich depth to their archetypal sound though. The influence of soul via the thunderous guitars of Stone Roses’ ‘Second Coming’ rips its way through this banger.

Quite where they found these guitar parts and solos from in middle age we’re not sure. Fuelled by youthful angst, escapism, and a sense of utter debauched chaos, this is the soundtrack to all sticky floored indie night clubs this weekend!

So often with older bands, they explore the niche avenues of their influences to keep themselves amused, meanwhile, the sales dip and live crowds bugger go for a piss and leave disgruntled muso’s behind them. Shed Seven however, are firm proof that, if the magic dries up, leave the song writing alone until it returns. If this single is anything to go by, the album is likely to be of their highest quality, much like Martin Rossiter’s (Gene) ‘Destination of St Martin’ in 2012.

Matt Edible & The Obtuse Angles - Jumping Houses

Hull’s cult hero Matt Edible is back, and yet again, provides challenging pop music for the alternative community.

This ballad, meanders from psychedelic synths to languid vocals like a glorious drunk walk home in the wee hours. Edible’s vocals have always had a touch of James Dean Bradfield about them but, here, his caution to the wind attitude witnesses a departure from that traditional delivery.

Despite the ethereal production and adventurous guitars, Edible still embeds great melody and pop sensibilities into this short epic. It appears nigh on impossible for experimental yet poppy efforts like this to garner recognition nowadays, but, this should only fuel your love it more. Cherish it like the best mate your parents have never been sure of.

Apeman Spaceman at Old Blue Last, London

“A work in progress” decrees frontman Johnny Cooke at the end of the night. If he is right, then spectacular things loom for the London four piece.

Whilst their status as a band is relatively new, the heavyweight experience from Dogs and Razorlight is obvious. They know what works and waste no time flaunting their brilliance. ‘Have Not Love’ and ‘Spacecatraz’ stomp their way into a pack Old Blue Last’s hearts and minds their abrasive and infectious post-punks riffs.

Amidst the poetic degradation and fury, a nugget of pop gold, ‘Birthdays’. Cooke’s delivery is worthy of the paisley and c86 scene of the 80s. Whilst the melodic vocal shimmers, the guitars build to anthem levels as if it’s the most natural thing in the world.

Closing the set is the “bipolar express” ‘War’. Whoever wants more from a last song is one greedy cunt. Frenetic, poetic, and anthemic, it’s a drunken singalong triumph. Radio airwaves have to take notice of Apeman Spaceman, and fast!

Daniel Wylie's Cosmic Rough Riders - Scenery For Dreamers

Daniel Wylie may be 58 but, his soul remains as carefree and poetic as any teenager yearning for escape. ‘Scenery For Dreamers’ is Wylie’s 8th studio album and is littered with sun drenched avenues to explore and fall in love with.

You could be forgiven for thinking opener, ‘Rope (Everybody Lies)’, was a breezy pop song with its infectious ‘ba ba ba ba’s’ and, musically it is. Lyrically though, darkness prevails as the protagonist kids himself to cope with depression.

The ‘ba ba ba ba’s’ in question, act as a magical defiance and keep a lust for life motoring. Encased in 70s Californian rock n roll guitars, and with the line ‘could have gone under but dragged myself up’, it’s hard to view this as anything but heroic.

Wylie’s vocals have always been infectious but, on ‘Lucky Find’, they reach new peaks. The ‘Cortez The Killer’ opening mushrooms into pop nirvana as Wylie channels his inner Steely Dan and Brian Wilson to absolute perfection.

Negating its way through most of the album are the guitars of the Neil Young circa ‘Rust Never Sleeps’ and Scottish peers Teenage Fanclub. ‘Cold Alaska’, has In its opening and in the solo, the raucous nature of Young on his 1979 classic. Whereas, the verses have the freeness of the open road that the Fanclub made so prominent on ‘Bandwagonesque’.

‘Jingle Jangle Morning’ is beset with emotion and fragility of ‘The Concept’ but, simultaneously, is laden with the pop sensibilities of Young’s ‘Sail Away’ and the fuzzy drama of ‘Powderfinger’. When the two influences combine, its as though life affirming victory looms at every junction.

Wylie’s career, for too long has gone under the radar. It would appear, as he goes beyond his mid-point in life, the pop tunes are pouring out of him. Might this be the time for the masses he so richly deserves to come a flocking?  

