Le Cygne Noir - Last Day Of My Life EP

After last year’s groundbreaking debut album ‘Shadow of a Wrecking Ball’, Le Cygne Noir has returned with a new EP. Last Day Of My Life’ was released on the 10th January via Cherry Red Records.

Here is our track by track review:

Last Day of My Life

The beauty of Bowie’s ‘Life on Mars’ informs so much of this song. The pianos are achingly beautiful as he sings about desperation:

“I wake up to a holocaust / my dearest dreams have all been lost”

So much pain, so much beauty, all wrapped up into the gentle but power opening minutes.

That is, until, it morphs into a Bunnymen meets New Order dancefloor filler. Arm in arm, love oozing from its pores, this is an anthem of unification. Throw in the sublime nod to Kraftwerk, and, it has it all!

Deadly Night Shade

If Gruff Rhys fronted Depeche Mode in a period of heavy Burt Bacharach and Scott Walker influence, this would surely be the results.

The sumptuous 60s melodies, Acid Jazz organs and the gothic vocals all combine to create images of Italian pastel coloured mods with goth eyeliner.

Deny the vocal hooks and the ecstatic guitar solo at your peril.

Red Light

The recent energetic psyche of Erland & The Carnival and Weller’s ‘Saturn’s Pattern’ & ‘Sonik Kicks’ combine with the nerve damaging Hawkwind and the freakier side of The Creation and Pretty Things.

On paper it sounds great, right? However, such is the quality of the previous two tracks, you are left feeling something is awry. The pop cut through has gone from the special madness he has created.

Come At The King - Crazy Ugly Beautiful

London three piece Come At The King, release their debut EP ‘Crazy Ugly Beautiful’. Recorded at London Road Studios, it is released on the 15th November with a headline show the following night at Sebright Arms (London).

The title track is a gloriously filthy piece of rock n roll. If BRMC came from North London, this is how they would sound. Beset with pollution and the intense pace of life, Come At The King have set a huge marker for all future singles.

The EP is littered with some great rock n roll sloganeering. When ‘Hanging On’ decrees ‘feels like I’m always hanging on’, it’s done with such desperation you can feel the fingernails clenching in the mud. Meanwhile, on ‘Crazy Ugly Beautiful’, the defiant, my generation inspired ‘I do this better than you used to’

Despite having no budget, no label funding studio time, they have found a glorious way to change up their guitar sound on this epic intro to ‘Hanging On’. Although sonically worlds apart, the rebellious and drunkard spirit of Peter Green permeates throughout. Whereas, ‘Frauds’, suffers on the EP for lacking the star power of the other three.

The rock ‘n’ roll cover spectacularly went out of fashion in this decade. However, Shambolics now play ‘The Chain’, Lacuna Bloome play ‘She Bangs The Drums’ and The K’s play ‘Dirty Old Town’, its back! Rightly so too, it allows bands to cement their message in the early days. In this instance, it showcases how inventive the London three piece are.

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.

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.

Getrz - Think of the Future

Swindon outfit Getrz self-released their second EP ‘Think of the Future’ at the end of August. To date, they have been a band that has been scintillating on the live circuit but not transferred that prowess to the studio. Might this be their time?

'She Heard I'm A Dreamer' and 'Annie' suggest both yes and no. Both littered with moments to entice you in but fall short of blowing you away. The former, has an infectious chorus and Tom Meighan inspired vocals but, after threatening the killer solo, it doesn’t materialise. ‘Annie’, signs of with Miles Kane in disco mode and is peak Arctic Monkeys playing their best Pearl Jam riffs but, lacks the hook in the chorus.

The title track will divide opinion. Big resounding rock anthems like this always do, especially when they come with a piano reprise. One man's 'Layla' is another's Bill and Ted. However, the ambition, the vision and crucially, the conviction to put this is out is inspirational. This is the stuff of rock giants 4 albums

What makes you question the missing elements is the sparkling ‘How Do You Think I Feel?’ . A true moment of punk rock glory. Their love of grunge is channelled via a punk-pop playfulness. A sonic that might well take them to stardom.

It goes further than this though. We’ve all heard a million punk-pop tales of relationship woe. Big deal! Getrz though, have that top notch British drama feel to their story telling. Gritty, painful, and laying bare the feelings of the common person can relate to.

