Thousand Yard Stare - The Panglossian Momentum

“Now I don't hear as good as I used to, and I forget stuff. And I ain't as pretty as I used to be. But god damn it, I'm still standing here”

The Slough outfit are back with their first studio album, ‘The Panglossian Momentum’, for twenty-eight years. After a litany of sold-out gigs and, two critically acclaimed EP’s, can they continue their fine run of form?

In the pantheon of indie bands, they stand strong with the likes of The Orchids and The Claim for having bad timing. Quintessentially English, they found their niche between the Grebo bands and psychedelia just as shoegaze and grunge rose to prominence and thus, were unfairly overlooked.

If there was to be a criticism of their debut, ‘Hands On’, at times it didn’t take its foot off the gas. Easy to say with hindsight, however, in the throes of youth, adrenaline was and should be king.

Older and wiser, gentler moments have infiltrated their sound, and they’ve hugely benefitted from them. Opener ‘Cresta – Sea Change’ combines the mystical acoustic moments of Zeppelin and the wistful grey skies of British Sea Power. ‘Spandrels’ also leans on BSP’s ability to sound offshore. The real beauty of this track is, its ability so sound off-kilter and lost at sea but, never without the hope of a new horizon to aim for, is the political hope many of us have craved.

Unsurprisingly, this level of hope continues on ‘A Thousand Yards - The Panglossian Momentum’. This is eight and a half minutes of eyes closed, shutting out the world and, holding optimism firmly in the heart. Not for the first time on this album, they showcase a sense of Noel Gallagher’s soaring immortality. Giles Duffy and Kevin Moxon’s guitars and Stephen Barnes' vocals combine in a true moment of glory.

‘Precious Pressures’ follows suit with a nod to The Who’s ‘Baba O’Riley’. The heaven-sent beauty of Ride’s ‘Vapour Trail’ combine with the night that, Gallagher dropped the bravado and bared his soul at the Royal Albert Hall. TYS have musically personified the regret, defiance and death-defying beauty of Randy “The Ram” Robinson.

When they do put the pedal to the floor, the impact is far more powerful. Lead single ‘It Sparks’, opens with the orchestral pomp and pomposity of the proms but, quickly melts away into the House of Love via The Cult. It's a glorious pop music moment. 26 Seconds of vile Tory austerity disintegrates into menacing rock music.

Ever since their comeback, they have been treading pastures new. However, on ‘Sleepsound’, they step right back into the playful mood of 1993’s ‘Version of Me’. Sumptuous psyche-pop riffs that have free-spirited aggression that cannot be denied.

Thousand Yard Stare’s return in 2016 and, to date, is one of Britain’s great underdog stories. A message of never give up and being true to yourself can and will pay off. It’s fair to say they are not in fine form because class is permanent.  

The K’s - Valley One

The K’s set This Feeling’s ‘Big In 2020’ alight in January and followed that up with sold out shows Manchester, Liverpool and Glasgow. This was there year!

Cue, covid19!

The Earlestown outfit’s inevitable rise to stardom has been curtailed. It’s not easy to survive in a band when Spotify pays you 7p for a million streams. These are more than testing times for the band and their fans.

However, on May 15th, they released ‘Valley One’ and proved they still have their finger of Britain’s cultural pulse. The solemn affair captures the aching isolation so many have endured:

“now I’m back home I am seeing your shadow from anyone”.

You’ll be hard pressed not to snigger at Dominic Cummings when frontman Jamie Boyle decrees “even Midas would find it surprising you’re out here devising a plan for me”.

Winston Churchill once said, “never waste a good crisis”. The K’s have used their diminished platform expertly here. This might still be their year yet!

*Image courtesy of Ricky Atterby.

Trampolene ft Pete Doherty - Uncle Brian's Abattoir

Swansea’s Trampolene, with a little help from their hero Pete Doherty, are back with their new single ‘Uncle Brian’s Abattoir’. Recorded during lockdown, it recounts the day front man Jack Jones picked up his cousin from an art class. His cousin had painted a world where animals and humans lived in harmony but, had mistakenly called it an abattoir.

Trampolene, to date, have either been aggressive indie rockers indebted to the Manic Street Preachers or, poetic masters of The Libertines Albion dream.

Here, they have visibly grown musically. Shades of light and dark and juxtaposition of childlike innocence and world weariness combine. Singer, songwriter and poet Jones embellishes on the tale of his cousin’s artwork with Blake-esque style of poetry.

Still inspired by Welsh music heroes, they have taken the psychedelic grace of Gruff Rhys. Poised and delicate throughout, they have struck upon a Rhys meets Unknown Mortal Orchestra tapestry. One, that, they should delve into much deeper in the future.

Harry Stafford - Gothic Urban Blues

Manchester’s Harry Stafford is back with his latest single ‘Gothic Urban Blues’. The title track from his critically acclaimed album. It was produced and mixed by Ding Archer and is available on his Bandcamp page.

