Stanleys - Measured In Gold

Wigan’s Stanleys release their second single ‘Measures in Gold’ on the 18th March. The success of ‘A Better Life’ (full review here) brought them a huge support slot with fellow Wigan outfit The Lathums. How far can this single take them?

‘Measured In Gold’ is both a damming indictment of the times and, crucially, an aspirational tale of the future. Lyrically, they attack the continued big business choice of greed over people. The sense of struggle most of us feel is palpable, yet, through the lush harmonies and shimmering guitars, hope for change remains strong.

Musically, they continue to melt hearts and enlighten souls. They have freeing depth to their playing, similar to the recent Edwyn Collins records but more vital.

Bands who profess ‘love is all you need’ are ten a penny these days. Few can back up the sentiment with a decent melody. Stanleys can. There is cinematic quality to their gritty indie anthems that is simply undeniable.

Despite the message, ‘Measured In Gold’ is, above all else, a melodic runaway train. The poet vs the philosopher has been an artistic debate as old as time. Who carries more weight? The answers, for music, are subjective (mostly). What Stanleys have proven on ‘Martyr’, ‘A Better Life’ and now ‘Measured In Gold’, is, there is a third way. A straddling of the two camps can be found. Food for thought for anyone seeking political change.

Bugeye – Don’t Stop

For a few years now, Bugeye have been lighting up the underground with their brand of disco punk. Now signed to Reckless Yes, the debut album is finally coming. First up though is, lead single ‘Don’t Stop’, out now. .

Evidently, they have not felt one ounce of pressure signing to a label and recording the debut album. ‘Don’t Stop’ has retained everything that makes them great live. The sexiness and danger of the Pixies and Blondie remains strong.

This isn’t the status quo though, working with Paul Tipler has paid dividends. Not only is it the perfect fit, Tipler having recorded with Elastica and Idlewild. The disco production alongside their stomping punk will make them major players sooner rather than later.

Like all great pop singles, there is something dark lurking behind the music you’re dancing and singing to. ‘Don’t Stop’ examines alcohol abuse, through the prism of regret and hopefully woeful promises to change. It’s an awkward listen for anyone unwilling to dissect alcohol’s influence and for that, it should be truly lauded.

On this showing, the debut album cannot come soon enough.

MOSES – Basically

At the end of February, MOSES stepped out of the studio with Gavin Monaghan once more. The results:

Art work by Ana Ban Ana. The 8th collaboration between the two.

Guitar hooks.

Bass hooks.

Vocal hooks.

This is alt-pop music. Except, it isn’t! BBC6 has become too middle aged and Radio X, well, outside of the Gordon Smart and John Kennedy, we have no idea what they’re attempting. They need shaking by the young working classes.

MOSES, for 2 years have sought to bring people together with songs of solidarity and love. For the first time lyrically, they strike out. Taking aim at society’s trolls, they place the target firmly on themselves and, for the want of better words shout:

“come and have a go if you think your hard enough”.

MOSES have hit upon their greatest bass line to date. Funky punk grooves pave the way for frontman, Victor, to sprinkle his unique vocal magic over.

The la la la’s and the yeah yeah yeah’s are begging to howled back at the band on their upcoming headline shows at Lending Room March 28th (Leeds) and ULU April 11th (London).

*Image courtesy of Mike Rădulescu

Fightmilk – I’m Starting to Think You Don’t Even Want To Go Space

British pop-punk has undergone a renaissance of late with Asylums. Their intergalactic psyche meets Ash has taken it too much needed new places. Now, Fightmilk have come back and expanded its horizons further.

Their latest single, ‘I’m Starting to Think You Don’t Even Want To Go To Space’, is released on Reckless Yes 20th March.

Singer, guitarist, and icon in the making, Lily Rae spoke of this single recently:

“I was inspired to write this song by watching someone who keeps loudly proclaiming they're going to save humanity and change the world constantly make excuses for why they haven't got round to it. It's largely about emotional labour and rockets and I'm dead proud of it.”