This is not the moment where GETRZ breakthrough but, they are peeping over your hedges and ready to burst in!

*Image courtesy of Jon Mo Photography

James Dey – Summer

Leeds' James Dey is releasing an EP for each season in 2019. Following on from his superb 'Spring EP', comes the equally fine 'Summer EP'.

Dey has pulled a master stroke on this EP. Focusing on how love and fond memories emerge from the rare but cherished warmer days of the UK, he has taken the personal and made them universal.

The loving nostalgia on 'Him For Her' will take you to the place where you and your loved one are the only care in the world. Dey takes in the insignificance of human without a trace of melancholy and builds layers of love upon the characters. It is only fitting that, Dey adopts an Elliot Smith style for this hand in hand stroll along the beach.

His Smith influences join forces with The Beatles on 'The Nettles Looked Nice Today'. There is a warmth here that showcases a warmth and talent that should be recording in Abbey Road.

'Awake' lifts Dey to the level where those who could fund that project, will find it hard not to do so. The gentile guitars alongside the slow moving traffic takes a dull Uk town on a hazy afternoon and paints it full of colour!

As the world looks back at 'Definitely Maybe', 'The Holy Bible', 'Dummy' and 'Dog Man Star' 25 years on, 'Awake' creates a sound scape worthy of overlaying a montage of those hopeful days. 'Awake', although calming in presence, is the sound of young hearts searching their minds, reaching for identities as yet unfounded on long summer nights.

With two more EPs to come, Dey has set the bar impressively high to match them.

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Argh Kid - Derelict Dreams

Manchester's Argh Kid set 2019 alight with former single 'Neighbours'. Now, spoken word artist Dave Scott is back with a new EP ‘Derelict Dreams’. Recorded at Editors' Justin Lockey's studio, Scott, backed with a band, attempts to build upon his razor sharp wit and social comment.

Whilst Scott's words are the star of the show, his band are serving up something almost as special. ‘Tearaways' combines the languid style Loyle Carner with Get Cape Wear Cape Fly’s warming brass circa ‘Teenage Chronicles…’. It allows Scott to conjure a murky North West landscape sound tracked to Scorsese’s vision in Taxi Driver. Meanwhile, on ‘Reunion’, they pay homage to Membranes legend John Robb via destructive bass playing.

Lyrically, across both these songs, Scott's reputation continues to rise, rapidly. ‘Tearaways’ paints pictures of dimly lit parks, fights, cider, and drug, something teenagers, generation after generation can relate to.

'Reunion', a brutal analysis of an abusive father (“Was it the left or the right when you kicked her goodnight”) is a haunting and righteous reliving of teenage pain.

Then there is 'Beige'. Musically, it again shows of another side, bringing in Celtic folk influences. Scott's lifelong battle against isolation and social attitudes that will move you to tears. Teachers setting a path for impressionable young minds to “other” him is a crushing but, the spirit and, the loving endeavour to search for belonging is heart-warming.

In a time where vultures sit at the head table, Scott shines a light on the only route through this quagmire. The difficult pathway, the one where society and the individual show willing to learn and understand other cultures not “send them home” or bully in articles (“bankrobbers” & “letterboxes”).

To say this is a step up from their previous singles is harsh, 'Frank' and 'Neighbours' are top draw. Nevertheless, a step up this is!

The Crooks - Now Then

For many Oasis fans, including Noel Gallagher, they wish upon a parallel universe. One where 1997's 'Be Here Now' had undergone extreme quality control.

Well, that wish might just have been granted in the form Chesterfield's The Crooks. Cut them and they will bleed DMA's via the extravagance of Oasis circa 1996 to 1998 but, crucially, without the self-indulgence on their latest EP ‘Now Then’.

'Grey Man' has the lone wanderer feel of Noel's solo masterpiece 'Riverman'. Here though, he walks upright with youthful enthusiasm. The psychedelic guitars of Stee and Mods are the perfect platform for frontman Jacko to execute his Liam Gallagher via Thomas O’Dell (DMA’s) vocals. As Jacko decrees “bring me back to the wonderland”, music lovers over the age of 30 will have their youthful ambition restored whilst this generation runs amok to secure it for them.

