Gazelle - Have You Found Forever Now?

Leicester's Gazelle have been tearing through 2019 like a whirlwind. Their new single is no let-up either. 'Have You Found Forever Now?', recorded with the legendary Gavin Monaghan sees them build upon then intelligent working class lyrics and escapist rock n roll.

On their debut EP ' Young Blood', an army of influences (The Enemy, The Rifles, The Courteeners) outlined their outsider credentials. Whilst musically, 'Forever' remains in this mold, lyrically it takes Tom Clarke’s Lowry-esque depictions and Liam Fray’s emotive every-man styles to stride out beyond them both.

Musically, the rasping guitars of The Rifles and The Enemy remain in the early part: kicking and screaming their way to hearts and minds. However, the combination of Noel Gallagher's key changes, The Cure-esque solo and the raucous production of Suepergrass circa 'Life On Other Planets' breeds life into their sound.

Lyrically though, is where 'Forever' shines. Ryan Dunn has combined a Clarke and Weller sharpness with the universality of Gallagher, the wit of Damon Albarn and a huge splice of Ashcroft at his “fuck you” best.

The tension Dunn builds from images of internal hurricanes is palpable. In the mire of Brexit, the poor are being left behind, not buy Dunn! This romantic tale hits the brink (“can we turn it around”) and then fires them back into the sunset with the line “Don’t let go if you’ve found forever now”.

Britain has felt so shit, for so long, the modernised messages of ‘All You Need Is Love’ and ‘Live Forever’ will bring tears to your eyes. ‘Forever’ leaves you with the notion that nothing can stand in your way. Gazelle have hit a vein of form here that simply put, has to elevate them to big audiences, now!

Rats: Nambucca, London

Liverpool’s Rats headlined This Feeling’s 13th birthday party recently. Just under two years ago, they played the same venue to under 10 people. This time, a packed crowd was buzzing in anticipation!

The night had been electric with stellar slots from Cleargreen, Howlers and Lacuna Bloome, then Rats just tore the place apart with their brand of rock n roll and punk.

Crowd favourites ‘Weekend’ and ‘Figure It Out’ served the braying crowd with a fix of bangers. The latter, showcases just how far this band can go. On record, it has The DMA’s debut album at its core, live, it becomes a raucous monster of an anthem. Meanwhile., ‘Weekend’, with hooks at every turn, united the crowd in a sea of mayhem.

It’s on their last release ‘Jack’ though where they defined their set and the purpose of This Feeling. Full of risk and great social comment, it turned a desperate fight against the pressures zero hours contracts into a performance of righteous punk rock. The cameo from Skinny Man lifted the song to another plain and took the crowd somewhere truly special.

This Feeling are not the only ones putting on nights like this but, they are the best at it. They have backed Rats from opening a night to 10 people all the way through to virtually selling out Nambucca. It was a beautiful sight and a reminder, do not let tossers in the mainstream tell you bands are cyclical. They are always there and they need nourishing. Rats are now beyond their fledgling status and ready to support big bands before owning the tour circuit themselves!

 *Image courtesy of @ChrisDriverPhoto

Gerry Cinnamon – Sun Queen

The wait had been so long that, our thoughts turned to misapprehension regarding Gerry Cinnamon’s return. So, when ‘Sun Queen’ landed in our laps, it was with tense moment loading it up.

We needn’t have worried. Released 2 weeks ago via Little Runaway Records, the 34-year-old Glaswegian looks set to continue his miraculous journey to the hearts of these fair isles.

With pressure on to deliver, Cinnamon has delivered his most effortless pop song to date. The vocal hook of the chorus is as sumptuous as they come. The female protagonist dreaming of James Dean conjures sun kissed nostalgia that’s impossible not to fall in love with.

As with his debut, and especially his live shows, the glory of ‘Sun Queen’ lies within the heart of the man delivering it. The tag of ‘one of us’ has never been more relevant than with Cinnamon. His lyrics and melodies walk our streets. They daydream of escape, they romanticise summer and recapture teenage romances.

Welcome back Lord Protector of Britain’s soul!

Useless Cities – How To Feel

Self-professed miserabilists Useless Cities returned last month with their latest single ‘How To Feel’. Produced by Paul Tipler, (Placebo / The Horrors / Idlewild) they have taken their brand of indie to the next level.

