Tom Lumley & The Brave Liaison - Sign of the Times

The Cambridge four piece, recently released their debut EP ‘Sign of the Times’ in April. Released via Fort Records, each song attempts to raise awareness of mental health problems. As this is Mental Health Awareness week, we saw it only fitting to review his EP.

There is a huge sway of material of late, that covers mental health. Some deliver with integrity but no quality, and vice-a-versa. Step forward the song writing partnership of Tom Lumley and Jake Day.

Musically, they have given indie-rock its clout back. Ruthlessly vital and adrenaline pumped, audiences are going to be swaying in one unified sweat ridden mess to this set of songs, when they can again.

‘New York Paranoia’ is the sound of a new epoch of teenagers fronting up to its detractors. The spikiness of the verses melts, into the best guitar solo in a generation. Loaded with anxiety, but, oozing with a ferocious melody that cannot be denied.

‘Shrink’, is a full throttle joyride that puts The Strokes and Miles Kane in their back pocket. As the protagonist’s life tumbles into disarray, the death defying guitars breathe adrenaline and euphoria back into the soul.

‘Casual’ and ‘Let Go’ may not land in the same way but, they frame the discourse with magnitude it deserves.

No one knows when gigs will return but, we know where we’re going first.

*Image courtesy of Sam J. Lance

Badly Drawn Boy - Banana Skin Shoes

Badly Drawn Boy, aka Damon Gough, releases his long-awaited ninth studio album today.  ‘Banana Skin Shoes’ was produced by Gethin Pearson (Kele Okreke, JAWS) and was collaborated with Youth, Keir Stewart, and Seadna McPhail.

The comeback album, for so many, a chance to reacquaint themselves with a tried and tested audience. It’s a warming feeling and no one would begrudge Gough an album of quirky acoustic pop songs. However, Gough has never been one for settling, and, at points, throws the kitchen sink in.

The title track takes the dynamic funk of Beck and Style Council, the spirit of Cornershop and melodic drama of The Chemical Brothers. Gough is back and in technicolour. He follows Jarvis into house music styles on ‘Colours. The warped wobble of his hometown Mondays colludes with Latin influences and subtle but, sensational blasts of brass. ‘Colours’ goes further than just groove laden bliss though. Gough’s vocals ooze confidence, they’re completely at ease with what they can do and, they offset the subtle euphoria in mesmerising style.

The self-assurance comes into its own again on the Motown via Manchester inspired ‘Fly On The Wall’ and ‘Tony Wilson Said’. The former leans on the vibrancy of Ian Brown’s masterpiece ‘Golden Greats’ and the cinematic genius of Phil Spector and Chris Farlowe’s ‘Out Of Time’. Meanwhile, ‘Tony Wilson Said’, bristles with A Certain Ratio’s sense of adventure as Gough wanders the life of the great musical connector.

The worst thing you can say about this album is, Gough occasionally retreats into his archetypal sound. ‘You and Me Against The World’ pick up where ‘What I’m Thinking Part 1 – Photographing Snowflakes’ subtle, downbeat but, forensically searching the soul for meaning. ‘I Just Wanna Wish You Happiness’, examines his journey through divorce and acceptance of his past with the dreamier aspects of Weller’s great comeback album, ’22 Dreams’. The thing is, when you can fall back into such unique and vivid scenery, it’s still a step ahead of the rest.

There are, two striking moments of innocence, both lovingly directed to his new wife. ‘Never Change’, punctuated by its Bacharach orchestral beauty, and, ‘I’ll Do My Best’. The latter, even Peter Hitchens black heart would struggle to find the beauty in.

It’s hard, as a fan, to discern why anyone would take ten years off from their day job. This is why. Reinvigorated, Gough has examined his relationships and what they mean with remarkable integrity. He doesn’t need another Mercury Music Award, they, however, need him.

