Daniel Land – White Chalk

“All love is cast away”

London based artist Daniel Land returned the fateful 31st January to release ‘White Chalk’, the lead single of his upcoming new album. Written with rhythm guitarist, Gary Bruce, it’s available on his Bandcamp page now.

Land is in a spell of creativity at present, having to release his masterpiece ‘The Dream of the Red Sails’ (full review here) and the EP ‘A Certain Kind of Light’ in 2019. This offering has picked up that slipstream of beauty on this Brexit inspired single.

Sombre and reflective, land talks of “selling England” and the “winter that is coming over island”. Whilst this may appear antagonistic, in reality, it’s a heartfelt indictment of how many remain voters felt on 31st January. Land expertly delivers the sense of loss many felt. Not of an economic union, few understood but, a death of love and kindness.

Despite the sorrow, Land’s dream-pop guitars, flicker gently, hopeful, and alas, on the horizon, like European shores. Land has set the bar high for his new album, an exciting prospect awaits.  

Backinhumanform - Backinhumanform

Backinhumanform is the creative machinations of West Ireland’s Joe Clarke. Based in London, he released his self-titled debut album in late 2019. The album is available on Clarke’s Bandcamp page.

Throughout, Clarke imparts a striking amount of melody and elite level orchestration for a DIY project. ‘Slippin’ Away’ floats along like a lost Beach Boys classic. Meanwhile, ‘On The Road’ is a shoo-in for poignant Peaky Blinders scenes in the next series. Confrontational and built upon 60s pastiche, it builds upon the early work of Brian Jonestown Massacre and the sun-drenched psyche of Cosmic Rough Riders and The Beta Band.

Steve Mason’s influence looms large and often on this record. Vocally and atmospherically, Clarke is able to summon the majesty of the Edinburgh legend.

It is though, on ‘Half Light’ and ‘Ships’ where Clarke threatens to eclipse Mason. The former, with the nuggets of the Cocteau Twins and The Engineers shimmers like a crisp moonlit sky. IT drifts into a state of bliss where images of Robert Plant performing at a pagan festival are easy to conjure.

On ‘Ships’, the trippy bombast of Mason’s Beta Band is called to action. Direct and expansive, it creates a dystopian realm you must enter, no matter the risk.

This is a fine debut, one that deserves to propel Clarke onto bigger stages at Green Man and End of the Road style festivals.

Noel Gallagher – Blue Moon Rising

The notable quotable returned on the 30th January with his latest single ‘Blue Moon Rising’. Released on his own imprint ‘Sour mash Records’, it’s the second single from his upcoming EP of the same name (6th March release).

It’s been an interesting if not always exhilarating journey on these EPs. Forever searching for innovation, his ability to fins a great melody, blindfolded, in the abyss, had been left behind. Here though, he has found a way of marrying the two without reverting to type.

The low synth, almost techno intro combines with a gentle vocal Noel, subtly, he begins to unfurl a world where something is not quite right. As he decrees “shall we just run away”, the anticipation of what he might do with his skill for escapism fervently grows.

Then it comes, like an understated version of Johnny Marr’s ‘Armatopia’. The disco, soul, and acid house influences he often refers to are finally emerging. Although just loitering, they are slowly leading the lord saviour of 1990s back to the promise land once more.

The Novus - Frosty

Hailing from Stourbridge and Birmingham, The Novus, kings of the DIY scene, returned recently with their new single ‘Frosty’.

After one satanic guitar lick, it’s easy to see why they headlined This Feeling’s Big In 2020 shows in Birmingham and London recently. On the live circuit, frontman Conor Hill, has carried the band to these feats. He is an absolute psychedelic force of nature.

However, from last September’s ‘PMF’ to this new offering, the band now stand alongside him, equally as majestic. They’ve combined the Sabbath combines with the brooding mystique of BRMC and Brian Jonestown Massacre on this face melter.

Pulsating throughout are riffs, from the ‘Voodoo Chile’ playbook but, re-imagined by the fury of The Blinders for modern day Britain.

Stourbirdge, forever associated with its late 80s and early 90s scene, has pastures new to explore now!

Ash – Darkest Hour of the Night

Today marks the release of the Ash’s new single ‘Darkest Hour of the Night’. It’s taken from their upcoming compilation ‘Teenage Wildlife’, a compilation spanning their 25-year career.

Described by head honcho Tim Wheeler “a ray of light to pierce the darkest night of the soul – a redemptive anthem for a new decade,” it is their funkiest single to date. Lyrically, it’s a helping hand of the canvas. Get up and dance, everything will be OK permeates throughout.

It’s in the vain of Blossoms’ pop masterclass ‘Your Girlfriend’, it will stomp its way into your heart like their Phil Spector inspired classic ‘Candy’. Resplendent with handclaps, horns from Rubblebucket and sumptuous backing vocals, it’s clear Ash are still masters of the alt-pop single.