Even with this in mind, in 2020, this will soundtrack forlorn lovers and young unrequited love sufferers alike. The glorious combination of pop, punk, and dream pop will, however, take you to other places. Namely, hairbrush, bedroom, and arms aloft.

It is the kind of record that UK seemingly forgot how to make and one, that it so badly needs across its airwaves. Infectious vocals, the storming of the gates guitars, and lyrical wit and charm. The nuggets of Cure’s shimmering guitars are, well, a bonus of huge magnitude.

You will be hard-pressed to hear a more complete single all year.

Eilis Frawley - Never Too Emotional

Berlin based percussionist Eilis Frawley (Party Fears & I Drew Blank) recently released her debut EP ‘Never Too Emotional’ via Reckless Yes Records.

Bold and distinct, 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 hot topics of our time.

On ‘illusions’ 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”

Meanwhile, on ‘intellectual men’, her feminist outlook shines bright. The minute-long intro is a warped and deranged array of synths and emphatic drums. Seemingly the rage boiling within before, Frawley calms herself to deliver a beautifully sarcastic attack on the so called enlightened men.

‘leave the house’, is not for the faint hearted. Frawley deals with mental health and feelings of isolation. As a friend offers advice without any sense of understanding, the anxiousness and loneliness of the protagonist grows more intense.

‘strangers’, no less awkward and innovative with its percussion, offers up the EP’s moment of true beauty. The beauty of the synths, at times, is worthy of rave gods Orbital. This tale of a romance fading is delivered with a truly unique musical outlook.

As is, most of the EP. Frawley is jarring and difficult and that, that is why she is so brilliant and rewarding.

The British IBM - Play The Game

Cambridge band, The British IBM, released their new album ‘Play The Game’ last month. Recorded at Sickroom Studios with Owen Turner (Magoo), they have deliberately locked away the acoustic guitars and attempted their ‘Monster’ album. Will it succeed?

In adopting this approach, the considered and atmospheric sonics of their last album, ‘Psychopaths Dream in Black and White’, have dissipated on the whole. On ‘I Don’t Miss The 80s’ and ‘Get Away’, those changes can be heard significantly. Both gentle affairs, akin to the criminally underrated solo work of Mark Morriss (The Bluetones). The former, adopting American slide guitars to accompany frontman Adrian Killens hushed vocals. Meanwhile, ‘Get Away’, beefs up the acoustic sounds which, allows Killens to stray between Morriss’ angelic side and the snarl of Gaz Coombes.

Killens guitar playing, at several points, creates images of the rock ‘n’ roll wanderer, a loner amid the chaos. ‘Free The Mind’ and ‘Weekend God’ both tap into Noel Gallagher’s sublime ‘Dying of the Light’ and ‘The Right Stuff’. They threaten to excite but, ultimately, they are solemn tales of being the outsider. As such, Killens allows an aching beauty to isolate himself like Noel or Gene’s Martin Rossiter.

When attempting an electric guitar album, there has to be moments of bombast, right? ‘Darkness Follows’ is that statement of intent. Brooding intensity and, an almost spiteful rhetoric gets in your face. The ‘yeah yeah yeahs’ are resounding and destined to soundtrack a huge medieval battle scene. It is though, on the lyrics where it truly shines. A pro-humanist stance is taken and, delivers exhilarating results.

“How can you believe in something / That doesn’t live or breathe / If you want to believe in something / Why don’t you believe in me”

Whether they continue with these styles remains to be seen. What this album shows though, is they are a force to be reckoned with when they plug in.

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Rats - Dreams

Liverpool’s Rats, a rapidly growing success story on the live circuit. From headlining This Feeling’s 13th birthday last October and selling out a massive hometown date at Invisible Wind Factory last month, they’re becoming an unstoppable force.

