Sisteray - Sisteray Said

“seems like we're generation of rejects”

Wounded and cornered, the British rock n roll band can look ready for slaughter. It is however, planning a viscous polemical assault. Enter stage right, Sisteray.

Reminiscent to The Rifles' hilarious 'She Got Standards', Sisteray have found their indie sniper rifle and head shots are being taken. 'Wannabes' is a beefed up glam rock number attacking the coke fuelled Liam lookalikes who just never leave rock n roll scene alone.

It's refreshing to hear the passion and intellect at which they attack a generation glued to their phones. If only for gig goers, it may result in more people being in the moment. Don't tell your friends what your doing and don't watch the band three feet from your face through an iPhone, twats. Be in the here and now, the time for reflection is in the pub the following day, with people, not social media!

The most striking thing about this EP is the development from 2017's '15 Minutes' EP. 2017 Sisteray would send you off to listen to 00s greats such as Hope of the States, The Rifles, Art Brut, Ordinary Boys and The Paddingtons. 2018 Sisteray, well, they've become colossus. The drumming is worthy of The Who's epic 'Live at Leeds' record and the guitar parts are becoming more interesting and unpredictable with every song. Roll on the 100 Club.

Old Town Souls - 2018

Kent’s Old Town Souls return with their third EP '2018'. Band leader Iverson, relentlessly plays around Kent solo or with his band and nationwide with a Who covers band.

This work ethic, without the riches that rock music once offered, seems to be informing band leader Kevin Iverson’s song writing. There is an ache, a nagging tension throughout.  ‘My Only Narcotic’ sees Iverson blowing of steam to his wife. The loneliness of life on the road and, a life that hasn’t given him the break his talent yearns for (yet).

With a QOTSA riff pulsating away, Iverson reflects on might yet be and the principles in which to get there. The anguish he gets over on the line ‘easily distracted to a heart that’s been neglected’ is a stomach turner. It’s no wonder he is questioning selling his soul.

On ‘Silence’, Iverson has saved the best till last. It’s Shane Meadows style in a rock-cum-soul form. At times, it’s a gritty romance with the love interest emerging from a cloud of cigarette smoke. In true Meadows glory though, it’s coupled with the monotonous of everyday life.

Comfortably the best of the three EPs from Old Town Souls so far. Musically, the hall marks of the other two remain but, there is a feeling that, in a bleak personal period, Iverson has soul searched and come out victorious.

The Blinders - Columbia

It’s here. The Blinders’ album stream has landed. Awash with fear, we hit play. What if it doesn’t replicate the power of their live shows? This isn’t 1994, they won’t get three re-records like Oasis. They have to get this right, the world needs them.

Thankfully, ‘Columbia’ is a triumph. It’s the crowning glory of the punkadelic movement to date. Cabbage may have nudged the door open, but The Blinders, have taken the hinges of, they are this scenes Nirvana.

Johnny Dream’s vocals, at times, are shamanic. His DNA fuses Morrison and Cobain through a prism of English sarcasm, angst and wit.  The rage and despair of ‘Brutus’ is a mesmerising display of rock n rolls spirit. There is no element of pretence. No attempt to be cool. This is desperate and oozes from the gut.

‘Columbia’, for all its raw purity, is packed with crowd pleasers. ‘Brave New World’ and ‘Gotta Get Though’ howl and hiss in their dank metropolis but, have scream pop music too. The tornado of punk and psyche are breath-taking, a fine display of style with substance. ‘Rat In Cage’, showcases a Charlatans circa ‘Us and Us Only’ moment the harmonica but, they as they euphorically decree ‘come together we need each other’, you feel bigger things lie ahead.

In 2002, The Strokes and The Libertines reset the wheel. It was perfect tonic for a bloated Britpop world and it reenergised a generation of bands. In 2018, bands are a non-entity. Marginalised more than ever (Kings of Leon headlined Reading and Leeds ffs!), it was going to take something special to buck this trend. Three childhood friends from Doncaster have proved, that music is still as powerful as Dylan, Beatles and the Stones.

