MOSES – Almost Everything Is Bullshit

London’s MOSES released their debut album on Friday 17th April. It couldn’t be better named either, ‘Almost Everting Is Bullshit’. via Anti-Fragile Music.

Artwork by Ana Ban Ana

After a well-received EP in 2016, they followed it up three good singles in the following eighteen months. Pre-2010, they would have been signed, financially backed and received airplay. Alas, XFM died, BBC6 grew tired, and labels entrenched themselves with middle of the road solo-artists to save costs. The fact this is album is released then, is a triumph of MOSES resolve.

That suffering is on show during ‘Waiter’. Long shifts and a growing sense of isolation clearly put strains on the relationships of songwriter and singer Victor. Timing is everything in the arts, MOSES has endured mistiming but, ‘Waiter’ right on cue with the world separated from each other.

The heartache and despair of ‘Waiter’ Is countenanced by the compassion and tenderness on ‘Joy’ and ‘Crocodile’. ‘Joy’ decrees “im sure one day I’ll have everything I’ve wished for”, a simple but glorious reminder to keep going. Especially to the current young generations of the UK. Industry after industry, CEO’s choose profit over people and race to the bottom gleefully. Opportunity is ceasing to knock but MOSES grabbed it anyway! Meanwhile, ‘Crocodile’, is joyously childlike. Pushing away life’s stress, they funnel early Dr Feelgood through the playful side of Coxon on ‘Modern Life Is Rubbish’.

‘You Need L’ follows similar themes of relationships being and life ambitions being so close yet so out of reach. Unlike the ‘Joy’ and ‘Crocodile’, the sonically traverse darker realms. As Victor sings “As your down, you need love”, a special frontman is emerging. Said messages are nothing without integrity. The delivery is not only on point, it will drag you into the emotional trenches but, he will lead the fightback out of them! Couple this with the genius awry solo and the anxiety levels are cranked!

It’s not all shades of light and dark though. There is plenty of room for bangers. Live favourite ‘River Thames’ scraps and punches its away to glory. It reawakens the lyrical wit of The Ordinary Boys debut album and, for the first time in a decade, shines a light on the prevalent working-class spirit many will have you believe doesn’t exists there anymore.

‘Cause You Got Me’ is begging to pummel your consciousness. Souls need to be cleansed in big, drunk crowds braying for life-affirming moments of magic on live stages. Then, just when audiences can’t take the adrenaline any more, ‘Findings’ will chime and best friends young and old will hug like never before.

For anyone who hasn’t been on their journey yet, this album will serve you well. A raucous and often tumultuous journey, but never without hope. As madness festers, let them guide you back to the light.

*Image courtesy of https://weareboutique.co.uk/

Sandra’s Wedding - Frame Yourself

Goole outfit, Sandra’s Wedding, are back with their second album ‘Frame Yourself’. It was recorded at Hull’s Element Studios with aid from The Broken Orchestra. The album is available to buy on their Music Glue page

Frontman Joseph Hodgson, at first glance, draws so much resemblance to Paul Heaton that, his individuality is overlooked. On ‘Were You Expecting A Love Song’ and ‘If It’s Not One Thing’, he evokes the Heaton to a level he cannot outrun.

However, this is an album of treasures that goes beyond their Humberside heroes. The shimmering guitars of Johnny Marr sparkle on ‘Can’t Look at You for Crying’. Marr’s richness combines with the sunny haze of Real Estate on ‘Penguin Joke’. Meanwhile, on the Bragg inspired ‘Don’t Walk Away, Renee’, the jangle ranges from an introspective Marr to a carefree Belle & Sebastian.

The indie-folk of Belle & Sebastian again resurfaces on ‘Sarcastic Kiss’ and ‘Humberside Gymnastics’. The former pays glorious homage to Jasmine Minks’ album ‘Another Age’. The forlorn protagonist’s plea for betterment is enriched with Terry Reid’s indie-soul vocals. ‘Humberside Gymnastics’, gentle and amiable on the surface but blink, and you’ll miss the distressing tale of domestic turmoil.