Tom Argent has taken the destructive guitars of Shame’s debut album ‘Songs of Praise’ and given them room to breathe. This slower, more melodic approach moves away from Shame’s angst and, into a more pensive realm. Once Corneila Bent’s keys come into play, the beauty levels are significantly raised.

The duo repeat this pattern on vocal duty too. Argent has a fragility that’s sits between Tom Smith (Editors) and Ian Curtis. As he sings ‘it’s a nice dream’ about the start of a romance, you can’t help but feel he expects it to come crashing down. Then, like an angel, Bent glides in to sprinkle affection and restore the hope for this burgeoning relationship.

Be sure to check them out at Werkhaus (London) on the 14th November.

Eilis Frawley – Illusions

Berlin based percussionist Eilis Frawley (Party Fears & I Drew Blank) releases her debut single ‘Illusions’ from her forthcoming EP via Reckless Yes Records.

Bold and distinct from the off, Frawley has combined a unique blend of spoken word and the Avant Garde pop of Flying Lizzards and tUnE-yArDs. Despite the left field approach to music and production, Frawley has anchored her lyrics in the everyday.

She tackles the stresses of projecting our best selves on social media and simultaneously neglecting the nourishment of the soul. Better still, rather than offer clichés about living for the weekend, Frawley offers up a savage indictment of how over worked and pressured we are:

“One free evening and we ruin our livers to forget”

This is a rare piece of alt-pop. It’s accessible and weird simultaneously. It is absolutely ripe to freshen up BBC6 Music.

The Crooks – Nevermind

“I seem to get this feeling I just cant explain”

Chesterfield outfit The Crooks, fresh from selling out their This Feeling’s 13th birthday this past Saturday, release their new single ‘Nevermind’ on Friday.

In 1994, when Liam sang ‘you and I are gonna live forever’, the world changed. Ambition and escapism combined on Noel’s story of two best friends who ‘see things they’ll never see’. The universality of its message (plus the great melody) became all things to all people.

It was amazing time of hope and unity. Job security was a thing, pay rises could be earned. Unlike 2019! Having a job for longer than 12 months is a fucking achievement these days! Thank god, no, thank The Crooks for this single!

Despite being less personal than the heroes of Live Forever’s tale, it’s not less gallant. Defiantly drawing the line in the sand, they shall be pushed no further! Furthermore, when the guitars soar, they offer a helping hand off the canvas for everyone to stand up to the torrent of shit we’re being made to live through.  

Musically, Hurricane #1’s classic ’Step Into My World’ and Embrace’s ‘The Last Gas’ leaps of the page as this track triumphant builds. However, its within the all-inclusive clarion call where its beauty lays. As Jacko sings ‘remember things are easy, don’t get left behind’, it’s hard not to be overcome with emotion. Thoughts of friends, lovers, family will flash before your eyes on this truly defining moment for the band!

Their next gig is 2nd November, again for the brilliant folk of This Feeling, it is not to be missed!

Cleargreen: Nambucca, London

Manchester’s Cleargreen made the journey to North London’s Nambucca for This Feeling’s 13th birthday this past Saturday. Man alive it was something to treasure!

Some bands will strive for years to deliver a set like this. The attitude, the heart, and, quality outshone nearly all established acts of the moment.

Everything culminated on their cover of Jorja Smith’s ‘Blue Lights’. The contrasting vocal styles of Ali Staley and Liam McIver were joyous. McIver’s, fired up by the injustice received by his friend, delivered a truly menacing performance! This was perfectly offset by frontman Ali Staley’s embracing and inviting vocals. Throw in Josh Howarth’s stunning and destructive guitar solo and it was hard to define this as anything other than special.

There were lighter moments of the set, notably on the ‘Mersey Paradise’ inspired ‘(To Be Understood) In My Paradise. The Squire-esque guitars jangled away with inescapable infectiousness. Meanwhile, Staley announced himself as the next great rock n roll frontman. Whilst all around him was the attitude and rock n roll swagger, there stood a man inviting a crowd into their dreams of freedom. The emotion he conjures from the lines ‘it all means nothing / if you’re not here anymore’ was a real moment.

A defining one? Probably not, there is too much drive and the ability for this is to be it. People of Manchester, do not miss their show with Creation23’s The Shambolics on 6th November at Night People

*Image courtesy of Alan Wells

The Raintree County - Lay In The Tall Grass

Leed’s hottest prospects The Raintree County are back with their third single ‘Lay In The Tall Grass’. With some killer This Feeling shows under their belt, can they transfer this confidence to the studio?