Model Society – Public Service

Model Society first emerged in 2011. Passion and promise were apparent and, like many before and since, their influences were on their sleeve but their own clarity was yet to be defined. They had Blur's wry social comment, Oasis' sense of ambition and Buzzcocks punk via pop delivery.

On the comeback single, premiered by the legendary John Kennedy on Radio X, Model Society have merged their heroes. Lyrically, Damon Albarn's observations have aligned Noel Gallagher's melody and retained the bite of Pete Shelly. For the most part, the sweeping rock n roll production intrinsic to Noel's career combines with a punk sentiment but, during the solo, the more expansive elements of punk (Television & Spear of Destiny) shine brightest.

This is not a single normally associated with a band yet to release their debut album. This is three albums in stuff. It's a huge cinematic piece which serves both as a clarion call and blissful liberation simultaneously.

Theatre Royal - All Fall Forward / Better Say Goodbye

“Not everyone grows up to be an astronaut / Not everyone was born to be a king / Not everyone can be, Freddy Mercury......but on the day die I'll say at least I fucking tried”

Eulogy, Frank Turner, 2011

Four albums in, Kent's Theatre Royal are well established without being, well established. They have honed a Go-Betweens via the classic Medway of their forefathers. Their back catalogue is littered with “should have been” alternative pop singles. Alas, it hasn't happened.

Undeterred, the Medway boys are back and at it again with their new double a-side. 'All Fall Forward' chronicles theirs and, many other bands plight at present. The lack of chance and backing available, their discourse of “takes us nowhere / nowhere fast” seems all the more resounding.

'Better Say Goodbye' has a directness and an effortless that newcomers will undoubtedly say “haven't heard tunes like this for a while”. Whilst the sun still shines, the free flowing guitars allow for that extra spring in the step.

Both tracks fleeting and light of touch, the romance of Kerouac's 'On The Road' is almost tangible. The underdogs capture his yearning for something meaningful in this life. Their quest, for now, is beset with the tragedy of almost but not quite. With John Kennedy and Steve Lamacq onside, that breakthrough is surely imminent.

IDLES - Joy as an Act of Resistance

“The masses against the classes / I'm tired of giving a reason / When we're the only thing left to believe in”

Manic Street Preachers, Masses Against The Classes, UK No.1 19/01/00

Where has rock n roll gone? There are no more outsiders. On and on the pathetic and lazy journalism about bands goes of late. That said, it has felt an age since an intelligent, rebellious working class band have infiltrated the very people saying they don't exist.

Bristol's IDLES look set to do just this. Front man Joe Talbot recently appeared on ITV's News at 10 talking about his mental health and his charity work for the Samaritans. Cue the arsehole generation shouting “snowflake” at their televisions. Lush indie melodies and synths with East London fashion parades IDLES are not.

They are violent, acerbically witty and pure. In 'Danny Nedelko' and 'Great' they have found a Martin Amis ability to surmise the times. The Brexit inspired songs stick two fingers up to those tearing down the notion of togetherness. On 'Scum', they find the venomous humour of John Niven to portray a guttural upbringing. How refreshing to hear it in this light, instead of Melanie Phillips bemoaning the poor buying a pack of fags.

Both songs, at crucial moments, find some magic melodies to cut through the ferocious punk and soul.

There is however, more to this album than just great punk rock and viscous motorik. Songwriter Joe Talbot, tragically lost his daughter during childbirth last year. It has caused him to examine himself and masculinity at length. 'Samaritans' dissects Britain's constant male suppression and, with the line “this is why you never see your father cry”, combines the sloganeering of Strummer and the intellect of Bobby Gillespie and Luke Haines. For those raised by children of WW2 survivors, that solemn, say nothing approach to feelings will appear all too familiar. It's time for change.