At the end of Feb, they returned with their latest single ‘Dreams’. Sonically, their most gentle number to date but, no less impacting. Visions of academy venues, arm in arm, at the end of night sing this loud and proud are well within reason.

Joe Maddock’s vocals have hit an adorable vein of form here. Although delicate and seemingly floating away aimlessly, they contain a working class warmth and, an endearing humbleness.

Their previous singles, have demonstrated devilment, protest, and righteous polemic. Now, Rats are striking way beyond that. Offering up a potential sound of the summer, alongside fragile characters is elite level juxtaposition.

They are not to be missed at This Feeling’s Re-Wired festival this April.

*Image courtesy of Chris Driver

San Pedro Collective – Where Do I Begin?

This collective, wait, this super group are made up of Rikki Turner ex Paris Angels, Suddi Raval ex Together, founder of the Manchester acid rave scene & Simon Wolstencroft ex-drummer of The Fall.

After their formidable debut EP ‘The Demon Sessions’ last summer, they have returned with their new single, ‘Where Do I Begin?’ On Blindside Records.

With their heart and souls forged in Manchester, this modern take on the acid house sound should come as no surprise. An infectious building piece of soul meets a climaxing house style.

Lyrically, it examines the inner torment of dealing with a toxic relationship. If all break ups and heart ache sounded this good, we’d all be getting dumped. Guest vocalist Sarah Bouchier, lends a crisp vocal that sublimely traverses from soul to euphoria.

After a stunning set at last year’s Shiiine On Weekender, keep your eyes peeled for future dates.

Theatre Royal - A Marvellous Death

Last summer, we published out top 5 Theatre Royal singles (full review here). Comfortably the hardest article we have ever written. Take nothing away from their albums, their 3rd made out top 30 of the last decade but, they churn out pop magic every time.

As if to mock our choices, they release another impossibly great pop single on 28th February via Vacilando 68 Recordings. It’s no wonder Louder Than War said:

“why the fuck are they not really famous?”

Why not indeed. This is a tale of an old man rejecting the inevitability of life. It’s his life, and he chooses to leave it young at heart!

Melancholic in subject, utterly triumphant in delivery. It’s one last attempt at scoring the winner, one last bet of all in and one last chance of your name up in lights. Death or glory becomes just another story!

The Medway boys have done it again. Be sure to catch them on their live dates this spring/summer.

Live dates:

Saturday 14th March - The Billabong Club, Rochester

Saturday 2nd May - Maidstone Fringe Festival

Saturday 25th July - Faversham Beer Festival

The Rotanas – Scores on the Doors

Formed back in May 2017, Cardiff’s The Rotanas have been steadily growing on the underground circuit. Feb 28th, they return with their new single ‘Scores On The Doors’, released via Distrokid. Will this be their breakthrough single?

The past few years have belonged to the UK punk scene. Rightly so, there has been a plethora of angst ridden talent. However, if there was anything to learn from Labour’s crushing defeat, howling rage against the status quo alone, is not enough.

Whilst this single is not the answer, it offers a bridge to from punk to something more universally appealing. There is enough spite in Harry Watton’s vocals to lure the fans of Fontaines and, enough psyche on the guitars to tempt the disciples of The Blinders and IDLES.

Sonically, this is a rock ‘n roll wet dream. One where Twisted Wheel and Shed Seven have united. Who better than them, to deliver a tale of carefree abandon vs going home early?

They have been defining themselves as Gritpop, it might just be the framework of angst and escapism Britain needs!

Yuka Tree

Yuka Tree are five-piece punk/rock ‘n’ roll outfit consisting of Kieran Breese (vocals & guitar) Louis McLoughlin (guitar), Jacob Shotton (guitar), Joe Royle (bass) and Ollie Barron (drums).

In January, they released their debut single ‘Preacher’ via Manchester’s 42 Records.  Recorded with Jack Howorth (Fat White Family), it’s their first step into the burgeoning punk scene.

