Johnny Marr – The Tracers

The comeback single for Marr’s approaching third solo album slots right back into the groove he left in 2014. This time around, there is a sense of dread looming large within his guitars and lyrics.

Lyrically, this could easily be an indictment of the times, mirroring the fall from grace from so many tolerant societies. Marr’s tracers are the Farage/Trump-esque vultures cashing in on the social divides and are expertly reflected in Marr’s modern guitar take on Wire’s early days.

‘The Tracers’ is the sound of the lost being chased in a dystopian nightmare. Despite this, Marr flawlessly finds a way of including some ‘oooo-oooos’. This juxtaposition provides the glimmer of light this heavily shaded banger needs. The pop music king lives strong!

Miles Kane - Loaded

Kane’s solo career, has never really ignited. He has delivered electric live shows but, continues to live under the unfortunate tag of ‘Alex Turner’s mate’. Will new effort ‘Loaded’ be the breakthrough?

The gentile opening verse is reminiscent of ‘Out of Control’ and ‘Fire in My Heart’ from his second LP ‘Don’t Forget Who You Are’. That 60’s tinge of Scott Walker and Burt Bacharach looms large and, this time, there is an almost Kiedis like vocal.

As ever with Kane, the richness of the sonic is high. This kind of 60's pastiche is so often overlooked but, this kind of warming melody combining with the warped guitar blast would be a refreshing shot in the arm for daytime radio.

Embrace - Love Is A Basic Need

Embrace’s 2014 eponymous titled album was a remarkable departure from their epic gospel-indie sound. It took their established euphoria to new pastures and for once, shut the critics up. So where would brothers McNamara take us this time?

To coin an early Embrace lyric, they have ‘come back to what you know’. From start to finish, ‘Love Is A Basic Need’ is the archetypal Embrace sound. The slow emotive build to a crescendo of gospel singers and big choruses. Detractors will say it’s formulaic, but, few bands can define themselves this clearly.

‘The Finish Line’, ‘Snake Oil’, ‘My Luck Comes In Three’ and the duet with Kerri Watt ‘Never’, are all candidates to soundtrack some talentless no marks journey from X Factor audition to the judges sex dungeon round. Their ability to conjure rags to riches images to such a consistent level is admirable.

Lead of single ‘Wake Up Call’ is the pick of the bunch. As their recent tour proved, it’s a huge sing-along number, to the point that they open their sets with it. Fervent proof that older bands can still deliver radio friendly bangers!

Richard fronted songs usually offer something different on Embrace albums. On ‘Where You Sleeping’ though, it’s more a case of swapping Danny out for Richard. It’s another track where subtle guitar riffs build towards an upsurge of sentiment.

The familiarity of the album is both its up and downside. Twenty years on, some will say old hat, die hard fans will say a return to their roots. What cannot be called into question though, is their authenticity. This is not impassioned indie for the sake of it.

Tom Clarke: 100 Club, London

Sometimes, when bands break up, it spells the end for everyone involved. However, when The Enemy said farewell in 2016, a chink of light shone through the sadness in the form of Tom Clarke. The diminutive front man has a colossal vocal and, if Tom gets creative with it, what’s to stop him doing what Paul Weller has done post-The Jam?

Last week at the 100 Club, Clarke, armed with a guitarist and keyboardist, came out fighting. The set largely consisted of the classic debut album ‘We’ll Live And These Towns’. The tightness of Andy Hopkins and Liam Watts’ playing was sorely missed on ‘Aggro’ and ‘Technodanceaphobic’.

However, the raw power of Clarke’s soulful punk rock vocal carries everything else to The Enemy’s standards. Furthermore, on ‘You’re Not Alone’ and ‘Happy Birthday Jane’, the earnest beauty of Clarke’s writing is illuminated more than ever. The dual acoustic guitars serves the gritty anthem ‘No Time For Tears’ better also, the reduction in rock swagger gives it a mortality that the Ken Loach-esque lyrics deserve.

So, what about the new songs? ‘Don’t Need Nobody Else’ is defiant and full of The Enemy’ you’re your face attitude. Meanwhile, ‘Back To The Start’ demonstrates how to funnel the angst of the struggle into a crowd uniting sing-along.

The man of the people has spoken and will return in 2019. You have been warned!

Breed: The Water Rats, London

“London. Who wants to get heavy?” decrees Breeds guitarist before swigging his mates beer and launching into a set of heavy hitting riffs.