The lyrics of ‘Frame Yourself’ are its true star. ‘Humberside Gymnastics’ paints a dreary sense of isolation worthy of Shelagh Delaney’s ‘Taste of Honey’:

“Shred of some devotion / The smile you’ve outgrown”

Moreover, ‘Cold, Wet, Tuesday Night in Stoke’ is the best Morrissey song since 2004’s ‘You Are The Quarry’. The romance of Phil Spector, the hilarity of The Smiths, and the abrasive debauchery of Niall Griffiths’ novel ‘Grits’ all combine in this moment of melancholic glory.

Once you free your mind of the Heaton comparisons, and you will, ‘Frame Yourself’ will continue to enthral. There are moments when The Popguns enchanting love affair arises and splices of Billy Bragg’s self-effacing soul music to be admired. The drama and comedy on display, are the musical equivalent of an Irvine Welsh novel, Jez Butterworth plays, and Alan Clarke TV drama. You must embrace this album!

Asylums – A Perfect Life In A Perfect World

Southend’s Asylums returned in February with ‘Catalogue Kids’ (full review here). It slotted straight back into 2018’s high calibre ‘Alien Human Emotions’ (full review here). Can the second single, ‘A Perfect Life In A Perfect World’ up the ante?

All Artwork and images supplied by the band. DIY forever!

When recorded, it was an expression of not living in the moment. With the world in lockdown, it’s rapidly engulfing a sense of longing. For anyone without a garden, with their job, their business drifting out of sight, Asylum’s gothic punk ironically, has become the epicentre of sentiment.

There is so much emotion and raw power running through this single, it could have sound tracked ‘The Perks of Being a Wallflower’. It is, only a matter of time before Britain embraces them as national treasures. The ante is up!

‘A Perfect Life In A Perfect World’ is availble on the bands own record label Cool Thing Records.

Camens – Leave Me In Pieces

Camens are four-piece hailing from Stoke-on-Trent. They consist of Scott Powell (vocals), Josh Egan, James Corbishley, and Luke Brightmore. Their new singled, ‘Leave Me In Pieces’ is released Friday 17th April

Released Friday 17th April

In February, they released ‘Handbrake’it nudged the indie movement forwards by beefing up the sounds of Pete & The Pirates. This time round, they have upped the ante with a shove.

The pop immediacy of Two Door Cinema Club and The Wombats comes racing to the surface, but, Camens have something extra. Just a little splice of aggression, an uncertainty and menace lifting it to pastures new.

Scott Powell’s vocals, bitter, sniping and full of relationship bile are sublime. Despite the rage, you’ll be hard pressed not to laugh at the wry brilliance of “I don’t have a bendy toothbrush like you”.

Despite everything that’s going on, Camens are beginning to own 2020 with their boisterous, intelligent indie rock.

Laura Marling - Song For Our Daughter

Laura Marling has released her seventh studio album, ‘Song For Our Daughter’. Recorded with her long-time producer Ethan Johns, it’s available much earlier than planned in light of the Covid19 crisis.

After 2017’s ‘Sempa Femina’, Marling was acutely aware of writing the same song over and over. She has since teamed with Tuung’s Mike Lindsay to release an album under the LUMP moniker (another due this year) and, enrolled on a master’s degree in Psychoanalysis.  

Taking more difficult roads has led to ‘Song For My Daughter’. This is Marling’s attempt to write about subject matter that isn’t personal and, musically, a bid to leave her archetypal song structures behind.

At points, the changes are more overt than others. Album opener ‘Alexandra’, signifies the shift towards character driven tales and, the brief use of gospel backing vocals gives Marling new textures to explore.

‘Held Down’ witnesses her and Johns’ production skills being freed up. A more panoramic vision is being painted, alongside her personal relationship trauma. Elements of King Creosote’s Celtic electronica subtly meet the emotive genius of Bon Iver on this offering.