GospelbeacH - Another Summer of Love

GospelbeacH’s second album ‘Another Sumner of Love’, does exactly what it says on the tin. Revelling in the rootsy bliss of California, the sounds of The Byrds and Gram Parsons flourish in this sun kissed offering.

Opener, ‘In The Desert’, superbly references The Jam, delivers the thoughtful harmonies of The Byrds and Love. Immersed in love and hope, it rekindles the spirit of ’67 as it effortlessly traverses hazy American landscapes.

The album strays into 70s rock n roll on ‘California Fantasy’ and ‘Kathleen’. The melodies are undeniable, but, as ever with this period, it sounds far too trad.

Nevertheless, their ability to switch up through all things sun drenched is remarkable and, on ‘You’re Already Home’, they nail the blend of the 60s hope and the 70s sense of fun. It’s has the sprightliness of The Byrd’s ‘I Am Pilgrim’ and Canned Heat’s ‘Going Up The Country’, fine company indeed!

Ulrika Spacek – Modern English Decoration

The London five piece waited only 16months to get their follow up to ‘The Album Paranoia’ released. When you’re hot, you’re hot! ‘Modern English Decoration’ comes out amidst so many hazy garage-psyche albums. What chance do they have of getting their heads above the rest?

The combination of Unknown Mortal Orchestra’s Ruban Nielson vocals and vulnerable psyche-guitars on opener ‘Mimi Pretend’ and title track ‘Modern English Decoration’ gives them every chance. The fragility of their sublime playing is destined to take listeners along with them.

The ability they have to weave in and out of each other’s playing is laudable. However, as ever with bands of this ilk, it becomes a bit one paced. There is an injection of fire on ‘Ziggy’ and ‘Everything, All of the Time’ but, there’s an overarching sense of ‘does this matter’. With their talent, of course it does.

On ‘Saw A Habit Forming’ and ‘Victorian Acid’, there are signs that they infiltrate more people’s consciousness. The former is entrenched with highly emotive production and ‘Victorian Acid’, takes MVB’s ‘Loveless’ style and, tentatively, takes it towards a guitar hook territory.

‘Modern English Decoration’ is going to grace to a lot of top 10 album polls come the end of the year, no question. What it won’t do, is challenge any top 10 albums of the decade and this is a band who, most certainly can.

Tom Williams - All Change

Tom Williams has never lacked great pop melodies or uniqueness of voice. His first two albums are the Magna Carta for teenage boys and insular angst but now, on his 4th album ‘All Change’, his themes are broader and the depth of musicality is richer. Does it pay off?

Album opener, ‘Everyone Needs a Home’, strongly suggests that it might have. The sweeping orchestra borders on deranged at times, couple this with his brooding vocals and memories of Radiohead’s expansive pop songs will come to the fore. It’s also, the first if many great jibes at little Englanders.

On several occasions, the genius Ryan Adams form the essence of Williams’ work. ‘What a Shame’ is laced with regret and debauchery (“only whiskey has me sleeping right”) whilst ‘Sometimes’ delves into the worst aspects of Williams’ persona:

“I’m a coward / and you know it / always running from a fight”

‘Get High’ is the finest example of Adams’ soaring melancholy. The beautiful backing vocals juxtaposed with dark cloud of self-doubt is of the utmost quality. What really takes ‘Get High’ to another level are the swooning guitars. Williams uses them to traverse a flawed character to the cliff edge and, like in 'Inception', leaves you shrouded in uncertainty to the outcome.

Williams turns to Bruce Springsteen and Belle & Sebastian’s ‘The Boy With The Arab Strap’ on ‘Higher Place’ to lift the mood. Its combination of escapism and frustration delves further into that losing feeling many of the 48% have been left with:

“All my daydreams upped and ran away / so I guess I’ll think about real life for a change / one day im going to lift us up to a higher place”

‘Sleep Tight Saturday Night’, thankfully, goes further than this polemic. Williams hilariously flips the ‘take back control’ argument to the true downtrodden folk of his home in Hastings, rather than debt free straight white men with a mortgage:

“Have you seen this town lately / it’s been going through some changes / people here have been kept down for ages / we aint never getting out”

History has always proven the poet can achieve far more than social comment. Nevertheless, the social commentary here is smothered such warming pop music vibes, it’s hard to picture this not reaching even those who disagree.

It’s hard to argue that, the depth of song writing sonically has not grown substantially. The quality of Ryan Adams or Bruce Springsteen is not on show often enough to catapult Williams into stardom but, there is enough for a great big shove!

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.