Manic Street Preachers - Dylan & Caitlin

Just what is there to say about the Manics anymore, oh we know, they're still fucking great, especially at duets!

It’s an imagined conversation between poet Dylan Thomas and writer Caitlin McNamara (parts sung by The Anchoress) during the booze sodden marriage. Musically, it harps back to a glorious age of 60s pop music. The opening has more than a nod to Chris Farlowe’s ‘Out of Time’ and closing moments are drenched in the warmth of Phil Spector’s wall of sound.

The conversation though, is not quite so heart-warming. The hopelessness and desperation of love so volatile is a brutal listen, especially when Caitlin pleads “Dylan don’t leave me behind / Love has divided and died / Beauty still shines in your eyes / America, corrupts your mind”. The emptiness will fell the coldest of hearts, but, with the production, Bradfield’s sol and especially his vocal, there is a sense of hope to cling to.

As Bradfield and The Anchoress unite on the chorus, the line “I never meant to believe in you”, you can’t help but feel the world wasn’t supposed to believe in the Manics. Thank god the world did.

Check the track out on Spotify here: https://open.spotify.com/album/5dGSib0ToOIUpvird1FTzv

Image Source - Alex Lake: http://twoshortdays.com/

The Blinders - Gotta Get Through

From the most anticipated debut album of 2018 comes the lead single ‘Gotta Get Through’.

The Doncaster trio have built on the punkadelic riots of 2017 and added one vital ingredient, sex! This throbbing mess of lust and brutality viscerally entwines like the passionate Skins love trio Cook, Freddie and Effy.

As ever, The Blinders have a deeper lying message. Despite all the danger, a sense of hope burns brightly throughout. Signifying that, to know lightness, darkness must first ensue is another step on a furious psychedelic journey not to be missed.

Photo Credit: Nidge Sanders

Morrissey: Brighton Centre - Live Review

At 58, Morrissey could be forgiven for just going through the motions on the live circuit. With nothing left to prove, why should the fire still burn? As he eloquently puts, “because of you”.

There is something however, clearly more to Morrissey's colossus stage presence than the adoration of fans. None more prevalent than on 'The Bullfighter Dies'. Backed with extreme images of animal cruelty, the Manchester icon lays bare his anguish and hopes for change.

So often now, the press hones in Mozza's political views. Friday night at Brixton he professed a longing for 'free speech', and the worse was presumed. For the Brighton crowd, the lovable roguish Morrissey was the only thing on show.

'When You Open Your Legs', so embroiled in humor and melody, the crowd is either singing or laughing. After The Pretenders cover 'Back in the Chain Gang', he quips “the easiest song I ever wrote' and, when a rose is tossed at him, a one handed catch stuffs it in his pants. This is not the work of a man who has lost all sense of humour or hope, as discussed in the Guardian or the Telegraph.

Frankly, this charming man's light has not and will not go out!

Image courtesy of Jamie Macmillan & https://brightonsfinest.com/html/index.php/component/eventgallery/event/Morrissey

Arable Desert – Chasin’ Everyday

In 2002, The Libertines reignited the rock scene with their decadent punk rock. The Coral, often tour partners at the time, produced weird and wonderful 60s psyche music. Could the same dynamic materialise between Doncaster’s The Blinders and London three piece Arable Desert? Let’s hope so.

Their new single, ‘Chasin’ Everyday’ takes 60s R’n’B and funnels it through warped guitar riffs and solos. It has a peculiar juxtaposition of perpetually swirling out of control guitars and sense of being trapped simultaneously.

Comfortably the most exciting thing they have produced to date, Arable Desert look to be on to something with the splicing of soul and psyche. Be sure to check them out at Dingwalls, May 18th.

Image Source: Ben Crank

The Blinders Live: Lexington, London

2017 began as the year Cabbage looked set to conquer but, ended up being the year The Blinders invaded our consciousness. The Doncaster trio, support act for so many gigs, upstaged all and sundry. Pulled from the great This Feeling tour last autumn (starring Shimmer Band, Blackwaters and Bang Bang Romeo) to head into the studio, would they emerge with the substance to headline?

The new material is greeted to a positive stunned silence. The Lexington crowd are fully aware that something special is happening. Not only have they continued their visceral punkadelic song writing, but now, the full package is emerging.

