Sleeper - The Modern Age

When Sleeper bowed out in 1998, it was with a huge amount of integrity and credibility. Feeling the creative well had dried up, and not willing to flog a dead horse, they said an emotional farewell at Brixton Academy.

However, with the kids reaching their teens, and the loss of someone close to front-woman Louise Wener, the itch to take risks came to the fore. Calling in their unofficial member Stephen Street to helm the studio once more, they set off to Metway Studios. Would they roll a 6?

Despite fan affection for their third album ‘Pleased To Meet You’, their ability to be musically and lyrically incisive as they were on the classics ‘The IT Girl’ and ‘Smart’ was fading.  ‘The Modern Age’ however, sees Wener rediscover her razor-sharp observations. ‘Look At You Now’, neatly signifies the times and their lack of reason “I hear your anger and howls of hate / With so little reason wit so little faith”.

Musically, there is much to cling to for long-time fans. Jon Stewart has found his inner Graham Coxon on opener ‘Paradise Waiting’ and ‘Cellophane’ and, on ‘Blue Like You’, there is an element of Teenage Fanclub glorious rumbling away. It’s the introduction of synths and psyche at various points which keep everything fresh. The production on ‘Look At You Now’ adds a devilment to this sexy Pixies-esque anthem.

The real progress though is made on ‘The Sun Also Rises’ and title track ‘The Modern Age’. The former, adopts the swirling spirit of Reverend and The Makers ‘Silence Is Talking’. As the cheery haziness unfurls, a new Sleeper is born. A sexier, wiser, and more psychedelic Sleeper!

On the title track, Wener takes her songwriting to the next level. She always had Weller and Davies’ ability to create uniquely British characters. This is on display yet again but, here, the emotion is ramped up to the max. Seemingly about the close friend she lost, an aching beauty unfolds as our fleeting existence materialises. The inner torment this must’ve taken to convey so elegantly and, in such a happy-sounding song is a reminder of music’s power. Listen to this song 100 times, you’ll feel something different every time.

At every turn on ‘The Modern Age’, Sleeper have added something to their armoury. The guitars are beefier, the synths crisp and the psyche new. For all the charm they carried in the 90s, they are no one’s understudy anymore. This feels like the record they were born to make.

Cabbage – Torture

In the run up to their debut album, Cabbage played a string of shows where, for half a set, they would blow crowds away with their wobbled synth-punk-psyche. The other half, would fall flat. Sadly, this filtered into the album too. The early menace of the ‘Le Chou’ and ‘Uber Capitalist Death Trade’ started to dissipate, and so, this comeback single is a big moment for them. Can they recapture the glory?

In short, not exactly. The fire and wobble of guitars and synths as faded to a new take on Phil Spector pop. Clearer and more distinct, they’ve found a way for their lyrical bullets to be fired without anyone really noticing.

History often repeats itself in some form or another. ‘Torture’ has the hallmarks of Pulp’s 1996 classics ‘Mis-Shapes’ and ‘Common People’. The target is firmly on the Tories and their years of austerity. Like their Sheffield peers, they’ve shrouded their attack in a singalong masterclass. SO vibrant, so catchy, and armed to the teeth bombs to attack the “6 toed born to rule pony fuckers”.

Musically though, just where have they plucked this 60s girl group meets Manchester psyche classic from? It’s not that weren’t capable, its just so spectacular good. Please let this be the single that breaks through on to Radio 1 a-list. Let this sit in-between Khalid and 1975. Some will say this is distorting the norm, we say bollocks! This was always the norm! ‘Cigarettes and Alcohol’ meshed in between Ace of Base and Whigfield, splice of life!

Embrace: The Roundhouse, London

For some bands, anniversary album gigs serve merely as financial gain and play on people's nostalgia. However, there are exceptions, where the pure spirits of rock n roll find a new lease of life. Primal Scream's re-imagining of 'Screamadelica', eight years on is still the benchmark. Incorporating the best pieces of club culture post '91 into an album set that launched a lot of them, it was a revolving door of Balearic fantasy wonderland past and present.

This past Friday night, Embrace played to a sold out Roundhouse in Camden to mark the 21st birthday of their debut 'The Good Will Out'. Now, they may not have pushed the boundaries like the Primals, but, there was a humility and a connection with flowing from stage to crowd and back again that few have achieved.