The previous two efforts have seen their influences laid bare. Enjoyable as they are, it’s here their own identity begins to stand up next to their heroes. The scouse rock n roll of The Real People remains but, they have a more measured approach. The sophisticated backing vocals demonstrate a band considering their every move, the results, a far more soulful sound enhancing their working class sounds.

As the closing psyche guitars swirl, the excitement of what this band could become grow steadfast. They have opened the doors for so many possibilities. Eight minute Andy Bell (Ride) guitar parts or Lee Mavers three-minute pop dittys could all emerge from this.

Despite the onset of winter, the future is blossoming for The Raintree County.

Miles Kane: Electric Ballroom, London

Dressed resplendently as Kevin Rowlands, Liverpool outrider Miles Kane strode onto the Electric Ballroom, reminding everyone the difference between mortal an immortal.

The joyous funk of ‘Coup De Grace’ brought The Smiths classic ‘Barbarism Begins at Home’ to life until Kane’s anarchic vocals took it to away to something more visceral. The venom remained high on the classic ‘Inhaler’ and ‘Come Closer’. He is unstoppable in this mood!

It is however, on the poppier moments where his ability to hold a crowd in the palm of his hand truly shine. With help from Jamie T, he takes the Camden crowd on a roller coaster of emotions on ‘Too Little Too Late’. On the acoustic version of ‘Killing The Joke’ and slow building ‘Colour of the Trap’, he united the crowd in an almost hymnal singalong.

Everything came together on the soaring pop majesty of ‘Rearrange’. Kane’s ability to channel 60s pop past into something vibrant, sexy and violent was at its peak here.

With a huge support slot alongside Liam Gallagher imminent, the jury will be out on who is the best frontman of today!

Lacuna Bloome: Nambucca, London

Brighton’s Lacuna Bloome took time out from recording their new EP to play This Feeling’s 13th birthday party at Nambucca this past Saturday.

With the spirit of Stone Roses in their hearts, they delivered their brand shimmering rock n roll with aplomb.

The latest single ‘Plastic’ was a stunning piece of rock n roll and social comment. By the time frontman Niall bellows ‘yes it’s changing’, this crowd is either rushing with excitement or frantically messaging their mates to check them out.

Whatever they’ve have doing in the studio is paying dividends. Former singles ‘I Am’ and ‘Find Your Way’ sounded crisper and more dynamic than ever. Perhaps set-closer, a storming cover of ‘She Bangs The Drums’, has shown them their songs are can stack alongside Manchester’s finest. 

With the EP coming in the new year, 2020 is shaping up bloody nicely indeed.

*Image courtesy of @shotbybutch

The Spitfires: Live in Southend

Watford​ three piece The Spitfires returned to Chinnery’s in Southend this past Saturday.

They came on the trail of their new single ‘Enough is Enough’, would it be enough to keep them in the hearts of Essex’s mods?

Roaring out of the traps with crowd favourite ‘Last Goodbye’ and ‘The New Age’. The fury of The Jam and melodic rumble of The Rifles combined with their playfulness to kick-start the dancing. A word that became omnipresent throughout.

New single ‘Enough is Enough’ took the defiant spirit of Hard-Fi’s debut ‘Stars of CCTV’ and threw in, well, everything! The brass, at times hinging on the love of Frankie Knuckles and at others, drawing upon ska, funk and soul they have become famed for. It’s such a raucous carnival affair that, it sets frontman Billy Sullivan freer than ever before.

Remember, their 4th album is imminent, this isn’t a band with a new sheen, this is one with crowd favourites. Nothing touched the vibrancy of the crowd’s reaction than on ‘Enough is Enough’.

Speaking of crowd favourites, ‘Something Worth Fighting For’ was sounding more desolate than ever, clinging to the last shred of hope in a world gone bat shit. Meanwhile. The blistering guitar solo on ‘Return To Me’ and the euphoria of ‘On My Mind’ defy all logic of the working classes in recent years. Social comment and escapist rebellion should always meet these standards!

It’s fair to say, they left Southend as favourite adopted sons

*Image coutesy of Tony Briggs

Sean McGowan - Curate Calm, Create Chaos

Southampton's favourite son Sean McGowan releases the EP 'Curate Calm, Create Chaos' via Xtra Mile Recordings on the 1st November.