The Oasis via DMA’s style continues throughout to wonderful effect. ‘All Isn’t As It Seems’ is a lyrical update of ‘Live Forever’ or The Enemy’s ‘Away From Here’. As the chorus of “I want to live my life away / I’m sick of doing it your way” images of huge festival crowds singing arm in arm come rushing to the fore. Meanwhile, on ‘Champagne & Caviar’, the parallel universe strikes. Oasis’ ‘It’s Getting Better Man’ is cut down to 3mins of scintillating solos and the hunger of ‘Definitely Maybe’.

When they do strike for the stadium rock sound on ‘Rocket’, it comes with the anguish that rock ‘n’ roll needs to truly matter. With a punk spirit in its veins, ‘Rocket’ is the sound of people trying to make ends meet and enjoy themselves. All the while, an Etonian racist and Pro-Privatisation of NHS dickheads battle it out to rule over us. The sheer guts and desperation of ‘Rocket’ can be all things to all people. It’s a clarion call to the jaded and a helping hand to those on the canvas. It’s uniting spirit is a reminder that rock n roll will never die.  

Despite the comparisons to DMA's and Oasis, this is not just a re-hash. The Crooks are very much one step backwards, 2 steps forward sonically. It’s the spirit they evoke on ‘Now Then’ that shines brightest. It’s as though they put Shane Meadows in charge of producing ‘Be Here Now’ to give it the brutal reality check it needed. The results, heady and pure rock n roll.

Friday 2nd August marks our 8th birthday. Come down to the New Cross Inn for a night of great live music. Tickets available here:

Dangers of Love - Dangers of Love

Deptford’s Dangers of Love have released their eponymous EP recently after a wave of great singles. Can they keep the ball rolling?

Please note, when naming a song after your band name, make it a heady booze fuelled Tribes-esque anthem. There is more swagger in ‘Dangers of Love’ than Bez on a Friday night!

‘Why Would You Run’, whilst maintaining a youth fuelled “fuck you” spirit, ups the ante by evoking a The Jam at their most carefree through the warped punk-jangle of Asylums.

Throughout, there is a reckless abandon that can only emerge from the exuberance of youth. Long boozy summers and a sense of hope forever at its core, this EP is about the here and now. It will not be curtailed by the shit state of public affairs.

Dangers of Love are a stark reminder that the current generation are finding a way to live, screw and make art as they see fit, ignore them at your peril!

Friday 2nd August marks our 8th birthday. Come down to the New Cross Inn for a night of great live music. Tickets available here:

Gazelle – Young Blood

Leicester’s Gazelle have been setting the underground circuit alight with their brand of rock ‘n’ roll in 2019. This past Friday marked their debut EP release. Can ‘Young Blood’ keep the ball rolling?

Escapism and attitude are the bedrock of this EP. ‘Guilt Trip Gun’ pairs self-doubt and realisation that sticking two fingers up to the world is the only way through it! John Squire’s paisley era (Sally Cinnamon & Mersey Paradise) is reignited on the solo. Meanwhile, ‘Finger On The Trigger’ is inescapably for the young. Angst ridden and driven to break free of their shackles, Gazelle again look to the Roses with the bravado of Stoke’s All The Young.

On the title track and ‘Young Blood’, they begin to showcase there is more to them than just bangers. The former takes The Cure’s archetypal guitar sound and splices it with a rock’n’ roll desperation. Had it sound tracked the tunnel scene of Perks of Being a Wallflower, it would not have been out of place.

‘Diamond High’ taps into the innocent energy of Gerry Cinnamon. Taking a stripped back approach to the Roses rippling guitars, they’ve found a wholesome and everyman sound that’s made Shed 7 so adorable down the years. The sentiments of ‘Live Forever’ prevail on ‘Diamond High’ beautifully in lyrics:

“I get lost sometimes / Your always in mind / I promise you and I / can forget the rest of the world”

 This kind of no nonsense romanticism is destined to bring them huge success!

A playlist featuring Gazelle

Friday 2nd August marks our 8th birthday. Come down to the New Cross Inn for a night of great live music. Tickets available here:

The Novatones - Drunkn Bar Fight

Southampton’s The Novatones have returned with a new EP ‘Drunken Bar Fight’.

