Asylums - Catalogue Kids

Less than two years ago, Southend’s Asylums released their second album 'Alien Human Emotions'. Not a second thought was given to dwelling on that success. Last fall, they ventured to Chicago, Illinois, and begun work on album number three with the legendary Steve Albini.

The lead single from the album is 'Catalogue Kids' and, it's slotted right back into their groove. Jazz Miell has his guitar set to warped and Luke Branch's vocals are at their pop punk best.

Last time out, they tapped into the of mood younger generations. Increasingly maligned by housing policy and a jobs race to the bottom, society has continued to nose dive. So, it’s fitting Asylums have not only returned, but with more animosity than ever.

What was disillusionment, has morphed into a rage. At points, its despair, but, crucially, in the closing moments on ‘Catalogue Kids’, the it’s defiant! The colossal thrash signifies enough is enough. It's violent and venomous, it begins to paint pictures of a lost generation kicking back.

No wonder Iggy took them tour.

Key to the UK punk scenes success in the 70s was, its ability to highlight generational divides and disrupt the social status quo. In 2020, elder generations who were afforded jobs for life, secure pensions and affordable housing now sneer upon those under 35. “Work harder” or “sacrifice more” are bellowed out, ignorant to the fact that work isn’t paying, education is a con and mortgages are a fantasy for anyone below 40k a year.

Asylums are picking at this scab. Well, they rip it clean off really. This raw polemic, is delivered with the angst it deserves and, culminates with the genius twist on The Who’s ‘The Kids Are Alright’:

“the kids don't seem alright”

Maybe, just maybe, this is the cultural needle needed to prick elder generations to be more emphatic. However, what really must be, is, a clarion call to younger generations. Get angry. Get poetic. Form a band and strike out!

The Asylums play their biggest headline show at London's Moth Club this October. Get your tickets here.

*Image courtesy of Luke Branch

Beat Hotel - Beat Hotel EP

Based in Brighton and Plymouth, Beat Hotel, released their self-titled EP last Friday. Recorded at Church Road Studios in Hove, it will be released by Occultation Recordings, the home of indie legends The Wild Swans and Factory Star (The Fall/Blue Orchids founder/guitarist Martin Bramah).

All images courtesy of DC Cane

Frontman Paul Pascoe, driven by a sudden and painful end of a relationship, spoke of “facing down inner demons” whilst recording the EP. Like all hardcore music fans, Pascoe did so by delving into his record collection. Initially looking for comfort, Pascoe eventually found the inspiration that set him on his creative path 30 years ago.

'Bury It Deep' channels the distinct bass of Peter Hook and the fragile vocals of Bernard Sumner via Liverpool. The haze of Michael Head's Pale Fountains and Shack roams freely with the immediacy of Echo & The Bunnymen. Whilst Pascoe's youth is revisited here, the solo lends itself to his elder, more reflective self. It’s hauntingly withdrawn, akin to Noel Gallagher on 'Riverman ' and 'The Dying of the Light'.

The Liverpool connections continue on 'Daddy, I Drown' and 'Heat Light Fire'. The former, possesses the pop simplicity of Cast's 'Live The Dream' and the shimmering beauty of the Bunnymen's 'Lips Like Sugar'. Meanwhile, 'Heat Light Fire', takes the Bunnymen influences for a psychedelic walk with The Velvets and Jesus & The Mary Chain.

'Feel It' and 'Beat Girl', perhaps sums up Beat Hotel both now and in their former bands (The June Brides, The Loft, The Weather Prophets, Distractions, Mudlow, Mojo Fins and Lolita Storm). On 'Feel It', they've taken the dreamy rock 'n' roll of The Byrds and injected it with the raucous hiss of the Mary Chain. Like the great Mary Chain songs, behind the noise lies a great party riff.

'Beat Girl', takes The Wishing Stones 1986 cult classic on a journey through Sarah's Records. The cuteness of Aberdeen and Boyracer is brought to life on this cinematic meander downstream.

Beat Hotel may only be seen as often as a Snow Leopard but, they are no less beautiful. Anyone emotionally attached to the Children of Nuggets' era, should open their hearts to this EP.

Fred Deakin - Fred Deakin Presents The Lasters

Fred Deakin, one half of the legendary Lemon Jelly, has returned with his first solo project. Not willing to put out tried and tested Lemon Jelly-esque material, Deakin has produced ‘Fred Deakin Presents The Lasters’, a Sci-Fi concept album.

Former Ash guitarist, Charlotte Hatherley, features as the protagonist in this coming of age climate change via space thriller. Hatherley’s vocal ability to deliver a sense of the silver screen is key to its success.