Louis Croft - Ever Again

Nottingham’s Louis Croft, 20, has shown remarkable promise to date. At the start of May, he released his debut EP ‘Ever Again’.

Here is out track by track review:

Ever Again

With the indomitable rumble of Jake Bugg, the everyman appeal of Kyle Falconer and the charm of George Harrison, Croft has lifted his game significantly here.

His lyrics have become socially sharper. The sense of a lost soul traversing an inescapable town are flourishing. With every release, Croft’s ability to play with light and dark grows immeasurably and, the influences begin to fade in the rear view mirror.

Don’t Let It Happen

The backing vocals and the dynamic percussion enhance Croft’s credentials as his own man yet again. Embracing the enriching but, gritty landscapes of Badly Drawn Boy, he has stridden beyond his folk roots

Made of Gold

Stepping back into his stripped back Jay Jay Pistolet meets Jake Bugg mode, he showcases he is as good as all those have gone before, except Dylan.

Like most, he should seek inspiration from Dylan’s spirit. His edge, is all that is really missing here. That said, Croft’s lyrics are becoming more politically astute, a journey to follow rather than persevere with.  

The World Is Sleeping Now

Fans of Johnny Flynn and The Detectorists deployment of Flynn, will drink this in like a crisp golden ale in Britain’s glorious countryside.

The Crooks - In Time

Chesterfield’s The Crooks, recently signed to Golden Robot Records. Their first release on the imprint is ‘In Time’, recorded at Phoenix Studios, produced by Hamish Dickinson.

Artwork & image supplied by Foundry Music

Prior to the recording of ‘Definitely Maybe’, Liam was a good singer. Not a great one. He was reaching for his idol, Ian Brown. Twenty-six years on, Chesterfield’s The Crooks, have, to date, lent their songwriting to the escapist melancholy of Noel Gallagher. At the end of 2019, they released ‘Nevermind’ (full review here) and, ‘She Walks Alone’ (full review here) at the start of 2020. Both singles began to manoeuvre Noel’s songwriting alongside their own.  

On ‘In Time’, they have settled into that groove again. Crucially, their sound is the predominant one. Out of the colossal Burnage shadow, they stride. The guitar playing is beginning to shudder souls like Steve Craddock on ‘Get Blown Away’ and reach beyond the early dynamism of Noel.

In this time of lock-down, who among us can say, we haven’t stared out of the window and dreamed? Dreamed of partners in different cities, festivals, parents, lonely grandparents isolated and lonely? It’s a shit time for the soul. Step forward the lyrics:

“Cherish these days before its too late / If you could turn the hand yourself / Would you hold on to your world? / Would you change what you have done?”

To be able to pang those heartstrings in a moment of reflection and, fire out a global clarion call for change is a gift. The sense that, everything we hold dear is worth fighting for, during Covid19 is life-affirming. To so boldly, decree messages of radical change is life-changing.

Whenever this ends, get yourself to the Brudenell Social Club in Leeds for This Feeling’s Re-Wired.  

Theatre Royal - TV Blind

The time has come, once again, to find new words to say, Theatre Royal are effing marvellous! The Medway outfit released TV Blind yesterday. It’s taken from their 5th studio album ‘Portraits’, due out this summer. The single is available on their Bandcamp page.

The video (see below), a remarkable piece of art, was made by friend of the band Oliver, a 12-year-old. That kid is going places us mortals simply cannot imagine. Take a bow kiddo!

‘TV Blind’, although written before the breakout of Covid19, it’s aptly about the best laid plans. It’s hard not to be struck by the lyrics ‘But when the time comes to pass, you shrug off what you hold dear / Scatter brained, your mind interferes”’ The artists conscious, forever pulling against real life commitments is displayed expertly.