Their ability to recreate the punkier anthems of the 00s has seen the accrue many a fan from that era. Now, with these two everyman tales of nights out, they could be on the cusp of reeling this generation. After all, everyone epoch needs tales of sex drugs and rock n roll, doesn’t it?

‘Going Home’, with its roots firmly in the Artic Monkeys classic ‘I Bet You Look On The Dancefloor’, they’ve found an anthem for the unwashed indie night club masses. With the drunken swagger of Pigeon Detectives and the lyrical spite of Tom Clarke’s The Enemy, ‘Going Home’ is going to soundtrack many a night out.

Meanwhile, ‘Dancing In The Dark’ recalls the raw side of Dogs. The thudding beats of ‘Charlie’ and the debauched melancholy of ‘Spring’s Not Always Green’ combine with punk’s immediacy. Despite being the weaker of the two, the guitar breakdown offers an off the beat sound not seen from there before. The thought of wayward mod psyche, The Horrors clashing with The Ordinary boys is one to truly salivate over. Can it be done? We’re going to enjoy finding out.

A playlist featuring The Novatones

Friday 2nd August marks our 8th birthday. Come down to the New Cross Inn for a night of great live music. Tickets available here:

Japan Review – Juno

Adam O’Sullivan formed Japan Review five years ago and, now, after several members have come and gone, has settled into a writing partnership with Dom Ashton on their new EP ‘Juno’.

Pop simplicity and drone-rock or noise-gaze are not things that marry well together often. On opener ‘Soviet Happy’, Japan Review have come pretty close. O’Sullivan’s lo-fi vocals have a lazy Lou Reed style and the main riff saunters along like The Horrors in a good mood. The droning psyche howl at the beginning gives it a much needed ‘anything could happen’ feel before the sumptuous Depeche Mode synth hooks come in to melt even the coldest of hearts.

The 5am lo-fi feel flows throughout the EP. ‘Say Hi To Juno’ effortlessly floats on by with the eloquence of Beach House. ‘Sealand F.C.’ has a raw demo of Lemonjelly feel to it whilst ‘Inertia’ has hazier mood.

‘Inertia’ signifies a bright future for Japan Review. It’s reach for something more life affirming will evoke memories of all-nighters with your best friends where, tomorrow, nothing will ever be the same again. It’s like a stripped back TV On The Radio making a Velvet Underground record in the 21st century.

‘Say Hi To Juno’, treads a similar line. The revolving synths soaring through pain and elation simultaneously. They have Mogwai’s ability to torture and nourish the soul in one achingly blistering piece of art.

If Japan Review show as much ambition live as they do on this EP, they’re going to be wowing audiences for a very long time.

*Image courtesy of Edward Green

James Dey – Spring EP

Following on from his superb debut album 'The Night Time', Leeds based James Dey is back with the first of four new EP's. All centered around the four seasons, Dey begins, unsurprisingly with spring.

They say timing is everything in music. So, how apt that, last week, Dey released his 'Spring EP' as spring sprung. Dey has tapped into the most beatific moments of Badly Drawn Boy's career on 'Ebb and Flow' and the instant classic 'Faintly But Surely'. The former, eloquently portraying the gentle awakening of life and the breeding of hope. A week on from watching a million people march on Westminster, it couldn't feel more appropriate.

Meanwhile, 'Faintly But Surely', delivers Spring's message of hope with a directness that's undeniable. As Dey infectiously sings 'change is coming', it's hard to not to get lost in the mire of current affairs. Nevertheless, his ability to keep everything light, allows a brightness to grasp your attention more than anything else.

On the EP closer 'The First Swifts', Dey taps into the vocal prowess of Simon Fowler in his Merymouth days and the work of Ian Matthews in Plainsong. There is an earnest and everyday reality filtering through the feather light folk music. Never resting on his melodic laurels, Dey has channelled Turin Breaks with a delightfully awkward and catchy riff.