Roll on Valentine’s Day and the release of a truly remarkable back catalogue.

Thousand Yard Stare - Schism Algorithm

Slough’s unsung heroes TYS are back today with the second single from their upcoming album. ‘Schism Algorithm’, recorded at Raffer Studios with Callum Rafferty, is released via Stifled Aardvark Records.

The previous single ‘It Sparks’, ignited their bespoke flames of psychedelia and punk for the modern world. On ‘Schism Algorithm’, they explore the destruction left after the battles they thought on ‘It Sparks’.

Written by frontman Stephen Barnes and led guitarist Giles Duffy, it is very much a collaboration of sonic meets poetry. Barnes explores the post-truth world we find ourselves in with a laser-like focus.  

Through Duffy’s guitars, their classic ‘Comeuppance’ has been developed for the digital age. Every lick reflects the potency of the online world. The undeniable groove lures you in but, just like Twitter, Instagram, or Facebook, your only ever one step away from venomous bile. Duffy’s guitars, at times, offer hope but, there is a sense of dread and trepidation overarching everything.

This is a fine attempt to marry up rock ‘n’ roll with the new world we live in. TYS new album is shaping up to be one of the most intriguing of 2020.

Nada Surf - Never Not Together

Alt-Rock legends Nada Surf are back with their 9th studio album 'Never Not Together' via City Slang Records. Their last two albums, although solid, have failed to spark what was, once, a truly exciting band. Can they rediscover the magic?

After touring their classic album 'Let Go' for its 15th anniversary, chief songwriter Matthew Caws spoke of its influence:

"I think [the Let Go tour] really boosted my work ethic and made me feel like I really had to go for it." 

Recording at the legendary Rockfield Studios, they have, at times, ignited that flame of brilliance. Former singles ‘So Much Love’ and ‘Something I Should Do’ tapped into the magic of ‘Let Go’ and, pushed the envelope further still. The former surpasses the melody and affection of the classic ‘Inside of Love’. Honestly, who pulls out their best ever single on album number 9? Nada fucking Surf, that’s who!

This week, we saw Nancy Pelosi rip up Trump’s State of the Union. As poignant as it was, it remains entrenched in petty dialectical arguing, it won’t win! The lyrics to ‘Something I Should Do’ however, move past this and show the way forwards:

“And some people can't be beat in an argument
We have to hold to that hippie point harder
Empathy is good lack of empathy is bad
Holy math says we are never not together”

‘Come Get Me’, falls into single selection material too. Caw’s gorgeous vocals, go into Wayne Coyne and Neil Young mode on this Teenage Fanclub meets Lemonheads meander downstream. Young’s influence shines through in the lyrics. As Caws decrees “I’m getting tired / forgetting how to love/forgetting how to dance”, although different in subject matter, the protagonist pushed too far on ‘Down By The River’ comes to the fore.

In recent years, when the unexpected drops from Nada Surf’s work, the criticism has grown. ‘Live Learn & Forget’ and ‘Mathilda’ fall into this territory. However, Caws has found extraordinary serotonin levels on this album. It’s enough to carry these songs past said judgment.

Between Caws and Doug Gillard, long time collaborator, they provide two stunning solos. ‘Crowded Star’, gently shimmers like Neil Young’s ‘Winterlong’ before floating into the ether as if Grandaddy were playing Noel Gallagher songs.  

Alternatively, ‘Looking For You’, is the album’s moment of true bombast! Slowly building in a state of daydream, until the stirring guitars and orchestration.  Suddenly, everything is possible. The world can change, you can get the girl/boy, the status quo seems movable! A beautiful reminder that one song can still change the world.

While there are moments when 'Never Not Together' dips, it’s never that far. In their own distinct way, they have re-imagined the New Order lyrics “it’s called love and somehow it’s become unmentionable” for 2020. It’s ok to be lost, things will get better Nada Surf around.

*Image courtesy of Annie Dressner

HMS Morris - Babanod

Cardiff’s HMS Morris return on February 7th with their new single ‘Babanod’ (Welsh for babies). It will be released via Bubblewrap Collective for Dydd Miwisg Cymru (Welsh Music Day).

Thematically, it centres around the awkward moment when, your married friends deem themselves superior, purely because you're single. The use of electronic production is exquisite. Alongside Heledd Watkins poignant welsh language vocals, they create the unease and tension felt by the protagonist.

Artwork by Mari Elin

Although sonically worlds apart to The Kinks, such is the detail on every note, it's hard not to recall the brilliance of the minutiae on their ‘The Village Green Preservation Society’ album. The detail on every guitar lick allows that gnawing sense of social unease to grow exponentially.

Then, comes the mesmerising solo. Is our protagonist coming defiant or, is the crushing drunken spiral out of control in full flow?

‘Babanod’ is available to buy here on the 7th Feb.

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