Maybe it’s the that they’re from 5 different cities that, they have more universal appeal than many of the current punk crop. It certainly lends themselves to the Fontaines DC end of the pool than the vitriol of IDLES.

Although not free flowing like early Oasis, the punk-cum-psychedelic hiss of ‘Bring It On Down’ or ‘Cigarettes and Alcohol’ lurks in the shadows. The stop start nature lends itself to many classic Fall records as well as, the coming of age rebellion of LIFE.

Sure fire ones to watch!

Pia Fraus - Empty Parks

At the end of January, Estonia’s Pia Fraus released ‘Empty Parks’. Formed at art school in 1998, this is their 5th studio release. Produced and mixed by John McEntire (Stereolab, Broken Social Scene, Teenage Fanclub) at Soma Electronic Music Studios in Nevada City.

Vocalist Eve Komp, speaking about the record said:

"Although the process of making this album wasn't been the easiest, I associate this album relates mostly with the feeling of happiness and positivism. The awareness of being able to be hopeful and make jokes about life even if everything seems to going downhill,"

In a similar vein to Ride’s comeback album ‘Weather Diaries’, Pia Fraus has put a positive intent back into their craft. It’s no surprise then, to hear ‘Hidden Parks’ and ‘Nice and Clever’ delivering the luscious ‘Lannoy Point’ and the atmospheric beauty of ‘Integration Tape’ and ‘Impermanence’.

Their sense of hope comes in various forms across the album. ‘Sweet Sunday Snow’ and ‘Late Summer Night’ have a more obvious appeal. Delicate guitar licks and hazy production gently build escapist climates. Meanwhile, ‘Paper Flower Projects’ is direct and ebullient like Arcade Fire’s ‘The Suburbs’.

However, ‘The New Water’ challenges you and thus, is far more rewarding. It dangles a great pop melody for the listener to clutch on to. Then, in a moment of shoegaze mastery, evaporates it, leaving you empty-handed. It acts, almost as a life lesson. Cherish the good times, for soon they may be gone.

At many points, the loved up fuzz of Pains Of Being Pure Heart and the mind-expanding worlds of MBV. ‘Slow Boat Fades’ is a gorgeous float downstream. It’s begging for Guy Garvey to lend his vocals too. Then, there is ‘You’re Not in Love’, the album’s standout moment. Scintillating and sexy from the get-go. An exuberant explosion of technicolour, enticing all and sundry to stand shoulder to shoulder against all of this planet’s ills.

From a UK perspective, it’s time for Pia Fraus to enter the festival scene. Who can honestly say that Latitude, Festival No.6, All Points East, End of the Road, or Green Man wouldn’t be lit up by their shoegaze dreams?

*image courtesy of Joosep Volk

Levellers – Food Roof Family

Have 32 years really have passed since Mark Chadwick and Jeremy Cunningham met in The Eagle in Brighton? 11 studio albums (soon to be 12), and 17 Beautiful Days festivals later, they have returned with their latest single, ‘Food Roof Family’.

With soaring fiddles and unifying polemic, they have tapped into the groove that made them legends on ‘Levelling The Land’. Chadwick’s guitars play great homage The Ruts venomous classic ‘Staring At The Rude Boys’.

Despite being entrenched in punk; they stride out beyond its polemic. Through their song writing, they’ve hit upon a pathway that moves past the aggressive binary times we are living in.

No matter how frenzied or desperate the guitars threaten to be, the Celtic tones of the strings lend an affection that few possess. So much so that, by the time of the chorus, you’ll be reaching for loved ones to embrace and euphorically raise your fists.

Despite their longevity, their passionate rhetoric has not waned. Furthermore, the hooks and ecstasy which propelled them to our hearts on ‘Levelling The Land’, is out in full force. Here’s to another 22 years.

The British IBM - Man of the Hour

The Cambridge three piece recently released ‘Man of the Hour’, the lead single from their new album ‘Play The Game, out tomorrow.