Frontman doesn’t do Thomas Haywood justice. He is a post-apocalyptic William Blake wrapped in the soul of Jim Morrison and Kurt Cobain. The dank Orwellian poetry oozes from every pour so naturally it feels utterly spontaneous.

For those who imagine the other two In the band sit in the background and follow the coat tails, you imagine wrong. Bassist Charlie McGough is a baby faced Nick Drake who has adopted a Wilko Johnson approach to playing. He fires out behemoth bass lines with a venom and a style unrivalled today.

So, insert drummer joke here right? Wrong again. Matt Neale is hugely reminiscent of The Enemy’s Liam Watts. Neale looks great and like any drummer whoever mattered, drills the skins as though he’s life depends on it.

The Blinders already had half a great album made, it appears another great half is on its way. With only Leeds and Ramsgate left to play, we urge and deplore you to go see them!

Image from http://www.paulhusbandphotography.com/

Cabbage Live: 100 Club

With their debut album ‘Nihilistic Glamour Shots’ just around the corner, the Mossley outfit are back on the road. With no material in tow, can they pull off their status as a headline act?

At their best, Cabbage are that thing you have been waiting for. They have innate ability to pull together all the Manchester legends mentioned on ‘Tell Me Lies About Manchester’ with the volatility of the punk greats. ‘Terrorist Synthesizer’ combines the swagger and stagger of the Mondays circa ‘Bummed’ with the snot and snarl of The Libertines and the Pistols. This continues on ‘Kevin’ and new single ‘Arms of Pleonexia’ and, in this groove, the brilliant Idles, Shame and The Blinders cannot compete.

However, when they stray into the straight up rock n roll numbers ‘Indispensable Pencil’ and ‘Preach to the Converted’, their power fades slightly, and puts them back into the pack. it

What brought real hope was the undeniable ‘Necroflat in the Palace’. To witness such a young crowd lose its shit as one unifying entity, screaming the lyrics 'I was born in the NHS / I will die in the NHS’ has to be the most beautiful thing ever seen.

Mark Morriss Live: Spotlite Club, Southend

A strange gig in many ways. What was due to be an intimate setting with an icon became even more so with a poor turnout. This was Southend’s newest small gig venue, not a great sign of things to come. Nevertheless, Morriss took the ego hit in his stride and regaled stories and jokes in-between worthy of Live at the Apollo.

In-between the anecdotes and Bluetones classics, Morriss displayed his criminally underrated solo material. From his 2014 album ‘Flash of Darkness’, was ‘It's Hard to Be Good All The Time’ which kept the spirit of Crosby Stills and Nash alive. The sullen acoustic guitars of ‘Carry On’ and the brooding nature of ‘Dark Star’ combined with Morriss’ unique pop vocals.

From his debut solo effort ‘Memory Muscle’ came the more Bluetones-esque ‘I’m Sick’. The spritely melodies which embody all that is great about his band. More interestingly, there is sense of longing for something unfound, a notion that, with all the glory of the 90s, you’d feel Morriss would not have anymore.

The standout offering was the CSN styled ‘This Is The Lie (and That’s The Truth). A brilliant story of self-reflection and what it is to be a solo artist. Morriss’ ability to intertwine feelings of isolation with pop music have never been better here.

This was not a gig BBC4 will be making a documentary about but, for the small crowd, its one they will cherish more than most. Humble and hilarious, Morriss reminded them of the glory days and, better still, demonstrated that he is a force to be reckoned with as a solo act.

Engine - Cucumber Water

At the back end of 2017, the carefree spirit of Engine returned with their debut EP 'Cucumber Water'. Lets check out what the Burley experimentalist have to offer:

Cucumber Water

An effortless amalgamation of all things Four Tet, Steve Mason and Tame Impala. Pyschetronica? Elecdelia? Expect a new scene to be born out of this!

Emotively this has a great sense of togetherness and loving cohesiveness. Like so much great music, it dialectically opposes itself and also strains and struggles to hold on to what it has whilst searching for something. Something that may, or may not exist.

Funeral Blues

Despite the title, there is very little morbidity contained within this seven minute yarn. Throughout, there is a sense of confusion which is not uncommon around grief. At various junctions though, there are shimmers of light creeping through the cracks to lift your head above water just enough for hope to remain.