Sideburns Fanzine, 1978

With a discourse of life ebbing away from the big ideas you plan, it would be a melancholic affair. Theatre Royal though, musically, are so light of touch, they can turn anything into dreams of sunnier climates. Lyrically, they offer the chink of light this lockdown period needs:

“You’re back to square one and although it’s no fun / You won’t come to regret it in years and years and years”

This is the indie-pop equivalent of Shane McGowan’s inspirational page in the Sideburns fanzine.

Covid19 has shown us all, just how mortal we are. Theatre Royal, through ‘TV Blind’, has displayed how counter it. To live, to do, to create. We must all try. Few will hit the quality levels of Theatre Royal, but, on the day you die, you can say, at least I fucking tried!

The Dears - Lovers Rock

Montreal’s The Dears, return with their eight studio alum Lovers Rock on May 15th via Dangerbird Records.

‘Lovers Rock’, unashamedly returns to the breakthrough album ‘No Cities Left’ for inspiration. In 2001, post 9/11, they were searching for love in an apocalyptic world. It offered loving direction through a world of terror and uncertainty. In 2020, pre-covid, they are clear, the world is in our hands to change. Would this sense of clarity raise the bar of their doomed  but loving landscapes?

Like ‘No Cities Left’, they manage to find a romanticism in their apocalyptic landscapes. ‘Instant Nightmare’, soars grandiose planes with its ‘Bittersweet Symphony’ orchestration whilst remaining introspective and hazy like Grandaddy. Meanwhile, ‘The Worst In Us’, elevates Doves to a more euphoric mind-set via a science fiction examination of human failure.

On ‘Stille Lost’ and ‘No Place On Earth’, their rhetoric remains passionate but, the quality drops. It serves as a stark reminder to the years of Bernie Sanders and Jeremy Corbyn. Although true of heart, they were poor operators of the world they wanted to change. Both songs are a howl into the abyss whilst, the abyss is in power.

This is countered though dramatically on ‘Play Dead’ and ‘Too Many Wrongs’. Bowie and Brett Anderson’s social reflections and pop sensibilities flirt with Flaming Lips admirably. Such is the spike in class, that the anti- trump sentiment “you may have suffered from the wrath / from a god that wants to kill you” is lifted to powerful dramatic heights. On ‘Too Many Wrongs’, the psychedelic 60s pop of Gruff Rhys’ ‘Candylion’ and ‘Hotel Shampoo’ is brought to life. It’s beauty demonstrably vast, ignore it at your peril.

The Dears, in a similar vein to The Charlatans or The Coral, have never required an early album revival. Their risk journey has unravelled with striking consistency. With the world taking stock, the affectionate nod to yesteryear couldn’t be more aptly timed.

The Strokes - The New Abnormal

‘The New Abnormal’ is the sixth studio from The Strokes. Recorded with Rick Rubin at Shangri-La Studios in Malibu, could it be the return to heroism for the epoch changing New Yorkers?

Artwork by Jean-Michel Basquiat

Every post-war decade has had debut albums that changed the landscape. For many bands, they can never escape its power. The Sex Pistols never made a second, The Roses probably wished they hadn’t and Oasis were forever chasing yesterday.

When ‘Is This It’ hit the reset button in 2001, they ignited everything. Without them, The Libertines would still be a dandy band and bloated 90s music would have lasted forever. The Strokes, were so indebted to the good feeling of 2001 to 2003, it’s been hard for anyone to think of them beyond that point. Add into the mixture that, their dynamic is akin to the Roses, a gang of brilliant musical minds all knowing their worth, the creative process has never appeared fun for them.

‘The New Abnormal’, is mostly, the sound of tentative steps back towards each other. The exhilaration only flickers but, the integrity of the debut and new risks are taken. The archetype of what fans want from bands they adored in their youth.

‘Not The Same Anymore’, embraces the tiredness of their late 30s/early 40s and acceptance that youth has finally absconded. The youthful glisten of ‘Trying Your Luck’ has become a wiser and exploration for something more meaningful.