This connection reached its summit at the albums mid-point. 'Higher Sights' and 'Retread', are often overlooked for their albums opening three anthems 'All You Good Good People, 'My Weakness Is None Of Your Business', and 'Come Back What To What You Know'. On this night though, it's clear, Embrace fans have all been living similar lives. Such is there power to evoke memories of heartache and find inspiration to carry on, they serve as collective comfort blanket.

Danny McNamara is like a man possessed singing “Will you fight? / Let's see you fight”. There is power oozing from him rarely seen in front men, especially ones so successful. He still has that “one of you” tag about him. Humble and appreciative to the plight of the crowd, he carries everyone along with him to another plain.

Another of the overlooked numbers for live sets is 'That's All Changed Forever'. When you have classics like 'Fireworks' and 'Good Will Out' in your armoury, there can be no complaints for not seeing it on stage. On a night when people are inevitably looking back to the the late 90s, its sentiment carries extra poignancy. It could have only been written by those in the throws of youth. Pleading and defiant simultaneously, this tale of “you'll see” post break up is undoubtedly invoking that first love or the one that got away. It's even harder not to raise a wry smile at almost vengeful last line “Cause you don't know better than me”. We probably didn't.

The credibility Embrace carried through the set was largely due to their two quality albums since their re-emergence in 2014. They didn't need tonight, financially or critically. Danny's reaction to 'Retread; was “oh I forgot how much I like this one”. Despite being key to their success, it was though he won the lottery and got to front Embrace tonight.

Gazelle – Guilt Trip Gun

Leicester’s Gazelle have been on a roll this year, playing with Sugarthief at This Feeling’s nights. ‘Guilt Trip Gun’ is their first release of the year and, that roll is picking up speed.

It has the hallmarks of Noel Gallagher’s classic song-writing style. Notions of melancholy and self-doubt are coupled with the bravery to jump off the edge and stick two fingers up to the world. It’s a beefy single, images of chests out and fists aloft as beers fly all around are immediate. However, cutting through the bravado is, an almost gentile solo from the John Squire’s ‘Sally Cinnamon’ and ‘Mersey Paradise’ era.

The evanescent flow will rekindle the birth of The Courteeners and The Rifles a decade ago. The hope and inspiration they offered before the financial crash was the soundtrack to so many teenage escapist dreams. Thank god, amid the endless tripe of Brexit, Gazelle have tapped in to that feeling.

Golden Fable – Hold True

North Wales’ Golden Fable have returned with their new single ‘Hold True’. Released last week on Full of Joy Records to praise from Elbow’s Guy Garvey, it looks set to catapult them in to a wider UK consciousness.

Having joined forces with North Wales’ orchestra NEW Sinfonia, they have created something truly striking with the strings. They’re hook laden and jagged, and when they serve as alternative to a guitar solo, thoughts of surpassing ‘Bittersweet Symphony’ will enter your mind-set.

It’s ambitious culture clash but, it’s one full of love with Rebecca Joy’s vocals and Jonathon Guy’s feather like touch on the guitar.

Ignore this if you can!

Death Valley Girls : The Victoria, London

LA’s Death Valley Girls recently released their triumphant second album ‘Darkness Rains’ and, this past Wednesday, they played a sold out Victoria in Dalston.

For any new fans in the crowd, the sight of Bobby Gillespie in the room would have enhanced the anticipation of their arrival on stage. From the opening notes of ‘Abre Camino’ to set closer’ Seis Seis Seis’, Death Valley Girls redefined what it is to be a dangerous rock n roll band.

The power and raw sexual energy of The Stooges ‘Raw Power’ album flowed through them throughout.  Bonnie Bloomgarden is awash with glorious juxtapositions. Innocent and venomous, welcoming and dangerous. She is Poly Styrene and PJ Harvey wrapped up in 5ft of punk-psyche glory!

In Larry Schemel, they have perhaps the most humble and giving guitar player in the world. Stood almost off stage, he allowed the spot light to be focused purely on the rest of the band as their strutted and danced their way to the hearts of the London crowd. A remarkable feat when you consider that, his solos were akin to an occult taking over.

Despite the power and the darkness that emanated through the set, a sense of love and togetherness was always at their core. Accentuated on ‘Disco’, their Modern Lovers meets Blondie romp.

This was a firm reminder that, if you open your mind, rock n roll is still a dangerous and explorative field for artists to create in.