The slow realisation that, her character, has the knowledge to fuel hope on ‘I Remember’ is a glorious moment of self-discovery optimism. Whereas, on ‘Goodbye Father’, she becomes defiant, a sci-fi icon in the making.

Despite Deakin’s attempts to find new creative outlets, there are moments that Lemon Jelly fans will savour. The cuteness of Hatherley’s vocals and the acoustic guitars on ‘Bringing Back to You’ recall their classic The Staunton Lick’.

Deakin’s attempts are not in vain though. On ‘Through The Veil’ and ‘The End of the World’, he finds another level. They are, at points, expert pop ballads. Sumptuous melodies and dazzling guitar craftsmanship ooze from them. It’s not just the pop classicism that lands though. Without giving spoilers away, their introduction into the narrative signifies a happy ending is nigh.

On ‘Rush’ and ‘Goodbye Father’, Deakin pays homage to Public Service Broadcasting. In particular, ‘Rush’, he finds a way to deliver the first meaningful pop song of 2020. Meanwhile, ‘Get The Message Through’ has nodes of John Martyn’s ‘Small Hours’, and no album is not better for that!

It’s been 17 years since Lemon Jelly’s ‘Lost Horizons’ was nominated for the Mercury Music Prize, surely it’s time for another nomination.

Captain Handsome - I Am Not An Animal

Lily Rae lit up 2018 when her band, Fightmilk, released their debut album ‘Not With That Attitude’. Now, she is striking out on her own under the moniker Captain Handsome. Today, she releases her debut EP ‘I’m Not An Animal’ via Reckless Yes.

Themes of both, light and dark, permeate the best work here. On ‘Annalise’, the ambition of The Decemberists ‘The Crane Wife 3’ hooks up with the raw pop prowess of Kid Harpoon’s ‘Late For The Devil’ as, Rae delivers bubble wrapped gift of beauty and melancholy.

Earlier this month, she put out ‘Halloween’ (full review here) as the lead single. The sinister strings build so much tension they should come with an anxiety warning, that is, until the release of the last chorus. What was once Rae’s deluge of sadness, becomes triumphant, an amusing footnote in a life clearly turned around.

Though ‘Halloween’ has a cathartic feel, ‘Dolly Parton’ lands you right into the mire. It’s soul crushing all-night vigil for one. Through the stunning orchestration and, Rae’s sublime Kirsty McColl-esque vocals, she explores a painstaking night home alone pondering poor choices.

On the title track, McColl’s inspiration again looms large. However, she goes much further and heightens her sense of fragility. So much so that, it allows both beauty and danger to circulate like angels and demons. Although the song builds like an epic Embrace single, its awkwardness, lends itself to the introverted brilliance of Frank Black and Graham Coxon.

This is, with perhaps the exception of ‘I Wish I Had a Dog’, a masterful EP. Whist we all break at times, Captain Handsome show how to plummet and, then recover!

King Kartel – Be Mine

King Kartel have announced the release of their brand new single ‘Be Mine’, out 7th February.

The Manchester via Ireland outfit have always been the soundtrack of great house parties. Former single ‘Gunslinger’ brought the playful menace of the Little Man Tate’s classic ‘House Party At Boothy’s’.

On ‘Be Mine’, they’ve returned with a sound no one saw coming.  With the soul of Plan B’s ‘The Defamation of Strickland Banks’, they walk a tightrope of soul and do-wop with real poise.

There is so much style oozing from this record that, it could easily be put into a Scorsese film.

Any radio station not playing this, should hang their heads in shame!

LIVE DATES:

6th March - Club Academy, Manchester

The Institutes – Alleyways

Coventry, so rich in its alternative music history, looks set to be offering up another gem of a band in The Institutes. The four-piece, have just completed a mini-tour, playing for Kick Out The Jams and This Feeling releases their new single 'Alleyways' this Friday. (image courtesy of Melli Foris).

They had been raising eyebrows in 2019 with their dream rock 'n' roll, on 'Alleyways', they look set to offer seismic change. Paying lip service to their heroes has diminished and, in its wake, is a colossal romantic adventure.

They've taken the spirit and lyrical imagery of 'Sally Cinnamon' and the melancholic ache of Oasis' 'Listen Up' and made it sound fresh. The only rehash here is, ordinary people swinging for the stars.

Anyone who longs for bands to reach the dizzy heights of Spike Island, Knebworth, and Heaton Park, look no further. The solos are sumptuous universal appealing pieces of escapism begging for memories to made.

Idealistics - The Rain In Our Eyes

Cambridge's Idealistics are back with a new EP. The three piece released 'The Rain In Our Eyes' recently and, have rightly been garner interest from Lammo and John Kennedy.