Al’s Chords

The humble acoustic guitar beginnings are a million miles away from the big noise soundscape ending and yet, this feels like seamless (but eventful)) journey. It has a dreamlike and shoegaze quality that Erol Alkan is bound to approve of. Plus, the Kevin Parker-esque vocals are touch of class.

Not Surprised

Mixing Detroit Techno and Deep House traditions with the pop instincts of Tame Impala give off the sensation Inside No.9 often does. The enjoyment that something is not quite right looms large and it’s impossible to switch off until you know what it is.

The little nuggets of guitars and saxophone offer a break from the tense beats and bass but, ultimately, you’re going to be sucked into this murky world of the unknown.

Get Cape Wear Cape Fly at Village Underground

A new bar has been set. If you’re going to make a comeback, you need a twelve piece band. You need to take everything anyone has ever known, and, as dear old Edwyn would say, rip it up and start again.

Sam Duckworth’s re-emergence as Get Cape at the village underground displayed everything that’s righteous about music. Jazz, soul, drum n bass, folk and punk all came together for a holistic party for the ages.

When Duckworth is on this kind of form, he transcends music. ‘DNA’ becomes a solemn stand of defiance, not just against Brexit, but for anyone who has ever been downtrodden. With his new band, he takes an indie-folk track like ‘Man2Man’ and makes it so freeing it could be an Ibiza classic.

After the early sing-along classics, a rousing speech about the NHS and new powerhouse single ‘VHS Forever’, one thing is strikingly clear, Get Cape is no longer the plucky underdog with a laptop. He is a musical pioneer and explorer with big adventures ahead.

Delights - Delights

Delights are an unsigned four piece from Manchester. With this much promise, not for long:

Bloom

'Bloom' demonstrates an impressive real focus for a young band. There is clear recognition they have a good riff and have an expanded a melody around it with excitement levels up more often than not.

Better Place

With some Real Estate-esque guitars in play, Delights garner far more identity than on the opener. The style is laid back like Real Estate but, the high tempo remains and forges interesting new paths.  

Cascade

The vocals are, excuse the pun, a delight. Kevin Rowlands style of fragile soul comes to the fore and reignites a love of underrated 00s bands such as Cajun Dance Party and Polytechnic.

Lust

This is pleasant if nothing else. It’s a kind of indie that will bring in the teenage novice but turn away a seasoned record collector. At the start of a bands journey though, this cannot be held against them.

Delights, an album by Delights on Spotify

Get Cape Wear Cape Fly - Young Adult

Four years ago, Get Cape bid an emotional farewell to the moniker at the Forum. It was a celebration of all that was great about teenage escapism. The intervening years saw three albums released, two under his own name Sam Duckworth, and the other, ‘Baby Boomers 2’, a classic released under the name Recreations.

So, why the return? Why now? In short, Duckworth left London and returned to his native Southend. Sonically and lyrically, this album feels like Duckworth has come full circle from his debut ‘The Chronicles of Bohemian Teenager’ but, with sterner sense of wisdom only your thirties can bring.

Album opener ‘Adults’, closes with the spritely guitars and euphoric brass of the debut but lyrically, it’s a far more complex. Duckworth, wiser, can see through the political discourse around him but, like so many, is alienated by it all simultaneously. Amidst the confusion though, hope remains which is the true essence of Get Cape right?

The return to Essex takes a stark turn on ‘Man2Man’. A county where Thatcherism still reigns, this song details the cynicism and hypocrisy of the viewpoint. So often, social comment comes in the form of punk rock polemic. Here though, it’s within great melody, angelic backing vocals and a soaring urgency.

The Get Cape journey home isn’t always so clear-cut. ‘Always’ treads murkier paths of personal cataclysm. Meanwhile, ‘Scrapbook’ questions whether the teenage dreams have faded or the lack of freedom as an adulthood has taken its toll. Even in the darker moments, there is a sense of solidarity which breeds light and courage to up off the canvas.

‘Adults’ is not free flowing rock n roll music so, phrases like return of the King are unlikely to come Duckworth’s way. It is hard to view it in any other way. It’s a clarion call to all who have been forced out of city centres the world over that great art can come from anywhere.