If this subject matter wasn't enough to wrestle with, Talbot tackles his grief on 'June'. Find the language to depict Talbot's loss is futile. This is, unquestionably one of the most shattering songs you will ever hear. The bravery on display, from everyone in the band to convey the worst imaginable loss, is heroic. Music's power, so often is about creating communities for individuals to belong to, that is, in essence the human condition. With 'June', we only hope fellow sufferers can find solace here and rebuild their lives.

This album is a moment. A bona fide flag in the ground. The working classes as a force for good, as heroes on our TV screens and airwaves is back.

“Hello it's us again”

Manic Street Preachers, Masses Against The Classes, UK No.1 19/01/00

Treetop Flyers - Treetop Flyers

As the nu-folk scene dissipated, those with the biggest potential, like Treetop Flyers and Johnny Flynn were left in the wilderness somewhat. It is then, through sheer spirit the London outfit have made it to the third album. Would that potential finally be capitalised on?

From start to finish, they draw upon the love of the Muscle Shoals studio and Stephen Stills. 'Needle' echoes the sumptuous riffs of Ketih's guitar on 'Wild Horses' whilst 'Hard to Understand' invites you to revisit Buckingham and Nicks at their best.

It is an album brimming with love and affection, especially on the opening instrumental 'Fleadrops'. An effortless piece of guitar playing to sail in to the sunset too. 'Sweet Greens & Blues' will place you in the middle of the best party ever as the charms of Mamas and Papas and Jefferson Airplane surround you.

If you are going to name yourself after a Stephen Stills song, at some stage, you're going to have to deliver a 9min folk-rock anthem. Their attempt, 'Art of Deception', aptly has the most Stills-esque vocal of the album. Its so light in touch and with the sax parts, Van Morrison at his fleeting best comes into the picture. That is, before it descends into a psyche cum folk cum soul freak out. Bringing together West Coast past and present (Daniel Wylie and GospelbeacH)

Third time really was a charm for the Treeptops. The sun has shone on everything they have done here. If they can pull this of live, they are going to become household festival names for years to come.

Delights - Naked Heart

As they gear up top play the Wheels and Fins festival, Manchester's Delights have offered up their most pop friendly single to date.

There self-titled EP, released in 2017, showcased their indie credentials with nods to Foals and Real Estate. Here though, with precious weeks of the British summer left, Delights have set their sights on pure radio friendly pop music. The light and breezy drums set the platform for a solid if not unspectacular indie love song. However, having written and performed it themselves, don't hold out much hope of radio airplay.

That said, this fledgeling band have hit a level worthy of radio consideration here. If they are to be wrongly rejected, here's hoping they go away angry and bitter to return with something they cannot deny.

Death of Guitar Pop - Ska Is The Bollocks

Does exactly what it says on the tin. Oh, you want more, OK then!

Following last years terrific debut album '69 Candy Street', the former rock n rollers from States of Emotion members are back. Yet again, they're delivering another fine slice of pop music.

This story is part true, part tongue cheeck and all pop gold. Except for the use of the word 'bollocks' of course. That said, it is, this is, so no fake news here. It's a nailed on dance and singalong classic for their ever growing live audience.

Johnny Marr - Call The Comet

Four years have gone by since Marr's last solo album 'Playland' was released. With its predecessor 'The Messenger' only a year before that, the four years allowed for what he had achieved to sink in. They were an eclectic riff laden pair of post-punk inspired albums. Marr's roots were laid bare whilst not treading on the memories of the beloved Smiths.

'Call The Comet' however, at times, overtly retreads his Smiths days. At a point where Morrissey politically alienates Smiths fans, Marr's timing, as ever, is impeccable. He discussed with both Shaun Keaveny and John Kennedy how 'Hi Hello' was a result of sitting on his bed playing guitar like his pre-smiths teenage self. There is more than a hint of 'There Is A Light That Never Goes Out' about this single. Asarchetypal melancholic tropes fuse with emotive guitar licks, Marr has reclaimed the Smiths legacy for fans who are tired of having to defend Morrissey.