Although McGowan's debut album (Son of Smith) was all of a high standard, its flaw was it was disparate in style at times. Here, a focus on stripped back acoustic guitars and cinematic orchestration has heightened the two things McGowan does best, defiance and emotion!

Here's our track by track review:

I'm OK

McGowan's ability to find melody and simultaneously offer gut wrenching honesty lyrically is out in full force here.

The universality to 'dealing with death / dealing with demons' is one all can relate to but, few use this pain to such positive effect.

With ‘The Joker’ causing a stir amongst those who have missed the fucking point, McGowan's song about mental health is perfectly timed. ‘The Joker’ is not about inciting violence, it’s a clear shot at the criminal under-funding of mental healthcare. As McGowan sings 'this one is for the lost', the poignancy of the film and the song strike home, painfully so.

Heartbreaker 

Even in 2019, for a man to lay their inner most feelings, especially romantic feelings on the line like this, is rare and courageous. The confusion, the hurt and the sense of loss McGowan displays being in a relationship, let alone out of one is laid bear with a fine eloquence.

The stunning Celtic style backing vocals of Kate Lynn (also violinist on the EP) and McGowan's lyrics will bring self-examination of the brutal kind. Am I enough? Will me and you make it? How do I know you're OK?

Silk

In the 90s, the tabloids and magazines heightened what it was to be a man and a woman. You must be a supermodel on a diet or you must a super lad drinking and shagging. As impactful as it was, the rise of Social Media feels more over bearing with its 24/7 access.

With that in mind, McGowan examines the negative side of Social Media on society. The intense pressure on how to live your life from both the male and female perspective are looked at with heart and soul.

As the orchestration builds, the fragility and beauty of life being tormented is rammed home with gut wrenching effect.

Money

Frankly, any song with an Only Fools and Horses reference in deserves to be number one! Much like Del Boy, McGowan has dreamer’s mind-set. No matter what is thrown in his way, McGowan walks forwards swinging, hits the canvas and then gets up again with a grin on his face.

Queen of the West

The EP’s standout moment! Such is the clarity of the music; McGowan need not have sung a word. The subtle acoustic guitar build is bitter-sweet and tinged with an acceptance that someone close (Margret) has passed away.

As the Lynn’s violin and vocals soar, the military drums pound into view, laying the platform for McGowan’s most daring and triumphant moment to date.

His punk fire rattling alongside the innocent Noah & The Whale 'First Days of Spring' beauty to bring all of McGowan’s hurt and grief to beautiful climax!

Whoever Margret is, McGowan has gone further than “write her name in history”, he has etched her into the hearts of his fans.

Moon Duo - Stars Are The Light

Portland-based Sanae Yamada and Ripley Johnson released their seventh studio album 'Stars Are The Light' on the 27th of September via Sacred Bones. With the distinct purpose of re-imaging themselves in a world going mad, how would their synth-driven reinvention fair?

For the most part, their archetypal style remains, but, the instruments have changed. 'Fever' and 'Flying' find Ripley Johnson and Sanae Yamada finding far-out grooves to traverse. The bombast of Johnson's guitars is replaced by outer cosmos production but, familiar and likable patterns remain. On 'Fever', their ability to trip outcomes to the fore, again, with subtle production tools being applied alongside sumptuous guitar licks.

Their previous work often witnessed an open-ended nature. Expertly deploying hooks on the guitar and taking them for an aimless meander. It's where their true beauty lay. On the title track, however, they have gone against this grain. 'Stars Are The Light' is a complete piece of pop art as you can imagine. It strays into the everyday mindset of longing to escape rather than being otherworldly.

Former single 'Lost Heads' also walks this line.  Johnson's guitars are still at play, and after a residency in Salford this year, picked up influences from the psyche work of James on 'Bitch' and 'Girl at the End of the World'.

The hypnotic elements of Primal Scream's 'Autobahn' loom, but, 'Lost Heads' is far dreamier and acid-tinged. Its ethereal qualities are that blissful moment on a night out; the headliner has blown you away and now you floating in space.

'Stars Are The Light' is a fine re-imagination of what Moon Duo can be. If anything, they have been to tentative. There is definitely a sense there is more in the tank. That said, not many can switch up their DNA as effectively as these seven albums in.