It also highlights a remarkable clarity in song writing. There isn’t a track here which, if you took away the vocals, wouldn’t leave you thinking its anything other than a Get Cape song. The acoustic guitars, warming brass and intricate electronic production have and continue to serve him well. Make no mistakes though, this is no nostalgia trip.

Kevin Pearce - So On

The Essex based folk artist returned in late 2017 to deliver his second solo album, ‘So On’. It’s an album of great contrast, often bringing a lightness of touch to dark themes such as mental health and greed.

‘Lucifer the Landlord’ opens the album and immediately begs the question, has short termism ever been portrayed better, musically speaking. It’s one thing to call someone the devil but, to back it up sonically and with great imagery is another. It’s conscientious but never pious, as a result, it feels like poetry more than social comment which it most definitely is. So often, songwriters are in one of the two camps, Pearce has forced himself into an elite Venn diagram on this opener.

Former single ‘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 smokier similar to the Reverend 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.

‘Oh Maria’, an ode to the Greek opera singer Maria Callas. Callas was a formidable but flawed talent who suffered greatly. Pearce conjures a sense of loss and longing of ‘what might have been’ and ‘yesteryear’ akin to a lonely storm swept coastal town.

Amid the ethereal folk lies a moment of Cat Stevens pop heaven. ‘Plastic Man’ is a like a lost treasure from the ‘Tea For Tillerman’ era. The infectious bass line and guitar riffs have an opulent effect which allow for an almost T-Rex-esque chorus to flourish.

‘So On’ is an album of varying late night atmospheres. One person’s relaxation here will be another’s soul searching. The ability to be all things to all people which are destined to make this a classic. It’s an album of John Martyn’s ambition, the innocence of Nick Drake and the lyricism of Leonard Cohen. Take a bow!

The Wholls - The Wholls

“I want to meet the people who can take it all away”

Live, the Bedford four piece certainly channel a level of danger decreed above on album opener 'Perfect Waste of Time'. It's a difficult task but, can they repeat it on their self-titled debut album?

In short, yes and no! 'Angry Faces' will enthuse Slaves fans but, ultimately, it’s not got the killer hooks of their peers. 'The Only One' has that sound of forced debauchery. It’s not unauthentic, but, it does lack a sense of realness to truly connect.

However, when the shackles are off, real promise starts to shimmer. Former single, 'X21', is one of those alt-pop tunes which could easily soundtrack a summer. ‘Roll Out’ combines pop music sensibilities with the wild poetic side that front man Arturo Cocchiarella portrays live so well.

Arturo's brother, Santino, should be lauded for his consistent high level of big riffs. With the right producer, the magic of QOSTA and Wolfmother seems destined to be repeated. 'Going Down', is his most complete work on the album. The big, but poppy riffs combine with far reaching ethereal guitar parts which lift the Wholls onto a higher plane

At its best, this album is dark, unhinged and full of menacing bluesy rock n roll. At its worst, it walks the line of latter day Kings of Leon. Despite this, The Wholls are a band to track in 2018, the promise far outweighs the negatives.

Average Sex - Ice Cream

Supporting legends like The Charlatans in December is peppered with problems. The whiff of nostalgia loomed for the TT Christmas party. Nevertheless, we went home talking solely abut Average Sex (ahem).

Let’s check out their new EP ‘Ice Cream’:

Ugly Strangers

“We have no jobs and no money” so, what to do then? Make undeniable pop music? Done! Despite this song being about mental health issues and overdoing it, the melodies are so great, it inevitably brings great nights out to mind. The solo alone is enough to make you think of carefree youthfulness and being in love.

To twist a darkness to the light like this is remarkable. Superstars are born!

We’re Done

What a break up song, and more to the point, what a chorus!

“You act like I’m the crazy one / Since I slashed your tyres / And you won’t return my texts / Since I set your dog on fire”

Has obscene break up violence ever been so joyous and melodic? Images of packed arenas bouncing immediately come to the fore.

Hey Boy

Vivian Girls and Veronica Falls have walked the line of surf rock and The Ramones in recent years, but, never to this quality. Singer Laetitia Bocquet packs that knockout punch in her delivery and the solo is one you never want to end!

Ice Cream

If you thought their pop sensibilities couldn’t get any better, think again. The ‘oh oh oh’s’ are so infectious that they might be fatal.