‘Brooklyn Bridge To Chorus’ sees Casablancas finally nail his falsetto (again on Eternal Summer). This disco meets The Strokes stomp has the hallmarks of Johnny Marr’s majesty loitering and, will allow breathing space from fans braying for ‘Last Nite’.

The urgency of the debut hits sparing moments of fever pitch on ‘Bad Decisions’ The knowing ode to Generation X’s ‘Dancing With Myself’, delivers lick after lick as well as hazy gothic nods to Robert Smith and Rich Good.

Lyrically, the depths of the bands wounds, addictions and relationships are plunged. Some will profess ‘Strokes hangover continues’, we question, has Casablancas ever sounded this open? ‘Selfless’, deals with the omnipresent danger of addiction. The imagery of life under addictions watching eye emanates on ‘Brooklyn Bridge To Chorus’ to:

“Actually, no thanks, I'm okay
And then he would send weird looks my way

I want new friends, but they don't want me
They're making plans while I watch TV
Thought it was them, but maybe it's me
I want new friends, but they don't want me”

Those tentative steps creep towards a band of brothers on ‘Why Are Sundays So Depressing?’ and ‘Ode To The Mets’. While the up-tempo desires of Strokes fans still escape the band, the guitar parts of Valensi and Hammond Jnr remain of the utmost quality. Furthermore, there is a hunger and defiance not seen since ‘You Talk Way Too Much’:

“I was just bored playing the guitar / Learned all your tricks, wasn’t too hard”

Brilliant, era defining it is not. Sowing the seeds of hope, and more importantly, their happiness. Yes. The Strokes might not be back with a bang, but, they’re back!

Spector – Extended Play

Nine years on from formation, London’s Spector have returned with a new EP ‘Extended Play’. After a riotous first album, they were lead to precipice of the next big thing. The release of ‘Moth Boys’ was greeted well but, their spark had been lost somewhere.

Frontman Fred Macpherson, with Spector, Ox.Eagle.Lion.Man and Les Incompetents has seen and done it all. Spector has taken him to the highest heights, Ox.Eagle.Lion.Man unfathomably passed by and with Les Incompetents, one of the true great pioneers of the 00s ended in tragic circumstances.

At the core of all three, lies MacPherson’s integrity. So, when Spector announced they are releasing their most honest work to date, the gauntlet was thrown down to his own authenticity

Musically, any ghosts they had from ‘Moth Boys’ are laid to the rest. The synths remain but, their injected with the directness of ‘Enjoy It While It Lasts’.

It’s lyrically where the magic occurs. Leadoff single, ‘When Did We Get So Normal’ wryly looks at getting older and becoming your parents:

“Mortgages and marriages
Waiting in for packages
Now I know what average is
Now I'm one of them
More M&S than S&M
Two can dine for News at Ten
Voucher for my requiem
Now I'm one of them”

Macpherson’s vocal delivery is exquisite. Such is the conviction of his anguish, you’re left pondering, mid-life crisis or, Blackadder levels of scorn?

EP opener, I Won’t Wait’, pulls from The Cure, The Killers, The Jam, The Horrors, and early Kaiser Chiefs. Examining the apathy, we endure to keep relationships functioning, it shouldn’t be set to indie at its cinematic best, but it is. Within the chorus, scours nights lost to debates on his phone, long after he should have been asleep. Has a chorus been so brutally self-examining and piss-taking simultaneously?

“Your words still keep me awake
(I've been scrolling forever)
Rolling through the promises that we never keep
Why's my contract so expensive if I talk so cheap?”

Meanwhile, ‘Half Life’, outlines that death defying feeling an indie disco can give. The sticky floors, snakebite, and sweat flying in glorious pandemonium. With themes of youth fading through the EP, it’s hard not to taste the bittersweet though. An over exaggerated sense of getting stuck in for, these nights become less frequent in your thirties.