As they tear through their set, you can see the spirit of so many great early 00s bands rising. The chaos of The Datsuns & D4, the punk of The Donnas, the playfulness Young Heart Attack combine with their natural BRMC stomp to deliver a rock music tour de force.

Former single 'Get With It', often threatens to spiral out of control with its dirty BRMC rock n roll pulsing through its veins. The combo of throbbing psyche and 70s garage music is perfection for Breeds image. They have a great old school blend of irreverence and wanting to shag everything in the room.

Get to Jimmy's early in Manchester (April 20th), they are not a support band to be missed.

Avalanche Party: Water Rats, London

When the music weekly magazines were at the peak, they uncovered 'scenes' in little pockets of the UK. In a disparate digital age, this seemed to have evaporated. However, what IDLES, Cabbage, Shame, The Blinders and now, Avalanche Party, are proving that they do, only on a more widespread level.

Avalanche Party, from Yorkshire, come from the garage rock end of the spectrum but, they undeniably belong to the 'punkadelic' movement taking over the UK. Leading them, the soon to be iconic Jordan Bell. He transcends music with his theatrics. Every hand movement and every foray into the crowd sends the message 'you will love and understand us'.

Through his antics and tight musicianship, they create a platform for the ferocious beat poetry to flourish. Expressive as this is, there is a litany of slogans roaring to the surface for fans to hang on to. 'You aint stopping a hero', 'revolutions high', and 'redefine your notion, of the best a man can be' form a holy trinity of moments this crowd want to rip from their intestines and wear as a badge of honor.

On 'Revolutions High', something truly special happens. They create a freeness to what is essentially a garage rock number. The passion and venom that emanates from them is tangible. It's now not enough to just play well, Avalanche Party have taken the familiar and forged a new path to fight against Daily Mail reading, Reece-Mogg appeasing wankers of this world.

The bar has been raised!

Image Source: Rhys Skinner https://www.rhysskinnerphotography.com/

Embrace: Shepherds Bush Empire, London

The bravado of their 1998 breakthrough may have dissipated but, Embrace, are as good live now than ever before. A calmness exudes from the ever beautiful Danny McNamara and it radiates through Shepherds Bush Empire.

Embrace have never been recognised for cult of status. They don't have the Charlatans tag of 'underrated' or Shed Seven's 'underdog. Nevertheless, not many bands can open with a new song (Wake Up Call) 20 years on and be greeted with a singalong.

It's become accustom for Richard McNamara to have his own section in the set nowadays. Despite all the early classic early songs, the moment Richard takes the spotlight, the anticipation of 'Refugees' hangs in the air. Dancing is inevitable with its post-apocalyptic rave production but, the brutality of the lyrics, in the wake of yet another chemical attack in Syria stops most in their tracks. A rare outing of 'Drawn From Memory' preceded this, by the end of his section, an overwrought of audience were delighted to sink their goosebumps into the anthemic 'Someday'.

Classics 'Save Me', 'Ashes' and 'Gravity' are given an airing. However, its during 'Come Back To What You Know' though the greatness of their past is really highlighted. Sometimes, songs become the fans as much as the bands and this is one. Especially, as Embrace fans age, the tumultuous romantic failure of the lyrics carts everyone back to that first love or to the unrequited love of teenage years.

It's clear at Shepherds Bush, Embrace are far from done!

Image source: http://www.flickofthefinger.co.uk/author/jason/

Alfa 9 - My Sweet Movida

In 2017, LA’s GospelbeacH reignited the classic sound of California, this year, the unlikely grey skies of Newcastle-Upon-Lyme are following in those footsteps. The four-piece Alfa 9, have surged onto the roots scene this year with their third album ‘My Sweet Movida’.

Leading this charge is ‘Movida’, sounding like a lost single from The Coral’s ‘Butterfly House’ album. Phil Mason’s gentile vocal flow wraps around his, and Leon Jones’ effortless guitar playing. This is the sound of alternative pop music begging to be loved by the masses.  

'Different Corner' and 'When The Light Goes Out' make up a trio of great radio-friendly pop efforts on ‘Movida’. The former taps into the spirit Teenage Fanclub, much like Daniel Wylie’s sun-kissed album 'Scenery For Dreamers'. Meanwhile, ‘When The Light Goes Out' is a light trip through Paisley psyche, using the guitars of Shack’s ‘Cup of Tea’ and ‘Pull Together’ to garner real affection.