Ghosts of Social Networks - My Lucifer

Ghosts of Social Networks is the brain child of Nathan Till. Based in Manchester, he is backed by Nico Maccarinelli (drums), Andrea Gobbi (bass) and John Miles (guitar). After selling out the iconic Castle Hotel, they’re back with their new EP ‘My Lucifer’

We’ve lost count in recent years the amount of bands announcing Radiohead as an influence. It’s almost as if they want the kudos without any real connect. Ghosts of Social Networks, thankfully, and boldly, lay bare their Radiohead influence for all to see.

‘My Lucifier’ has the all the left field spirit of ‘In Rainbows’ and ‘Hail To Thief’ but, with a Yorke-esque vocal at his distinguished best days of ‘OK Computer’. Lifting the EP opener above just a Radiohead pastiche though are the Will Sergeant style guitars. They’ve taken, the already dark Bunnymen and distorted them further to sound incredibly fresh for 2019.

The combo of Bunnymen and Radiohead rears its head again on ‘Don’t’ Let Me Down’ on what, can only be described as a take no prisoner banger.

‘Master Disguise’ and ‘Drone’ demonstrate a world beyond the aforementioned though. The cascading riffs suggest a love of early Electric Soft Parade and the warped world of Mansun. ‘Drone’ achieves in 4mins what Foals have never quite managed, meaningful and menacing art rock! The brooding sense of violence and Till’s Jeff Buckley-esque vocal create an isolated and dangerous landscape. All the while, the melodic sense of lost classics from Thirteen Senses or South permeate to keep the merest chinks of hope alive.

This is by no means a masterpiece. However, such is the boldness already, this creative journey might just produce one.

*Image courtesy of Jennifer Beatrice

Alcabean - Confessions

Danish brothers Victor and Julius Schack, aka Alcabean, are set to release their debut album ‘Confessions’ on the 15th March via We Are Suburban and Pop Up Records.

Speaking in an interview recently, frontman and lyricist Victor discussed how the rock star lifestyle he was developing as one he couldn’t carry with any honesty. On stage at Rokslide, he has an epiphany where “I felt vulnerable and out of balance with myself and my music”.

Being confused, aimless and longing to find meaning in your twenties is not something that’s spoken about much. In popular culture, you should have come of age by now. In fact, only Egg in This Life has ever really encapsulated the lost soul surrounded by those “getting on”. Victor captures this essence on ‘Athens’ with crippling self-reflection:

“Coward, bitter, foreign, throwing up, growing up”

On ‘Hollywood’, Victor ups the ante even more. Stripping back the rock star bravado to reveal a longing for something more humble, frankly, isn’t in the rock star guidebook. Nevertheless, with lyrics like ‘smack the door and show your wounds / Mediocre, it’s okay to be mediocre’ he has shown a courageousness we should laud over a great Ray-Ban shades.

Musically, there are large sections on ‘Confessions’ paying homage to Simon Gallup’s killer bass hooks of the Cure and the sumptuous summer licks of Bernard Summer. Title track ‘Confessions’ takes a swing at New Order’s ‘Your Silent Face’. Some will sneer but, if you’re in this game, dam right you aim emulate one of the best songs ever written.

Where ‘Confessions’ success truly lies though, is on the likes of ‘Red’, ‘Feel’ and ‘Tsukuyomi’. They’ve found an effortless groove here which leaves the past behind and transcends, albeit tentatively, their surroundings. To do this amid such personal identity turmoil is remarkable. ‘Tsukuyomi’ in particular, with its synth hooks and hand claps is the kind of dramatic pop music which will forge obsessive bonds with record collectors the world over.

There are moments, like on ‘King The Queen’ where the clarity dissipates though. The added aggression, if anything, is not added enough. It feels torn between their dreamy escapism and attempting something else.

What cannot be denied here though, is that through strife, great art has once again been created. ‘Confessions’ has negated a troublesome world to produce moments of true beauty. Much like their heroes (although to a lesser extent) New Order’s ‘Movement’, Alcabean are emerging from the anxiety with a offerings of art and love.

Tallies - Tallies

Toronto's four piece Tallies released their self-titled debut album in January via Fear of Missing Out Records. Better still, they've announced their first UK tour for May.

For many bands, debut albums are a mission statement. An expression of everything that’s made them who they are in those key coming of age times. Tallies, at times, have taken this mantra literally with an album of woozy dreampop of Cocteau Twins and the sun kissed pop of The Sundays.