Images courtesy of Vanadian Avenue

It's hard to talk about the trio without mentioning singer and bassist Alexandra Hirsz. Having been diagnosed with a rare form of EDS, she is having to be fed via a tube that runs into her heart. So, the fact that she can record and perform live, to such high standards, is a a remarkable feat of human spirit.

However, this EP, is not something to pity. This is a shot at rock music glory and, at points, it succeeds. Arguably, it's only 'Timeless Goodbye's' where the EP falls short.

'Scandalous' takes Oasis' Kinks inspired 'Importance of Being Idle' guitars in the verses and then, switches through the gears to the Manics' 'Dylan & Caitlin'. It's no surprise Hirsz has joined the Manics to duet on 'Little Baby Nothing' in the past on this showing.

It's on 'Scandalous' and 'My Rules' where the Idealistics excel. The former, combines the aloof sexiness of Chris Stein's (Blondie) guitars and the undeniable prowess of Stevie Knicks. Then, on 'My Rules', via Hirsz' vocals, they transcend music.

The haunting pianos immediately warrant attention. Something special is happening here! Then, in five minutes of lyrical and vocal glory, Hirsz makes the world bow down to her sheer brilliance. By just stepping into a studio, she is defying what most of us would believe to be possible. To then poetically lead us mortals, into a head-space of not pigeon holing people with disabilities, especially in the arts (or anywhere), is as brilliant a social comment you will hear all year.

Couple this with, Hirsz' ability to channel the life affirming power of Patti Smith, you will be physically shaken.

‘The Rain In Our Eyes’ is available on Spotify.

Champion of Youth - Champion of Youth

In recent times, the indie-pop scene, has been dominated by Darren Hayman, Wave Pictures and Field Music. Often awkward, but always rewarding. Champion of Youth, have taken their baton, often spliced in the work of the legendary Pete Astor, and attempted to push the scene forwards.

Vocally, John Ammirati the has the hall marks of said Astor on ‘Admit It’ and ‘Restraint’. The former, is a solid indie number. That is, until Andrew Beswick delivers a solo with the cuteness of Alvvays and the charm of Coxon’s ‘Bittersweet Bundle Of Misery’.

On ‘Restraint’, the joyous Ray Davies-esque vocals of Astor’s ‘Spilk Milk’ combine with the effortless rumble of Allo Darlin‘ on this instant alt-pop classic.

Their quest innovation continues on ‘Every Tongue’ and ‘Last Day In The Sun’. ‘Every Tongue’, has the abrasiveness of The Wolfhounds at their best. The angular free flowing riffs of classics ‘Anti-Midas Touch’ or ‘Me’ are slowed to an almost funk meets Lou Reed drawl. There are, injections of pace, and Thousand Yard Stare points of aggression but, it never lets you settle.

On ‘Last Day In The Sun’, their quest to forge new paths peaks in a moment of joyous pop music. They inject the coolness of the Velvets with askew indie genius of Standard Fare.

Champion of Youth, on this EP, have given new life to an already creative genre. Slots at Indietracks and the Cambridge Indiepop alldayer beckon.

Nadia Sheikh - Get Away

Click to buy the single

Nadia Sheikh, the Spanish born, London based singer-songwriter is back with her new single ‘Get Away’. Produced by Stereophonics drummer Jamie Morrison, she is about to tour with the Welsh legends.

‘Get Away’ signals the start of something far bigger for Sheikh. Big resounding riffs and colossal drums pound alongside her PJ Harvey meets Kate Nash vocals. All the danger of ‘Flip The Coin’ the mystique of ‘Going Down’ are joining forces.

Although sonically uplifting, The Courteeners meets Foals guitars lead the mind to darker places. In the closes stages, Sheikh’s angelic vocals descend into madness; desperate to escape a world of nightmares.

This is a real leap forwards for Sheikh.

Sheikh’s support slots with Stereophonics are:

24/1 - Palacio Vistalegre, Madrid - Spain

25/1 – Razzmatazz, Barcelona - Spain

28/1 – Olympia, Paris - France

29/1 – Olympia, Paris - France

31/1 – Batschkapp, Frankfurt - Germany

1/2 - AFAS Live, Amsterdam - Netherlands

2/2 - Huxley Neue Welt, Berlin - Germany

4/2 - Carlswerk Victoria, Cologne - Germany

5/2 – TonHalle, Munich - Germany

6/2 – Volkshaus, Zurich - Switzerland

8/2 - Lorenzini District, Milan - Italy

9/2 - Les Docks, Lausanne, Switzerland

11/2 - Rockhal Box, Esch Sur Alzette - Luxembourg

12/2 – Docks, Hamburg – Germany

Ani Glass - Mirores

Following in the footsteps of her former Pipettes colleague Gwenno, Ani Glass is too stepping out into Welsh language via electronic pop music. Her latest single, ‘Mirores’, was released on the 17th January via Recordiau Neb Glass.