For anyone wanting to bridge The Smiths to Marr's solo career to friends, 'Day In Day Out' is perfect. The acoustic guitar will conjure the heady days of 'William It Was Really Nothing' before his psyche enthused jangle attacks the senses like 'The Right Thing Right' (The Messenger) and '25 Hours' (Playland).

On 'Hey Angel', that rarest of Marr things emanates from his guitar, the rock star solo. Another familiar post punk dystopian landscape is intersected with a crushing solo. It's ridden with such rage and immediacy, over the top could never be levelled at it.

Timing is everything in music. Had his former best friend not aligned himself with the far right this year, and not delivered another average album, 'Call The Comet' would have been just the third good album. In context, it has become a genuine moment for alternative music souls.

The only question left to ask is, what's next? Is there space for another helping? Of course there is but, Marr, so intrinsically linked with exploration may have to rip up the rule book once more.

White Denim - Performance

The Austin quartet have returned with their seventh album 'Performance'. Renowned for their prolific output and ability to throw the kitchen sink at every release, White Denim must be one of the phew established acts to feel the pressure this far into their careers. Can they keep finding new innovative rock n roll grooves to explore?

The weird and wonderful aspects of White Denim fans have come to love are still present. The title track is a bombastic Matthew E White number which, in the blink of an eye, fades to the beauty of Grandaddy circa 'Sumday'. Meanwhile, 'Magazin' has their hallmark garage rock funnelled through Unknown Mortal Orchestra but, with the glam and style of T-Rex.

There is however, a large slice of simplicity to this album. On 'It Might Get Dark' and 'Backseat Driver', White Denim have arrived at straight up rock n roll numbers. The oddness is still here but, it lurks in the same way it did for Eels on their classic 'Susan's House'.

For many bands, there would be a sense of selling out. For White Denim however, it's a clarity that threatens to make them superstars. They do it so well, you cant help but imagine becoming rock gods of their age.

Tom Hingley Band - I Love My Job

Despite Tom Hingley's relentless touring, it's been five years since his previous release 'Sand & Paper'. Had the creative well finally dried up?

Those questions are allayed as soon as the church bells of the intro finish. 'I Love My Job' has the fire of an insurgent band in their early twenties. Us versus the world oozes from it at almost every turn.

There is an odd dialectic at play. On the one hand, there is the youthfulness of the 'This Is England' cast running through the derelict house. 'Black Light' and 'Beggars Hand' exude a raucous attitude and, 'Bullet', with its BRMC meets latter day Johnny Marr vibe, is rock n roll at its unbridled best.

On the other hand, there is the reflective 'Glory Days' and the emotive 'Beautiful Girl'. For any Inspiral fans, this trip down memory lane captures the essence of who they were but, Hingley, leaves them in no confusion on the last line “its over now”. For all those yearning for an Oasis reunion, we refer you all to this song. Remember what you loved young and at its peak.

'Beautiful Girl', charts dangerous song writing territory, the love of their child. It doesn't scream excitement but, it on album of such intensity, it provides the brevity it desperately needs. The Hollies and Spector-esque production provide an avenue for Hingley's ode to his daughter.

Frustration with the world, it's a young mans game right? Hingley hadn't heard. Through every angry riff and pulsating vocal, Hingley is screaming to be heard like every teenager in a band should be. You would never know this is a man with 40 years in the game. This is the sound of desperate rock n roll longing to change the world.

James Baxter - Auto Erotic

A darkness has set in for Southampton's James Baxter. Themes of ageing and helplessness have swamped this talented song writer, a muse which bodes for a bitter listen.