What prevents Tallies from becoming a rehash of the past are the interesting avenues they approach these key influences. Vocally, Sarah Cogan lends herself to the iconic Harriet Wheeler at several points, especially on former single ‘Mother’. However, with its spritely Vampire Weekend stomp, it saunters into a world of its own.

'Have You' however, is the beating heart of The Sundays’ classic album 'Reading Writing and Arithmetic'. Despite this, the quality is indisputable and, it’s this that will keep fans of The Sundays coming back to Tallies.

Undoubtedly, fans of Postcard Records and Sarah Records will find this album an affectionate homage to their youths. For newer fans, we urge you to use Tallies’ album as a jump off point into the past.

Sick Love – Soccer Mom

Led by future icon Rebecca Geary, Dublin’s Sick Love take garage rock to the edge of pop-punk on this spiky but humorous mission statement.

They’ve have come out swinging with Stooges riffs and solos on this sardonic take on suburban life. IT’s visceral in places but always with a pop immediacy demanding your attention. In Conor McLoughlin, Sean O'Connor and Cormac O'Neill, Sick Love have a real in your face dynamic. They’ve a humble quality on stage, a real sense of this could be your gang shines through them.

Once you throw the enigmatic Geary into the mix, all bets off! The detail in her vocal delivery is remarkable at such a fledgling stage of the bands career. Brace yourselves!

The Novatones: Prince Albert, Brighton

Southampton’s The Novatones hopped along the coast to Brighton’s Prince Albert to play Modern Age Music’s night last week. It felt more like a spiritual homecoming than a gig.

At times, they hit upon the energy of ‘Oi’, but they never lose sight of a great pop hook. ‘Guns and Dynamite’ fires like early The View meets The Strypes. Meanwhle, ‘She’s Out’ has the effortless angst of The Rifles with pop hooks of Little Man Tate.

As a music scene grows, so does its content intellectually and experimentally. So, when a band like The Novatones comes alone., especially with the aged sentiment of ‘Living For The Weekend’, the excitement just floods back. Rip it up and start again!

On ‘Avenue Road’, they have hit upon a set closer for years to come. The hard edged Motown of The Jam meets the humble escapism of The Enemy’s classic debut album. When punk gets this injection of heart and romance its impossible not to fall into the arms of your best mate and live forever.

*Image courtesy of https://www.facebook.com/rhonamurphyphotography/

Mark Morriss: Islington Academy, London

The Bluetones frontman returned to London’s Islington Academy this past week. He is arguably the hardest working live act in the UK. Forever touring and dazzling intimate crowds with wit and charm.

With a new album in the pipeline, the quest to blend the new with the classics was always going to be the biggest test. Whilst it’s great to hear the pop classics of ‘Cut Some Rug’ and ‘Bluetonic’, it’s the heartfelt ‘Rimini’ and ‘Rollaway’ that strike the biggest chord. The roots of Crosby Stills & Nash shine through here and, with his unique pop vocal, converting fans of yesteryear to the present seems inevitable.

The prowess of ‘If’ and ‘Never Going Nowhere’ hit a sweet spot with the crowd but, flittering just behind was the mystery of ‘Duchess’ and the bewitching nature of ‘It’s Hard to Be Good All the Time’.

The balance between old and new was still skewed towards the old among Morriss’ faithful. There were, however, moments when the crowd’s nostalgia dissipated and a new focus began to emerge. Let’s hope this was the first step to Morriss's renaissance he clearly deserves.

Echolines – Imagination Stranger

Fresh from supporting the glorious Bugeye, Newcastle Upon Tyne's Echolines are gearing up for the release of their new single. 'Imagination Stranger' will be available from the 1st March via 6Not4 Records.

Vocally, Charlie Richardson embodies the pop spirit of 80s cult hero Ian Hodgson (Bradford) on their classic 'Gang Of One'. Meanwhile, the sparkling synths and shimmering guitars ebb and flow from sun kissed New Order to the C86 movement.

Lyrically, it recalls the call to action of The Specials 'Rat Race' or The Enemy's 'Away From Here' but, from a more subtle pop laden position. The spiky reflection on society's mindless obsessions feels perfectly timed in these fractious times.

*Artwork courtesy of VanGoth

Death Valley Girls – Darkness Rains

Death Valley Girls released their third album 'Darkness Rains' last October via Suicide Squeeze Records. They are currently on a monster tour across the US, Europe and will soon be in the UK. To whet everyone's appetite, we look back at 'Darkness Rains'.