With the sexiness of Moloko and the dark bass of Tensake circa ‘Around The House’, Ani Glass is walking a beguiling line you daren’t take your eyes of.

Vocally, she flits between the dangerous and sexy tones of Laura Marling in the verses to heavenly escapism of Kate Bush and pop majesty of King Princess.

Glass’ weird and wonderful vision is one to watch in 2020.

Ani Glass 2020 tour dates:

6th March - Clwb Ifor Bach, Cardiff

7th March - Railway Station, Caernarfon

10th March - The Social, London TBC

13th March - In-store at Spillers, Cardiff

14th March - Tŷ Pawb, Wrexham 

21st March - In-store at Tangled Parrot, Carmarthen 

MOSES – Who Needs The Money?

In 2018, London’s MOSES burst onto stages, desperate and frantic to show you their energy with ‘Cause You Got Me’ and ‘River Thames’. Then, in 2019, the antidote to their joyous rage came. The raucousness faded into an overspill of love.

The last outing though, ‘Who Needs L’, began the tying of all things together. The warmth of the lyrics, the mayhem of the 2018 guitars united in their most challenging song to date.

Here though, the deranged guitars are kept on a leash; threatening to break free but never do. Instead, a different beast is freed. The boisterous solo is like a rabid animal destroying all that stands in its wake. This is the sound of the mainstream being told to fuck off.

This is MOSES’ time!

*Artwork courtesy of Ana Ban Ana

The K’s: Nambucca, London

After supporting the The Rifles last October, The K’s, from Earlestown, put the UK on red alert. Last Saturday, they headlined This Feeling’s ‘Big in 2020’ at London’s Nambucca.

Their Roundhouse support slot, was eyebrow raising. Their Nambucca slot however, this was biblical. More aggression and venom found its way into their Northern escapism meets The Jam sound.

Frontman James Boyle furiously attacked his lyrics with real menace, an approach he should seldom stray from in future. This was the real deal. His naturally far reaching and angelic vocals, came with a nasty streak and elevated him to icon in the making status.

In a perfectly scripted twist of fate, Carl Barat, the guitarist of a generation was in the crowd. Such was the brilliance of Ryan Breslin’s lead guitars, it felt as though the baton was being handed over.

With a sold out gig in Manchester the 25th of this month on the slate, it rapidly becoming clear that we won’t get to see them in intimate venues for much longer.

*Image courtesy of Ricky Atterby.

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.

Fast Blood - Milo

Newcastle-Upon-Tyne’s Fast Blood are back with ‘Milo’, the second single from their debut EP (released 28th Feb).

Their previous single ‘You’, was full of Kerouac’s desperate romance and was gloriously euphoric. On ‘Milo’, these adventures have been replaced anxiety and nihilism. Hello darkness my old friend!

So often, music offers up happy lyrics to a sad song and vice versa. However, ‘Milo’ reminds us all, if your struggling, vent, vent and vent some more! The fractious stop start guitars are the perfect partner to Abigail Barlow’s desolate lyrics. Despite the rage, and the agony of the line “sad excuse of a useless heart”, her vocals are never without hope. It’s this, more than anything, that keeps you coming back to their anthemic despair.

The lo-fi guitars bring Idlewild’s work on ‘100 Broken Windows’ and classic Pixies to the fore. Splice in Barlow’s North East accent and a uniquely dynamic alt-pop niche materialising.

*Image courtesy of www.stevenlandlesphotography.com

Nada Surf – So much Love

Who among us hasn’t felt lost in recent years. Politically, culturally, financially, austerity, and the politics of hate have dominated. Just when political hope exited stage left, Nada Surf entered stage right!

Their new single ‘So Much Love’, taken from their ninth studio album ‘Never Not Together’, is the spark progressive minds need. The spritely guitars of LA’s are given the free spirit of British Sea Power’s ‘Bad Bohemian’ on this instant pop classic.

With tolerance and acceptance oozing from every note, the fractured times we live will disappear immediately. To find a melody this infectious nine albums in is astonishing. What other band has found a single this great this late on in their career?

*image courtesy of Annie Dressner

The Crooks - She Walks Alone

Chesterfield five piece, The Crooks, are a fledgling band in name only! They continually reach for the stars and, on previous single ‘Nevermind’, begun to nestle in alongside them..