With the ragged glory of Guided By Voices in their hearts, they stagger their way to rock ‘n’ roll’s promised land. They’ve combined the effortlessness of Pete Astor and the alt-pop of The Wannadies, with rock ‘n’ rolls rabid desperation to be heard.

The results lead to another rock ‘n’ roll underdog that should be heard. Whilst it lacks that truly killer chorus or solo, there is a doggedness that’s impossible not to fall for.

*Image courtesy of Ian Guebert

Jetstream Pony: 100 Club, London

Hailing from Brighton and East Croydon, Jetsream Pony are an indie super group, consisting of Beth Arzy (Trembling Blue Stars/Luxembourg Signal/Lightning in a Twilight Hour) on vocals, Shaun Charman (The Wedding Present/The Popguns/The Fireworks) on guitar, Kerry Boettcher (Turbocat) on bass, and Hannes Mueller (Endlich Bluete, The BV's) on drums.

They opened up the Valentine’s Day Sarah Records reunion at the 100 Club last Friday. Despite the annual celebration of love, they delivered some joyously melancholic indie. ‘I Close My Eyes’, with its Byrds-esque jangle and Arzy’s knowing and tumultuous lyrics, ignite the set.

Meanwhile, during ‘It’ll Take More Than Friday’, Boettcher’s bass playing takes the hooks of The Prisoners and threatens to overspill in a riot but, Arzy’s lush vocals simmer everything, just!

The ante is upped again on set closer and, latest single ‘Yellow Pills’. This was the sound of band hitting cutting loose. It took the throbbing intensity of The Membranes and the pop splendour of Phil Spector.

It was on ‘Had Enough’ where the set climaxed though. The Cure meets The Fall intro should have been enough. The spikiness colliding with shoegaze’s beauty was, one of those rare moments of cultures clashing that make live music the ultimate art form.

Jetsream Pony (and The Hannah Barberas) are supporting Even As We Speak at the Lexington on March 28th.

*image courtesy of Richard Weir

The Orchids: 100 Club, London

Valentine’s day, the 100 Club, and a Sarah’s Records reunion. It was a match made in heaven. Headlining, was the Glaswegian 5 piece, The Orchids.

With their 7th studio album in development, an added sense of excitement was in the air and, on first hearing of ‘Caravan’, another indie gem is in the offing.

Sadly, honorary Orchid Pauline Hynds Bari was unwell. Whist her eloquent beauty was missed on vocals, it led to ‘You Could Do Something To Me’ being dedicated to her. The gentle twisting and turning classic was more than a fitting tribute.

Beautiful personifies most of their work, but, on ‘A Place Called Home’, something truly exquisite happened. The acoustic and electric guitars combined to paint pictures of unattainable dreams on the horizon. It showcased the human condition quite like no other band can. A sense of isolation was felt by all but, the sense of belonging it gave the London crowd was tangible.

From ‘She’s My Girl’ through to set closer ‘Caveman’, they injected enough happiness into the room to rid the world of Brexit and Trump. ‘She’s My Girl’, swirled its way through the room like Storm Dennis but with vocals sent from the gods to reassure us all.

The crescendo of love on ‘The Sadness of Sex’ was akin to the euphoria of the great rave djs. Layer upon layer of love was built on this Style Council meets Saint Etienne gem. Friend of the band Michael Deans, joined them on stage to add his saxophone genius to proceedings. ‘Walter’, in particular, was given a stylish and raucous lift.

The night was brought to an end with the cult classics ‘Bemused, Confused and Bedraggle’ and ‘Caveman’. It was akin to the release of ecstasy. We’ve had their love and we’re begging for more!

*Image courtesy of This Is Anorak City

Shambolics - Sandra Speed

Dunfermline four piece, Shambolics, returned on Valentine’s Day with their new single 'Sandra Speed'. Released on Alan McGee's Creation23, it follows November's sold 7 inch 'Fight Another Feeling'.