Every so often, bands like The Pistols, The Clash, The Strokes, and The Libertines hit the reset button on a bloated rock music scene. Death Valley Girls have this spirit at their core. The likes of '(One Less Thing) Before I Die' and 'Wear Black' personify this but with the muscular guitars a stinging vocals.

This album goes further than resetting the wheel though. The punk spirit is met with psychedelic garage guitars, giving new meaning to dangerous. The growling hiss of 'Disaster (Is What We Are After)' spirals out of control in a frenzied mash up of Jim Jones Revue meets BRMC circa 'Spectre At The Feast'.

'Unzip Your Forehead' harness' the primal nature of early Sabbath with big meaty riffs before Bonnie Bloomgarden's spiky Kate Bush vocal elevates everything to a new psychedelic plain. There is a realness to their psyche, its not floaty or hazy, its firmly rooted in the chaos of modern life. The howling solo in the closing stages is the perfect scream of “wwwwhhhhyyyy” every time their tapeworm of a President takes to Twitter.

'Abre Camino' ferociously stares into the abyss with its The Blinders-esque guitar licks. Like their peers, they have found a way to unite the voiceless via a demented and destructive form psyche punk rock.

This is not for the faint of heart. This is a courageous and vehement act of defiance in a world on the edge of a dystopian nightmare.

Darrah: The Railway, Southend

To mark the release of their new single, Southend's Darrah played a packed show at The Railway.

This was alternative pop music at its finest. Shimmering synths, psyche guitars and killer choruses. 'Can't Tax The Sun' was The Pixies through the prism of bubblegum pop. It was so infectious, it was dangerous.

On 'Stars' and the solo performed 'Pothole', Darrah displays an ability to pitch the rhythm of a set way beyond his years. 'Stars', a hazy Real Estate meets Teenage Fanclub affair, drifts by effortlessly. Meanwhile, 'Pothole' stripped everything back to showcase his estuary vocal at its most intimate.

The set closes on the new single 'Business' and, on this showing, it will be for many years to come. As the guitars throb away, Darrah's instinct for a vocal hook shines bright. There are hints of Lydon, Bowie and Albarn throughout, and by the time the synths start to sparkle, it becomes something quite special indeed.

Twist Helix - Ouseburn

Based in Newcastle, Twist Helix have been at the of North East’s burgeoning DIY since their debut album was released last October. Having been tipped off about them by the glorious Bugeye, we decided to delve into the album.

Concept albums are always a bold move. Many fall by the wayside. So, it comes as quite the shock to see one on a debut album. Nevertheless, tired of clichés such as “a city in decline” and “people left behind”, Twist Helix have shone a light on the artistic undercurrent of the city.

Former singles 'Newcastle' and 'Ouseburn', although local in content, will pull in like-minded souls from pockets of cities and seaside towns that artists have bred life into (Southend and Hastings for examples). 'Ouseburn', sparkles with synth pop a la Passion Pit circa 'Manners' as it meanders its way like the Tyne & Weir river.

‘Newcastle’ though, is a clarion call to all those who thought they were alone in believing their town or city is more than what their told it is. It opens with perhaps the most defiant and inspiring opening line of an album in recent years: 

“This city is not sleeping / It’s dreaming”

It's not all shades of light though. 'Little Buildings' and 'Collapse', demonstrate the sense of loss that has penetrated the social conscious of places like Newcastle in recent times. Unlike blow hard social commentators, they’ve tapped into a spirit and a feeling that paints pictures of both rage and hope. The courage to bring a poetic soul to a fight the rich will resonate the length of breadth of the UK.

Former single 'Graphite' signifies a future beyond their local horizons. Musically, it combines pop dynamism of X Ray Spex with the finer exponents of indie-electronica of the late 00s (Reverend & The Makers, Sunshine Underground). Something bigger beckons for them here.

When you look at the recent success of Zola Jesus or Austra, the festival circuit could be great for Twist Helix this year.

*Image courtesy of Paul Black Music

Desperate Journalist - In Search Of The Miraculous

London’s Desperate Journalist released their third album, ‘In Search of the Miraculous’ (Fierce Panda), on February 22nd. From their self-titled debut (2014) to ‘Grow Up’ (2017), the progress in quality was stark. Can they do it again on what is loosely a concept album about singer Jo Bevan’s obsession with artist Bas Jan Arder?