Travelling and long summers breed endless dreams when you're young. When these fade to reality and work, it can be an all consuming time. For Baxter, escapism appears to have long past. When Scroobious Pip rapped “just a band”, the reality of natural born talent was exposed as a myth. A myth which, Baxter appeared to believed in himself until a ruthless moment of self-reflection:

“In essence I am just as fucking useless / I've realised that's no one's special no ones different / We're just bags of fat and bone and sinew”

A bleak affair yes, but the promise in this honest song writing breeds hope for Baxter and, in these bleak times, its an apt tonic.

Breed: Chinnerys, Southend

Dear aspiring bands, in-between gigs, do as Clacton's Breed do, get better! Back in April, Breed played London's Water Rats and oozed potential. Last night in Southend, it all came together.

They're playing has sky rocketed and, as a result taken them ot a menacing new level. The whiff of sex and violence looms large in every song and, in frontman Jake and guitarist Max star power is emerging. The pair have that Richey Edwards '4 Real' factor about them. Dangerous and brutal, they brew a frothing disorder as their stomping rock n roll pounds away.

By the time of set closer 'Get With It', the Chinnerys faithful all know one thing, these small crowds wont be thing for long. Their blend of wayward psyche and brutal rock n roll is too powerful for other bands to share the stage with them.

Ayslums – Alien Human Emotions

Asylums' debut album 'Killer Brain Waves' sought to bring a humble and thoughtfulness to pop-punk but, whilst hugely enjoyable, never quite got there. Could there follow up 'Alien Human Emotions' hit the sport?

'When We Wake Up' is as joyous as pop-punk has ever sounded. It's one of those choruses which can only be sung as if life is ebbing away from the soul and this is the last chance at saving yourself. Lyrically though, it doesnt really challenge the perception that Asylums are more than just a fun band.

That proves to be an anomaly on this album. On 'Napalm Bubblegum', they go harder than ever and deliver the sounds of a volatile youth crashing and burning. If Hollywood were to remake 'A Rebel Without A Cause' (they've rebooted everything else), this simply has to be on the soundtrack.

With age, often comes clarity and confidence. Asylums song writing is proof of that on 'Homeowners Guilt' and 'Millennials'. They move away from layered lyrics and hit a direct, almost sloganeering style which inevitably will garner more universal appeal.

Both tackle the generational divide emerging in the UK today. 'Homeowners Guilt' feels like a wry piss take on shitty circumstances the baby boomers have left us in. it couldn't possibly be their fault could it? 'Millennials' acts for Asylums as 'Design For Life' did for the Manics. It feels like their most defining statement of identity to date. It may not match the lyrical power of Nicky Wire's ode but, it shows a band a well on their way to defining their age.

Not only have the Essex outfit achieved meaningful status, in certain places they've surpassed all expectations. There is a cohesion to this offing that, given the right exposure might, just might see them unite the millennial generation.

485c – 485c

Debut albums, for bands especially, are often an array of influences not yet fully honed and without a distinct sound. 485c’s self-titled debut however, sounds like accomplished 3rd album for a band in their pomp.

Such is the consistency, it’s hard to find highlights. Former singles ‘Kapow’, ‘Oh Rihanna’, ‘Better The Man’ and ‘Strange Medicine’ all contain something for the alternative community to dive into. ‘Kapow’ and ‘Oh Rihanna’ take the best bits of Foals and Maccabbee’s early math rock and inject it with genuine substance. Meanwhile, ‘Better The Man’ has the infectiousness of Belle & Sebastian and ‘Strange Medicine’ takes the rawness of The Cribs’ ‘Martell’ and the Strokes’ debut to deliver a lovable rogue guitar anthem.

Their blend of honourable pop song writing continues for the most part but, there are some detours. ‘Turn The Engines Off’ finds time to explore the gentile side of Velvet Underground and the melodic aspects of Hatcham Social on this slice of psyche.  

‘Primal Concerns’ also diverges away from their pop instincts. The classic sounds of 80s post-punk combine with grandiose and sweeping melodies. It’s an exciting move, not only because it sounds great but, it feels an untapped area they could make their own.