Liines: Boston Music Rooms, London

Manchester's Liines embarked on their co-headline tour with Bis last week at Boston Music Rooms. After critical acclaimed for their debut album 'Stop-Start' and a plum support slot with Sleaford Mods, was this their time to shine?

It was their longest set to date, it didn’t bother them. Such is the defiance of their punk rock, even the unheard material was met with glee. The dank 'Find Something' throbbed with danger at every turn. Its indomitable groove has a raw sexual energy that threatens to overspill into something violent.

Tamsin Middleton's bass playing on 'Shallow' was an exemplary display of how destruction and angst can be joyous and life-altering. Middleton's hip rolling swagger is hypnotic throughout, none more prevalent on the disco-punk of 'Disappear'.

It was on 'Disappear' where dreams of bigger things for Liines emerged. The hook of Leila O'Sullivan's drumming, combined with the power of Zoe McVeigh's vocals all come together in a moment of outcast bliss.

This was again echoed on modern alt-classic 'Blackout' and the banger 'Never There'. The intensity remains, the hooks filter through, and you left with thoughts of, 'do we have another PJ Harvey on our hands?'

Did they announce themselves as future festival headliners? No, probably not. They proved the co-headline slot was more than warranted. Expect mainstage festival bookings galore next summer!

*Image courtesy of Olivia O’Sullivan

Reverend & The Makers: Electric Ballroom, London

Sheffield icons, Reverend and The Makers took to London’s Electric Ballroom on the 10th October for the ‘Best Of’ tour. Often, and peculiarly ignored by Radio X and BBC6, they showcased what they had been missing!

They’re not of cultural fabric of the UK in the same way of Primal Scream, but, they do have their adventurous spirit at their core.  They push egos to one side and share vocal duty to suit the art. Lead guitarist Ed Cosens delivers 60s pop gem ‘Makin’ Babies’ expertly and, on ‘Black Flowers’, something truly magical happens. Keyboardist Laura McClure’s spellbinding vocals on the Portishead inspired track. As she sings “our love got up walked out of the room”, everyone is under her beguiling spell.

The styles keep on coming, ‘MDMAzing’ and ‘Bassline’ stray into 2am Ibiza territory and set the dancefloor alight. Meanwhile, Cousins’ guitar playing on ‘Black Widow’, finds that expansive rock sound their mates Arctic Monkeys never quite nailed on ‘Humbug’, ‘Suck It and See’ and ‘AM’.

Make no mistakes though, John McClure is the big draw. Literally! It’s no disservice to the band, but his ability to stray from spoken word, to Damon Albarn, to Liam Gallagher and remain true to his Sheffield roots is truly remarkable.

It may be because they never hit truly dizzying heights that they still have the early days feel of “one of us”. More likely, the truth lies in Frank Turner’s ‘Try This At Home’:

“Cause there's no such thing as rockstars
There's just people who play music
And some of them are just like us
And some of them are dicks”

Here’s to another twelve years.

*Image courtesy of Mike Halcrow

Paula Wolfe – White Dots

London and Norfolk based artist Paula Wolfe has returned with her new album ‘White Dots’. Written, arranged, engineered, produced and mixed by Wolfe and it’s out now on SIB Records.

‘White Dots’ delivers an array of storytelling, often character driven and sometimes, achingly personal. ‘Cherrington Road’, is based one of Wolfe’s earliest memories. The sweetness and innocence of her 3-year-old self singing in the garden of a family home will melt the blackest of hearts.

On ‘Bonnie’, Wolfe opens up about trying to move on from a relationship. Not just any the relationship, but “the one”. The one which everyone else is unfairly judged by. The one that raises you up and hinders you simultaneously. The simplicity and the honesty of Wolfe’s vocals and the subtle orchestration is a glorious dichotomy of elation and sadness.

It’s not always personal, ‘Caravan Man’ is a fictional account of a man Wolfe saw on French campsite. Her ability to jump into the world of someone else is effortless and no less interesting. The intrigue on Wolfe’s vocal “Caravan man, who are you waiting for / what are you waiting for” is as powerful las the Death Star tractor beam. Then, when her Kate Bush-esque vocals soar alongside the organs, a wholesomeness and realness akin to The Kinks’ ‘Muswell Hillbillies’ album.