Images courtesy of Fierce Panda Records

Despite the high concept, their pop instincts remain, and, in the case of ‘Jonatan’ and ‘Cedars’, they have significantly improved. ‘Jonatan’ is The Cult via Wolf Alice’s shoegaze tendencies. It creates a joyous sonic to a tragic tale. Bevan lost her friend Kasper in 2016, and here, she not only pays tribute but, in the repeated one-word chorus, embeds heartache, love, loss, anger, and nostalgia with every inflexion with astonishing quality.

The lead single, Cedars, is one of those pop songs you’d be forgiven for fast-forwarding to the chorus’ hypnotic release of “another fraying jumper.” It’s a beautiful payoff to the subtle and poetic verses.

Their previous two albums, musically, have often served as a vehicle to showcase Jo Bevan’s sublime vocal prowess. Now, guitarist Rob Hardy has found a vein of form so rich that it forged a partnership for the ages.

The singles ‘Cedars’ and especially ‘Satellite’ are beset with crushing Lindsey Buckingham-esque solos. He has begun introducing pop immediacy into the shoegaze on ‘Murmuration’ and ‘Jonatan’ with nods to straight-up rock heroes The Cult. Their archetypal indie-goth sound feels fresher than ever on ‘Black Net’, and on Ocean Wave, Hardy, along with the razor-sharp rhythm of Caz Helbert and Simon Drowner, conjures a post-punk disco stomp classic.

Sometimes, there is a sense of all or nothing for bands on third albums. They chose all in. This is a post-punk ‘Rumours’. This is the rarest tightrope walk, where cutting-edge meets accessible and credible pop music. If Fleetwood Mac signed off their careers with this album, the world would lose its shit! ‘Satellite’ is the new ‘Go Your Own Way’, and ‘Argonauts’ is the new ‘Songbird’.

Death of Guitar Pop – You’ll Be Fine Sunshine

It’s a great time to be a DIY outfit and Essex’s Death of Guitar Pop are no exception. Selling out gigs through word of mouth, dabbling in music management, modelling for Stone Beach’s clothing range, and by day, delivering exquisite Ska pop music.

Their latest offering, ‘You’ll Be Fine Sunshine’ is no exception. Much like the genius of Tommy Cooper, everything seems so simplistic and offers a broad appeal. Really though, something far more creative is at play.

Lyrically, their working class depiction of escaping to warmer climates is remarkable. Tales of “technicolour yawns down a back alley” and recovering with a Lucozade should be put on par with the work on Ray Davies, Damon Albarn and Suggs’ finest efforts.

Whilst we laud the bands efforts of making a living on the DIY scene, we want more. More from the people they so lovingly portray and entertain. The Specials were heralded in their heyday, 30 years on, their set to get another number one album. So, we urge you, join their side and raise them up to the same status, clearly they’re good enough.

*Image courtesy of Jeremy Walker https://www.jeremy-walker.com/

Scrounge - Crimson

South East London duo Scrounge released ‘Etch’ with Fierce Panda last November. It was a raw piece of post-punk. The Goldsmiths alumni are at again on their latest single ‘Crimson’. 

Vocally, Lucy has found a sweet spot between Courtney Barnett and Kim Gordon. It serves this tale of distorted reality well. Backed by Luke’s violent Stephen Malkmus drawl, Scrounge are well on their to the hearts of all post-punk fans.   

The DIY scene of South East London, often overlooked, is set to become undeniable with the prowess of Scrounge. 

*Image courtesy of Fierce Panda Records

Crimson, a song by Scrounge on Spotify

Café Spice - Bn2

Manchester trio Café Spice, fresh from their sold out show at Jimmy’s, have returned with their second single ‘Bn2’ 

No one forgets the first time Joni Mitchell speaks to them on a personal level. Café Spice have now hit that standard on this tale of friendship and heartbreak. So often, this subject breeds lyrical cliché. Here though, they’ve tapped into the aching emptiness words have in these scenarios. 

The ambition is striking, but it’s the execution that’s mind blowing. This is only their second single remember! Cast your eye over recent Green Man or End of the Road festivals, how many folk acts there have ever hit this level?  

With Glastonbury back this year, we urge Emily Eavis and the BBC to give them a huge break, clearly, they won’t disappoint. 

Bn2 Written by us Produced by Martin Hollis Recorded at British Grove Studios, London Follow Café Spice: https://facebook.com/cafespiceband https://instagram.com/cafespiceband https://twitter.com/cafespiceband Café Spice play Jimmy's, Manchester 6th February 2019. Tickets and more information at https://www.cafespiceband.com