‘Blow by Blow’ is Marling’s homage to Paul McCartney’s solo career. Although, it is the classic work of Joni Mitchell that shines brighter. Despite the beauty of the sonic, an undercurrent of bitterness lurks:

“I don’t what to else to say / I think I’m doing fine / trying to figure out what I will do all my time / Tell them what you what, I will own up to what is mine”

The fragility and innocence on display, is likely something all will clutch closer to their hearts amid the current lockdown. Marling hasn’t just offered you entertainment, she has given her soul.

Title track ‘Song For Our Daughter’, is an ode to imagined daughter. A stunning piece of art. The hopes and fears we all have for the young come to fruition on this cinematic classic. With friends, partners, and elderly relatives isolated and at risk, Marling’s wisdom becomes a heart-warming letter from a friend.   

For the first time in Marling’s glittering career, she has transcended folk music. The roots remain, but, the beauty of it all is mesmeric. Marling is an icon already but now, she has joined the elite of Mitchell, Young, Denny and Browne.  

Children of the State - Big Sur

Doncaster and Bolsover outfit Children Of The State have released their new single ‘Big Sur’. It was produced by The Coral’s Ian Skelly at the iconic Parr Street Studios.

After a failed attempt of recording it Sheffield, they contacted jingle-jangle prowess of Skelly and boy, has it paid dividends. In similar fashion to the Medway scene of the 80s or, Scotland’s short lived Postcard Records, they are creating sun drenched visions from grey industrial surroundings.

The Sheffield influence of Alex Turner runs through frontman McCullagh’s croon. Meanwhile, musically, it owes more to the pop of Burt Bacharach and the subtle psyche of ‘Happiness Is A Warm Gun’ and ‘I’m So Tired’. That is, until the majestic solo from McCullagh, where he pays great homage jangle meanderings of Skelly’s The Coral.

Fresh from support slots with The Mysterines, Temples and Elephant Stone, it seems inevitable, once we’re out of this mess, that they go on to big things.

Twisted Wheel - Satisfying The Ritual

”But if your all about the destination.

Then take a fucking flight
Where going nowhere slowly but seeing all the signs
And we're definitely going to hell

But we'll have all the best stories to tell.”

Frank Turner – The Ballad of Me & My Friends

Manchester’s Twisted Wheel have released their third album, ‘Satisfying the Ritual’. It was recorded at Vibe Studios and produced by Dean Glover, it officially marks a comeback from a dark period in the band’s lives.

During their first run, rock ‘n’ roll was still a place for altruism. However, in the last decade, no matter how divisive and sub-human politics became, guitar music’s consciousness kept on evolving. Now, Twisted Wheel has re-emerged and dragged punk’s enlightenment into the world of rock ‘n’ roll.

‘Satisfying the Ritual’ is littered with fables from the trenches they have roamed. Burning brightest are ‘I Am Immune’’ and ‘Black and Blue’. The former, is the correct answer to the question, how to deal with online trolls? It combines punk’s ferocity and rock’s cinematic quest for glory. Meanwhile, ‘Black and Blue’, tackles the mental health issues many face today. Lyrically, the anxiety levels are through the roof (“I don’t believe in anyone and I barely trust myself”) but, musically, it’s a celebration of the best moments of Soundtrack Of Our Lives.

On ‘D.N.A’, they elevate the album to another realm. It’s been well documented that frontman, Jonny Guitar, has had his demons in the bands intervening years. Besieged by drink, drugs, and homelessness, he also suffered the tragic loss of his mother to alcoholism. It is then, a truly remarkable achievement of art and, the human spirit that, ‘D.N.A’ exists. This ode to his mother, who he lost to alcoholism. There are flourishes of Jimmy Page and, the blues of ‘Exile On A Main Street’ have been given a vast landscape to roam in. Whilst the guitars strive for new horizons, lyrically, it’s a sweet eulogy, until Guitar unleashes the most emotive howl rock ‘n’ roll music has heard in some time.