Dey tempers the hope that Spring brings with the almost downtrodden drudgery of everyday life in 'The 7:42am'. The monotony of a commute, familiar to millions, can be lifted by the spring weather, but alas, we all feel we're missing out going off to make someone else money. The way in which Dey captures the essence of watching the world go by on the train brings Noah & The Whale's brief but illustrious career to mind.

When Badly Drawn Boy's debut 'Hour of the Bewilderbeast', it rightly changed the music landscape we lived in. Evocative, emotive and challenging, it reimagined what alternative pop music could be. James Dey's 'Spring EP' is a great homage to that legacy. In true Spring fashion, has us eager for Dey's future releases.

*Image courtesy of Mike Turner

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

Grasshopper - Stricken

Grasshopper, a Brighton/Manchester four piece are made in the image of national treasures Joy Division, The Fall and Bauhaus.

Their new EP 'Stricken', was released at the end of November and has been gaining well deserved attention. At a glance, the desolation is striking, but, as their introspection washes over you, a bond forms, an intimate sense of us vs the world.

With the huge of success of Editors in the last decade, Javi Fedrick's vocal will inevitably draw parallels to Editors’ Tom Smith. However, EP opener ‘Grin’, with its long a Capella section, gives Fedrick a chance to clearly define himself so that, when the crisp jingle jangle guitars collide with his brutality, a new world has truly opened up.

'The Hand On The Knife’ and 'I Think It's Time To Wake Up Now' both contain the razor sharp rhythm of Bauhaus and the emotive power of The Chameleons’ Mark Burgess. It allows the merest chinks of light to creep into lyrics such as “the ceiling screams: you won’t get through today” and “I see you shaking, fury making”.

This kind of rebellion and dystopian landscape creation, opened up by Cabbage and The Blinders in 2018, couldn’t feel more appropriate at the beginning of 2019. The bleak grey skies of Brexit loom over us all like some giant morose dog turd, this is the aggressive despondent release needed.

*Image courtesy of Jim Federick

You can buy the EP here: https://bandgrasshopper.bandcamp.com/album/stricken-ep

Perfect Body - Perfect Body

Hailing from Cardiff, Perfect Body are a five piece embedding themselves into the shoegaze and psyche music of late 80s and early 90s. Their new EP is released on the exciting Bubblewrap Collective and is split with fellow Cardiff musician Zac White.

Each track showcases a different vocalist. Whilst it may not hone an identity, it signifies a flexibility and a freshness to a genre often guilty of rehashing the past. ‘Getting Cold’ is so ethereal it will slip through your fingers as you inevitably try to clutch at its swirling beauty.

On ‘Getting Cold’ and ‘Fields’, there are clear nods to Slowdive and The Brian Jones Town Massacre but there is always a sense that pop music and melody can burst through at any moment. It does, but only in little bursts, teasing you into their world and then playing with you like a cat with a dead mouse.

Whereas, ‘Tribe of Mine’, has th clearest melody shining through but, they have expertly countered it with a Lou Reed-esque vocal to counter the bubble-gum pop.

You’d be forgiven for thinking this EP is a re-issue from an established act of its field. Thankfully, its not, this is the beginning of a beautiful trippy journey.

Perfect Body formed in Cardiff, early 2017, inspired by the sonic experimentation of bands like My Bloody Valentine, Stereolab, and The Brian Jonestown Massacre. Their earliest performances took place in Cardiff’s underground, often in practice spaces and house parties: So, by the time Perfect Body emerged on the music scene, they had already sculpted a distinctive sonic identity. The attention gained from their first single, ‘Getting Cold’, saw them supporting the likes of Jen Cloher, Slowcoaches, and The Wytches. Perfect Body’s sound is characterized by it’s noisy, psychedelic guitar playing; icy, ethereal synthesizers; and a muscular, yet dynamic rhythm section. Their three vocalists, each with their own style and identities, ensure that Perfect Body’s performances are varied and engaging. Perfect Body is a wall of noise, hazing over and obscuring what is, at it’s core, pop-oriented songwriting.

Order the split EP here:

https://bubblewrapcollective.co.uk/product/perfect-body-zac-white-split-ep/

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.

2018, an album by OLD TOWN SOULS on Spotify

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.

Delights - Delights

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

Bloom

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

Better Place

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

Cascade

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

Lust

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

Delights, an album by Delights on Spotify