There is so much to admire about this debut album but mainly, it’s the high level of consistency of it that’s striking. The Charlatans and Maximo Park need to make some space, there is a new member to the forever 8 out of 10 club.

M O S E S - Cause You Got Me

After an explosion of promise in 2016 and 2017, the London four piece underwent some testing times. So often, when a band loses this early momentum they fade away. So, when the London four piece announced their new single ‘Cause You Got Me’, TT was anxious, would come back fighting?

From the first guitar lick, we don’t know why we worried. The opening use of a solitary guitar riff rattles and frays, building a tension that is due to cause an imminent explosion. Merging the intensity of Savages and the psyche of Bo Ningen, the band have found a formula to light up the live circuit once more.

Walking the line of intense realism and joyous escapism is arguably the toughest to walk. However, it feels like the rightful home for this band, long may they reign!

Pre-order the single here:

https://itunes.apple.com/us/album/cause-you-got-me-single/1415226228?app=itunes&ign-mpt=uo%3D4

The Blinders: The Borderline, London

The re-vamped Borderline played host to The Blinders this past Wednesday night. It has been a mere 3 months since their last trip to the capital but, the contrast in the crowd is striking.

The Lexington gig in February had an air of ‘those in the know’ dragging someone along to see the UK’s hottest property. This show was the birth of a cult following. A small army of face painted disciples took to the front to mosh like their lives depended on it. We’ve seen it all before right? Well, the despair and isolation oozing from former single ‘Ramona Flowers’ is proof The Blinders’ existence depends on every note too.

There are nods to Joy Division, The Doors, and Nirvana, but crucially, their own identity is at the forefront now. They’re becoming more guttural in sound and more poetic in verse with every show. A dystopian landscape has been created and an underclass of intelligent creative souls are signing up in their droves.

With McGee and Lamacq in the audience and their debut due in the autumn, the big time is rightly approaching. With hordes of apathetic dullards tuning in to Love Island, let The Blinders infiltrate and remind everyone the power of working class art once again,

The Mojo Filters - Spark

“Well, have you got the heart / To dig us out / Of this hole we find ourselves?”

The Birmingham quintet pose the only question worth answering on their new single ‘Spark’. The answer, categorically yes!

Many try to combine psychedelia and soul, many fail. The Mojo Filters walk the line of rock excess and wholesome soul music with aplomb. The rasping bass lines just keep on grooving whilst the psychedelic guitar parts lurk dangerously. That is, until the solo comes crashing over the horizon! It’s as though John Squire, Steve Craddock and Leeds legends The Music have just had the best night out of their lives together.

The Velvet Hands - Party's Over

The Cornish trio, now residing in London, have arguably delivered the most anthem-filled guitar album of 2018. A stark reminder that concept albums are great but bangers are more fun.

It’s been a while since the phrase ‘statement of intent’ has been levelled at an opener, well, ‘Sick of Living’ is just that. Yes, life is shit, but “we’re having fun” is the message on this punkier version of BRMC’s ‘Whatever Happened to my Rock n Roll’.

They manage to encapsulate the spirit of The Strokes’ ‘Is This It?’ on ‘Only Blame Myself’ and ‘Trains’. The catchy punk rock combines with the nonchalant swagger of the New York outfit, with the former climaxing in the glory of a Kinks-esque solo.

Rock ‘n’ roll bangers are this albums bread and butter. There are times when it goes further. ‘I Don’t Mind’ has a chorus that forges a togetherness with the band and the listener through its shambolic arm-in-arm drunkenness. Images of spilt snakebite and sweat-ridden indie disco walls will come to mind.

The derision in the lyrics and the unifying disarray on ‘Everyone is Dead’ is a celebration of all we know to be shit. Sonically, they’re worlds apart but thematically, it brings Suede’s world of disillusionment and ability to kick back at the world to mind.

Whatever they release from the album has genuine potential to be A-list material. This is an album of short and sharp singles set to soundtrack many a teenager’s long summer holidays.