Liam Gallagher: Ally Pally, London

Ally Pally, last week, was ventured to with a big sense of trepidation to see the immortal one, Liam Gallagher. The last Beady Eye gig at Brixton was only 3 quarters full, the stardust was fading. So, would this be a giant karaoke set? Will he be killing the memories of youth culture at its finest?

Fears were not put to bed on arrival. Ally Pally acts more as a wankers paradise than a gig venue. More people were queuing for a 15 quid burger than a pint. Then there was the support acts, Kyle Falconer, once great in The View delivered a bland set. Was this an omen? As for Rat Boy, give it up, just become a Jamie T tribute act, least then they can play some good tunes.

However, 'Fuckin' In The Bushes' drops, and there he is. This last great colossus front man. Enigmatic, angry, and disdaining of what he purveys. As “I live my in the city” leaves his lips all reservations float away. Yes, these are Noel’s songs, but without Liam, Noel would be still be polishing Clint Boon’s organ.

The opening pace is relentless, like Roy Keane tearing lumps out of Alfie Inge Haaland in his pomp. As a result, 'Paper Crown' becomes a welcome break. As do all the ballads of his new album. If there was a ‘mic drop, exit stage left’ moment, it was ‘For What It’s Worth’. The apologetic and defiant ode to brother Noel unites this packed crowd in a way that, previously only his brother could.

‘Rockin’ Chair’ was the only time Noel was missed, as the acoustic solo was butchered. Nevertheless, as soon Liam steps to the mic, the Lydon via Lennon vocal makes this blip irrelevant. No matter the song, no matter the writer, this crowd is one big Jager bomb boshing, bank card scratching party.

As you were!

Wolf Alice - Visions of Life

For too long, it rock music has either been simplistic singles or trendy middle class nonsense. There hasn’t been a spiritual exploration combining with great pop melodies, arguably, since The Horrors’ ‘Primary Colours’. Thank god then, for Wolf Alice.

From the opening notes of ‘Heavenward’, the guitar scene begins its quest to win its integrity back. The otherworldly riffs, along with the forever stunning vocals of Ellie Rowsell walk that experimental line of early Verve. It has all the beauty of Ride’s ‘Vapour Trail’ but the fragility of Rowsell’s vocal as she says a heart breaking goodbye to a mother takes it to another level.

‘Don’t Delete The Kisses’ furthers this ascension into the curious and unknown. Rowsell combines her spiky yet angelic vocals with poetry on the most brutal of examinations of the self. As choruses go, few will unite adoring crowds with such romantic pessimism (“What if it’s not meant for me? Love”). 

Put a comforting arm round Rowsell at your peril though. This is no damsel in distress. Despite the brilliance of Sara Pascoe’s ‘Animal’, or Deborah Frances White’s ‘Guilty Feminist’ podcast, Feminism’s struggle needs more icons in the mainstream to fight archaic attitudes. Step forward the Nirvana and Sonic Youth fire breathing ‘Yuk Foo’:

“Am I a bitch to not like you anymore?
Punch me in my face, I wouldn't even fight you no more

Cause you bore me
You bore me to death, well deplore me
No, I don't give a shit”

Like all great records, there are nuggets of pop gold lurking. ‘Beautifully Unconventional’ screams hit single, ‘Yuk Foo’ has the potency of the Pixies’ ‘Debaser’ and ‘Space & Time’ feels like a Sub Pop classic from the early 90s.

It’s on ‘Planet Hunter’ that this album is best encapsulated. Lyrically, a darkness looms as Rowsell reaches for reason and closure on a break up that seemingly, is never coming. The guitars switch up from jingle jangle to rock behemoth in an instant and create the sense of destruction within the protagonist’s persona impeccably. Conceptually, nothing is new, but, it’s the authenticity of delivery which is so striking. The raw emotion tangible and the ambition to channel this through varying styles is laudable. 

The album closes with its title track, and leaves you with the ultimate example of why Wolf Alice have to matter in 2017. There are Nick McCabe guitar jams, Jimmy Page riffs, Sandy Denny vocals, Poly Styrene vocals, pagan-esque folk parts and punk rock. Their artistic bravery knows no bounds and in a world of ‘play it safe’ types, is a remarkable thing.

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.