The blues is not a genre that gets updated much. In fact, in many circles, it’s frowned upon. Stafford though, has hit the blues in face with a monstrous haymaker on his latest single. Effortlessly cool, it staggers his Mancuninan streets with the danger of Cabbage and the reckless abandon of the Mondays. Meanwhile, his Cave-esque vocals are accompanied by wandering basslines are beckoning the next Peaky Blinders soundtrack.

The album of the same name is out now via Black Lagoon Records.

*Image courtesy of Richard Davis

Death Valley Girls - Breakthrough

LA’s psychedelic occult punk rockers Death Valley Girls are back with their new single ‘Breakthrough’. It is to be the title track from their new EP due for release on the 12th June via Suicide Squeeze Records.

‘Breakthrough’ is about freeing oneself from an invisible prison. Inspired by Damien Echols of the West Memphis 3, they conjure the primordial magic of the Stooges and Black Sabbath via the smooth psyche of the Velvets. Despite the discourse, it’s impossible to escape the connotations of covid19’s grip on peoples mind-sets amid lockdown.

There is something beautifully simplistic to the guitar playing. Akin to Peter Green, everything has space to breathe and, flourish. The concise solos, perfectly encapsulate the short lived release of a daily exercise outside. Great for a brief period but, soon the familiar walls of home circulate both physically and, of any thoughts of escapism.   

Yet again, Death Valley Girls prove they are major innovators.

*Image courtesy of Abby Banks

Suicide Squeeze Records · Death Valley Girls - Breakthrough

The Wolfhounds - Can't See The Light

Artwork courtesy of David Janes

The Essex/London outfit have returned with the new single ‘Can’t See The Light’. Released via A Turntable Friend Records and, produced by The Meerkats, it will be taken from their upcoming album ‘Electric Music’ (released July 3rd).

A harrowing dystopian landscape is ignited from the discontent guitars and Membranes-esque bass throb. Although dank and darkly psychedelic, it has flourishes of Johnny Marr’s solo career. The tense melancholic mood builds towards an explosive crescendo but, in the same way Mark E Smith could, offers small nuggets of pop hooks to keep you coming back again and again.

So often, The Wolfhounds are casually written off as a band from the C86 era. ‘Can’t See The Light’ is the ultimate proof that, they are band for all ages, especially now.

*Image courtesy of Helen Golding

Mark Gardener & 2 Square - Chained

Ride have been in scintillating form of late. ‘This Is Not A Safe Place’ reignited the feverish love of the band and, their live shows were everything a Ride fan had ever dreamed of. Not resting on his laurels, Mark Gardener has returned with ‘Chained’. A collaboration with long-time friend 2 Square (Stephen Haeri) of French outfit Telepopmusik.

Gardener’s lyrics expertly recreate his demons from yesteryear. To integrity of the words and, the vocal overlays, create such tension, it’s hard not to find it all heroic. Gardener’s vocals are eventually emerging with an innocence; a firm reminder that the fog does lift and things do get better.

If Sebastien Tellier’s classic ‘La ritournelle’ is the main body of a river, ‘Chained’ is a small subtle estuary offshoot. The vastness and dynamism of Tellier may not be present, but it stacks in equal measure for beauty and honesty.

The single is available from Gardner’s Bandcamp page.

*Image courtesy of Steve Gullick

Springtide Cavalry– Save An Old Soul

The Folkestone four piece returned last December with ‘Collections and Demos’, a heartfelt gesture to their loyal fan base. Never a band to rest on their laurels, they recently premiered their comeback single ‘Save An Old Soul’. It’s the first of three to be released this summer, with, further material and gigs to come post-lockdown.

Any hesitation fans might have had, are swept away form the immediacy of this record. The youthful thunder of The Jam and aching fever of Feeder combine to make one hell of a comeback.

The Enemy always had the lyrics but, by album number two and beyond, they could never sound this muscular and vulnerable. This record is begging to be loved!  

This isn’t the return of a cult band. This is too vital. Aggressive, melodic and infectious, it can deliver to fans of Sleaford Mods and DMA’s alike.

Bugeye – When The Lights Go Out

At the end of last month, London’s Bugeye, released their latest single ‘When The Lights Go Out’.  Reunited with Paul Tipler (Idlewild, Placebo, Elastica, LIINES) in the studio, the single is available via Reckless Yes and, will be followed shortly by their debut album ‘Ready Steady Bang’.

With the filth and sexiness of The Stooges in their hearts, Bugeye unleash a ravishing disco punk anthem. The quirks and class of peak Sleeper and ‘Modern Life Is Rubbish’ era Blur combine with their indomitable punk spirit.

They always had the feel of a band you would love live but, not necessarily buy the record. Here, they have shown just what risk taking pioneers they are and, can go on to be.

The hugely anticipated debut is due out 10th July. Not to be missed.

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.