Despite the quality of the first two albums, they were pastiches of T-Rex, The Who, and Oasis. Here, they are reaching and achieving things far beyond this. ‘Ghost Man’ splices Joe Strummer’s love of rockabilly and Frank Black’s warped sense of danger. The title track introduces spoken word into their repertoire on this Fat White Family psychedelic epic. Pigeon hole them at your peril.

Twisted Wheel’s journey has been a roller coaster for the past 12 years. On this showing, it shows no signs of slowing down but, mercifully, it is on a deserved incline towards glory.

Click here to buy the album.

The Crooks – Silhouette Sunshine

Chesterfield’s The Crooks have been in anthemic mood of late. Their previous two singles ‘She Walks Alone’ (full review) and ‘Nevermind’ (full review) massive crowd uniting numbers. On their latest offering, ‘Silhouette Sunshine’, they return to fall to floor rock ‘n’ roll. Will it stack up?

We have said it before and, for this record, we will say it again. Whilst The Crooks have the hallmarks of Oasis, they a much much more than that! Their quality is on par, and at times, it surpasses their idols. Especially on this single!

The aggression and volatility are astonishing. It’s a whirlwind of psychedelia and punk. It’s only a matter of time before Creation23 come out of self-isolation to sign them.

The sex and violence of Supergrass’ ‘Richard III’ collides with the good aspects of ‘Be Here Now (yes, there was some) to create this fire breathing behemoth. They say, if you don’t learn your history, you’re doomed to repeat the past. Well, this ginormous psychedelic rock ‘n’ roll epic comes in under three minutes and thus, banishing ‘Be Here Now’. Somewhere in Muswell Hill, a tear of pride is rolling down Noel’s cheek.

You bet your life this single stacks up!

Ian Roland & The Subtown - Double Rainbow

Ian Roland & The Subtown Set are songwriter and guitarist, Ian Roland, joined by Simon Yapp, on violin and Jade Woodhouse, on cello. The Sussex trio released ‘Double Rainbow’ at the end of February. It was recorded at Airtight Studios (Manchester) with producer Nigel Stonier (Thea Gilmore, The Waterboys, Joan Baez) and, with Simon Yapp Subtown Studios, in Brighton.

Image & artwork supplied by Sonic PR

‘Double Rainbow’ is steeped in folk and warming orchestration. At times traditional roots and at others, it spreads it wings to a more pop friendly realm. The latter, can be seen on ‘Searchlight’, ‘Human Too’ and ‘Day Become You’. The first two, whilst pleasant, never really land any real memorable moments. ‘Day Became You’ though, is an instant classic. If The Housemartins had formed in an idyllic forest, this unshackled sauntering pop gem would surely have been the outcome.

Of the more traditional folk moments, ‘Butterfly’ and The Valley’ are the standouts. The former, a quaint tale of park walks in London with Roland’s children and, tree climbing in Lewisham as a child. The gradual build to the climax is delivered with a poise to rouse the spirits in these bleak times. Meanwhile, ‘The Valley’, has the earnest and heart-warming orchestration of Johnny Flynn’s classic ‘Been Listening’.

Title track ‘Double Rainbow’ and ‘Shooting Star’, find a sweet spot between the two styles. ‘Double Rainbow’, vocally, nestles in alongside the charm of Christy Moore whilst, musically, it searches, reaches for something bigger than the sum of its part.

On ‘Shooting Star', Roland finds a sense of romanticism that will renew your faith in humanity. For five minutes, you are transported to a world of rural charm akin to Mackenzie Crook’s reimagining of Worzel Gummage. Roland’s vocals are hushed and delicate, the perfect accompaniment to the frosty yet spritely acoustic guitars.

Roland and co have set their lasers to charm and overall, not disappointed. In a time of health crisis, this is an album of charm to replenish the soul with.

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!