'When I Think Of You' however, best encapsulates this album’s spirit. It’s beautifully elsewhere, whether it’s talking about love, loss, and hope. The sense of longing and melancholy colliding with sun-drenched musicianship shape shifts from nostalgia to aspirational in moments. 'Coincidence Files' furthers this with the great lyrics “time it passed you by” and “it all works out the same”. Feeling lost never felt this sprightly before.

There is an expansive guitar side always threatening to break out on this record. The album isn’t lacking solos but, on 'Rise' and the trippy closer 'Fly', the highlight reel grows significantly. Think Stills at his sprawling best with Manassas.

Having proven this consistency, hopefully, Alfa 9's careers will be secured by playing sunny afternoons at festivals. This body of work highlights how giving artists time and space to grow can achieve great results.

Matt Edible & The Obtuse Angles - Stairgazing

There appears to be two strands of rock n roll on the charge at the moment. There is the youthful vibrancy of The Blinders, Cabbage and Avalanche Party to name but a few. Then, there are those old school outliers, like Wolf Alice, taking risks and forging new paths. Hull's Matt Edible falls into that latter category.

Opening with 'Jumping Houses' is proof of this. It's a national anthem for the debauched. Amid this wayward tale of heartache and intoxication, emerges the most intimate of choruses. It has that simplicity and raw beauty of William Blake at his best. Such is the power of 'Jumping Houses', the relief of the Christmas pop song 'Advent Beard' will come as welcome light relief.

To say 'Stairgazing' is a break up album would be to diminish this albums quality. There is too much to marvel at. On 'Don't Stay', takes Richard Hawley's grief inspired 'Standing At The Sky's Edge' album and funnels it towards the genius Matt Johnson's latter day The The.

'NightClubbing', an unruly anthem has a great universal appeal with . It's Oasis 'Whatever' inspired strings and the lyrical derision of the mundane have the hallmarks of the indie greats plus, signing off with the line 'When the funky house comes on / You know its time to go' is sure fire genius.

The willingness to explore is inescapable on this record. The classical filmic style on 'The Healing', is perhaps its finest example of throwing everything into the mix. It's Edible and Joe Bennett's guitar playing which really shines. At every turn, there is a guitar part (or 4) pushing and probing new possibilities.

We implore you to listen to this, then again, then listen whilst walking around your home town at 4am armed with a hip flask. It wont grow on you, it will envelop you into a world of possibility and tragedy.

Image Source: Darren Rogers @ Ocular_Art

Model Society: Water Rats, London

London four piece Model Society made great inroads a few years back but, their lack of presence left a ‘what might have been feeling’ in the air. Thankfully, they are back, with a new bass player and new tunes to boot!

Old fan favourites ‘Horizons’ and ‘Sounds’, were always steeped in The Members and The Buzzcocks but, now, they’ve taken on a rock n roll desperation. The feeling of last chance saloon echoes around the room and, it only breeds more love for the band.

The time off has clearly done them no harm. The new material is on fire. Latest single ‘Valentine’, hones their pop instincts whilst ‘Forever’ could be a lost Strokes classic circa ‘Is This It?’

All of this should be enough for any gig but, Model Society have ‘Systematic’ in their arsenal. It’s a rare breed of great social comment and great pop chorus combined. With the hallmarks of classic Blur and The Buzzcocks pulsing through its blood, set closers don’t get much better.

Towers of London - Send in the Roses

Yes ladies and gentlemen, it is the band you remember. Now under Alan McGee’s management, the London outfit are back and this time, is humble!

No one will forget the pantomime antics of ten years ago, which was a shame as, lurking behind the bravado were some decent punk tunes. However, their return last year saw them in a redemptive mood. Comeback single ‘Shot In The Dark’ felt like an emotive plea for a second chance. On new single ‘Send In The Roses’, the great rock n roll apology continues.

Make no mistake, this is not the sound of a band getting older and losing their edge. It’s the echoes of a band with clarity and a self-determination to prove their worth. Moreover, there is a self-awareness to the lyrics which will warm the hearts of anyone who felt wanted them to win first time out.

Guitar music is most definitely on the march again and, with punk-pop like this in its arsenal, it will dominate airwaves once again.

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.