Former single ‘Georgia Blue’, details the life of a cross dressing train driver. The hallmarks of The Jam’s ‘That’s Entertainment’ circulate as Wolfe portrays a modern day outcast with great affection and warmth.

This is a fantasy album. It’s a what if the spirit Lily Allen and Laura Marling merged with the great characters of Ray Davies’ song writing and is sung by Kate Bush and Carole King. Layered with such vivid characters and enriching landscapes, Wolfe has provided an album that keeps on giving.

The Velvet Hands: Live in London

“Everybody's looking for last gang in town
You better watch out for they're all comin' around”

Falmouth’s The Velvet Hands kicked off their intimate sold out tour off at London’s Roadtrip & The Workshop this past Tuesday night.

The Clash had a gang mentality, The Libertines had it and now, The Velvet Hands have it! Despite the rock n roll, the punk fury and the icey coolness of the vocals, they have warm embracing nature. It’s so inviting that, on the modern classic ‘Party’s Over’, the raucous crowd invite themselves on stage for a dance.

On the debut album record, The Strokes influences were plain to see. Live though, they transcend their NYC heroes. As the BRMC inspired ‘Sick of Living’ catches fire, their welcoming spirit permeates the sweat drenched room. What Richard Hawley does via pop couplets and enriching arrangements, The Velvet Hands are doing with garage punk rock.

New singles ‘Don’t Be Nice To Me’ and ‘This Feeling’ also go down a storm. The word is out! The former, a Cribs meets Strokes banger is the pick of the bunch with its ecstatic closing moments!

Brace yourself Britain, you’re about to get new national treasures!

*Image courtesy of Craig Taylor-Broad

James Dey - Autumn

Leeds artist James Dey has released his third EP of the year. Creating one for all four seasons, he now embarks on his ‘Autumn’ edition. Here is our track by track review:

Well-trodden

Like the Spring and Summer affairs, the opening track is an instrumental piece (well, 95%). It’s a simple, well-honed piece, signifying the beginning of autumn. Life is still in the air, hope of one more great adventure before winter lingers. The hatches have not been battened down yet!

Weightless

The autumnal feel, arguably the most tangible of all seasons in alternative music has been nailed by Dey here. The gentle loss of life to the beautiful golden scenery permeates throughout. The addition of Fie Meneghello vocals gives the EP a joyous sheen.

It conjures images of a couple so completely in love, they annoy all and sundry around them. They are going to eek every last ounce of fun out autumns glow.

Autumn in Lisbon

The dual vocals continue but here, they stray form folk into indie pop territory. So much so, this would not be about of place on Belle & Sebastian’s ‘Fold Your Hands Child, You Walk Like Peasant’ album.

Skein

The close of autumn is nigh, death is upon us. Winter is coming! Dey encapsulates the big weather change with a gear change musically too. The gentile ebb and flows become more drastic.

As a result, it’s Dey’s most difficult piece of music to dat. However, when the isolation of the acoustic guitars combining with the sublime and aimlessly meandering orchestration, it’s clear, the complexities on show are more rewarding than his previous efforts.

Argh Kid – Riot

Manchester’s Argh Kid has been one of the shining breakthroughs in 2019. Less than a week after they released their debut EP ‘Derelict Dreams’, he returned with the explosive single ‘Riot’.

The raw power of Public Enemy combines with the Beastie Boys outlaw instincts to provide well timed assassination of government. As the visceral production takes hold, just consider, in 2 months, an unelected leader has lost 6 votes, 2 court cases, stated no custom checks in NI, stated there will be custom checks in NI, sacked members of his party, and dithered on about Jason Donovan. What a time to be alive!

Thankfully, leadership comes in many forms. UK spoken word artist Dave Scott (aka Argh Kid) has stepped up to the plate. His distinctive Mancunian vocals adopt venom of Jason Williamson and aggro yet melodic tones of Tom Meighan circa ‘Club Foot’.

Meanwhile, all around him a bassline throbs to echo down the ages. The guttural hook is soul shaking and, as Scott decrees “don’t believe the shite”, a breed of patriotism you can be proud of emerges. Not the bloated lunch on expenses, Churchill wannabee guff of Mark Francois!

Put simply UK Hip Hop hasn’t felt this vital since the early work of Kano and Dizzee Rascal. It’s pure, its violent and it’s working class intelligence from the gut!