‘Simplicity’ is the realisation that, the precipice of the next big thing is paved with empty shells:

“Saying when they tell you they understand
That's your cue to get out while you still can
Cash it in and cancel all your plans”

At 33, Macpherson is focusing on family and close friends more. So, this EP should be a lame duck, right. Not a chance. There’s no pretence its 2005 and he his bouncing around the 100 Club to David Walliams. That fire still burns, but now, the muse is purer.

Kid Violet – Revolution Eyes

Last month, Kid Violet released their latest single ‘Revolution Eyes’ via Pin Bade Records. It follows on from killer shows for This Feeling at The Water Rats last November (full review here) and Nambucca in January.

From the moment the ‘Reason Is Treason’ guitars begin, the world will cease around you. Something dramatic is about build. Nothing but the impending eruption matters.

When it comes, it’s more measured than first anticipated. However, it’s still irresistible. The sublime days of early U2 chime as Kid Violet ascend to the heavens.

At points, frontman Billy Cotter slots between Ian Curtis and Harvey McVeigh (White Lies) with his dank drool. When he cuts loose, he becomes more menacing than Yaris Philippakis and a more soulful Tom Meighan.

This is a sexy and dangerous record. Let it penetrate your soul.

*Image courtesy of Rhona Murphy

Cabbage – You’ve Made An Art Form (From Falling To Pieces)

It’s been a quiet period for Manchester’s Cabbage. Last year, they released instant pop classic ‘Torture’ (full review here) and then went to ground. Was this alt-pop gear change a one off, or was it a sign of things to come?

Their new single, ‘You’ve Made An Art Form (From Falling To Pieces)’ suggests it’s the latter. Their deranged guitars and, the spikiness of The Fall remain, everything else is cleaner, crisper, and ready for world domination.

The chorus is gloriously lifted from a 1988 episode of Coronation Street. It takes from a conversation between Deidre (free the Weatherfield One!) and Ken:

“I wonder what advanced state of dither we’ll find you in today, Ken, you make an art form from falling to pieces.’

Despite the obscurity, this is as accessible as Cabbage have been to date. Furthermore, their anarchic integrity remains intact. Someone unleash them on the mainstream now.

Rooskin – Honey Spells

Southend’s Rooskin have released their debut EP, ‘Honey Spells’. After eye catching shows at The Railway and Village Green in 2019, the three piece are rising stars on their local scene.

Here is our track by track review:

Radio Slave

Warped melodic brilliance that makes Peace’s debut ‘In Love’ virtually redundant. Rob and Matt’s angelic vocals alongside the hazy guitars is a slice of escapist summertime we’re all going to be in need of soon.

Donnie (Beach for Tiger)

“The great art of life is sensation, to feel that we exist, even in pain.”, Lord Byron.

If this isn’t sound tracking the third series of Sex Education, then, the world has lost its mind. As front man Rob Humm decrees “I’ve been looking for love in all the wrong places” and latterly wrenches, from his gut, “I’m sick of waiting”, images of Otis and Mauve come flooding in.

When I’m High

Real Estate’s lazy sun drenched guitars meander their way to a chorus worthy of Phil Spector in his pomp. Here, Rooksin have set their standards incredibly high for all future success. It could only have been written by those in the throes of youth and yet, its wisdom is way beyond their years.

On this comparison of heartbreak and substance addiction, Rooskin have landed a coming of age gem. Whether you relate to the heartache, the drugs or both, this is the soundtrack to this generations relationships. The ones that bring endless joy and inevitably, crushing despair.

For those old enough to look back, missed opportunities, regret, wry smiles and sarcastic laughs at those heady days will undoubtedly be unlocked.

4:33

Echoes of Peace’s debut come out to play again on this achingly confessional dreampop affair.

With Rob taking the lead vocals here, it shows a maturity in the band many do not possess. One of Bobby Gillespie’s greatest assets is, to know when to step aside. Here’s hoping they produce great art like the Primals did.

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.