Last November, they sold out London’s Water Rats (full review). A stepping stone towards bigger for many, but, for Shambolics, it was a night where they laid bare who they truly were. The pop majesty of Fleetwood Mac’s ‘Rumours’ and ‘Tusk’ and the genius of Alex Chilton shone through their playing. Now, on ‘Sandra Speed’, they have a record to do the same.

The effortlessness and, slightly wayward genius of Chilton’s 'The Ballad of El Gonodo' shines bright. With 70s hedonism gone and, the working class triumph of the mid-90s a vague memory, Shambolics rightly, had to inject an urgent grittiness to the single.

At present, punk is in the ascendency. It’s a great angst filled moment in time to savour. Lurking in the shadows though, are tunesmiths like Shambolics. The spirit of punk in their hearts, they are waiting to infiltrate the masses. It won’t be long!

Ist Ist - Wolves

Manchester four piece, Ist Ist, recently announced their debut album, 'Architecture’ is due for release on May 1st. To kick things of, they have released 'Wolves' as the lead single.

The post-punk quartet have set their lasers to destruct! Frontman, Adam Houghton professes “proof there is no god” as he lays bare, anxieties of social services coming for your children in the night. Alongside his intense vocals, the darkness becomes tangible.

The guitars and bass, throb with so much ferocity that, IDLES, White Lies, Editors, Shame and anyone else they (we) have ever compared them to fade out of sight. They have launched themselves into the universe with a bullet of the utmost severity.

All shall bow down to its glory!

The Blinders – Circle Song

February 13th marked the date when, the most exciting UK band, bar none, returned. The Blinders, following on from their instant classic ‘Columbia’, have returned with ‘Circle Song’. Produced by Rob Ellis, (PJ Harvey, Anna Calvi), it is the lead single from their upcoming album, ‘Fantasies Of A Stay At Home Psychopath’ due out in May.

The Blinders toured last winter, it was a valiant attempt to help Corbyn into power. Alas, their joyous dystopian rage failed to land beyond the converted. The political parallels are uncanny.

‘Circle Song’, musically has dramatically moved away from ‘Columbia’. In as come, the stylisation of ‘Tranquillity Base Hotel & Casino’ and the romance of Bowie’s ‘Drive-In Saturday’ to send the trio of in a new direction.  

Such was The Blinders’ connection with Labour last December that, it’s hard not to hear ‘Circle Song’ and be drawn to the Labour leadership contest. While the band needn’t reinvent themselves, this new, more reflective approach allows their talent to breathe. Maybe this is the way for both them, and the Labour party to win over the masses?

The Blinders head out on tour this May from the 1st May, check here for the dates.

The Jacques - Born Sore

When we featured Bristol via London’s The Jacques in 2017 (review here), they were a snarling indie-punk outfit delivering anthems. Good, but just the next in line. Fast forward to 2020, they have far outgrown their youthful polemic.

Their latest EP, ‘Born Sore’, was released last week via Modern Sky Entertainment. Some of the early riff based magic remains. ‘Alka-Seltzer’ is in sync with ‘Eleanor Ring Me’, built upon riffs from Coxon’s play book of ‘Coping’ and ‘Bank Holiday’.

The rest however, explores far different planes. The title track, takes Supergrass’ ‘Eon’ and ‘Born Again’ on a trip down poverty ridden Britain in 2020. The desolation of Shame and the druggy machinations of Fat White Family come roaring to the surface.

Meanwhile, on ‘Kiss The Pharaoh’, the dank world of The Libertines combines with the warped seaside genius of The Horrors’ ‘Primary Colours’. The Horrors again feature on ‘I Never Want to be Your Boyfriend’. Post ‘Skying’, The Horrors have been traversing more blissed out psyche realms. The Jacques have shown them how to do it with the splendour of Phil Spector thrown in for good measure.

Having been through some tough times, The Jacques have emerged the other side better than ever. Their journey has been bumpy but, it seems inevitable that, a great debut album is nigh, right?