*All images supplied by the band.

With Noel Gallagher’s early day dreaming euphoria in their hearts, they are song writing for headline slots. Noting has changed on their new single ‘She Walks Alone’, released on Friday 17th January.  

Barely two months since ‘Nevermind’, the progress is astonishing. Frontman Jacko, has innate ability to sing Noel’s Oasis songs as if her were Liam. That extra aggression, apace with emotive key changes breeds new life into the sound.   

The intricate influence of The Verve has added a depth to their sound. The opening Nick McCabe licks will put your excitement levels on red alert. Then, Mods’ solo strikes. The heady days of Steve Craddock’s OCS brilliance align with the shimmering genius of McCabe, it’s truly sublime!

Lyrically, they have elevated themselves too. The tormented soul who “walks alone in her mind” paints a tragic picture. Not to be downhearted, The Crooks’ infectious spirit comes to the rescue. With an encouraging arm around the shoulder, they lead their protagonist back to the promised land.

For so many, hope diminished last December. Some were even left crossing boxes in tears of shame. This song may well become a rock ‘n’ roll parable for the disaffected. Embracing the bad times, it paints a blueprint back to the good times.

Captain Handsome - Halloween

Captain Handsome is the eagerly anticipated side project of Fightmilk singer Lily Rae. Her latest single ‘Halloween’ is out today on all digital platforms and, will be followed by the physical release of the EP ‘I Am Not An Animal’ on 31st January via Reckless Yes.

From the opening strums of the guitar, you just know something brutally honest is coming. Rae, speaking about the track said “Halloween’ is part ode to Goth Christmas (the best day of the year) and part hardcore whinge about parties going wrong. If you've ever ended up as somebody else's funny story, I hope you manage to exorcise it and move on rather than putting horror strings into a three-minute lo-fi mope.”

Is it wrong to disagree? The sense of a soul crushed on the line “I had a bad time on the bathroom floor” at a party is something to rejoice in. If it’s never been you, you’re simply not living life romantically or dangerously enough.

The sinister strings build so much tension they should come with an anxiety warning, that is, until the release of the last chorus. What was once Rae’s deluge of sadness, becomes triumphant, an amusing footnote in a life clearly turned around to great success.

The tragic is magic. Let it in!

Reckless Yes currently have membership for the year open - included is all their releases this year, plus a load of other benefits and the knowledge you're supporting independent artists. The Captain Handsome EP is available to all members now and there's even an option to join Last Night From Glasgow at the same time and get all their releases too. More here - http://recklessyes.bigcartel.com

Twisted Wheel - Black & Blue

Manchester’s Twisted Wheel are back with their new single ‘Black & Blue’. The four piece release their third album 'Satisfying The Ritual’ (20 March 2020).

With mental health continuing to be a huge issue in the UK and, Christmas being a time of heightened anxiety for so many, Twisted Wheel’s heartfelt rock n roll could should open hearts and minds.

Lyrically, it’s their best work to date. There is no grand rock ‘n’ roll gestures here. The everyday reference points get to tragic nature of this illness. The portrayal of self-destruction, in a manner which creeps up on people gradually, is both commendable and harrowing.

When rocks bombast and life’s harsh realities combine, the expectation is a watered down ballad. Whilst Twisted Wheel have injected Soundtrack of Our Lives’ ability to be sorrowful, they have maintained their dangerous sound.

The single is available to buy here.

Gill Landry - I Love You Too

Two-time Grammy award winning singer-songwriter and multi-instrumentalist GILL LANDRY returns with his new single, ‘I Love You Too’. The track is taken from Landry’s upcoming fifth solo studio album Skeleton At The Banquet and is accompanied by a stunning new video.

Originally from Louisiana, Landry released 4 critically acclaimed solo albums with guests such as Laura Marling, Brandi Carlile, and Klara Söderberg (First Aid Kit). Having recorded and toured with, the best, the quality of this single comes as no surprise.

Packed full of drama like the great Nick Cave singles (which is all of them), Landry tells the tale of a man who has lost a grip on his identity. The slide guitar and Landry’s deep languid drawl paint a vast and lonely canvass.

The success of Peaky Blinders and it’s use of music has meant that, it has kind of become a genre in its own right. So much so, it’s impossible not to picture Tommy Shelby in a moment of inebriation recalling his love and pain for Grace Burgess.

‘I Love You Too’ is out now. Skeleton At The Banquet will be released 24 January 2020 via Loose on LP, CD and digitally. Pre-order the album here.

*Image courtesy of Alex Page