Peter Hall - There’s Something Wrong With Everyone

Nottingham’s Peter Hall, has followed his exquisite cover of The Jam’s ‘English Rose’ with his debut EP. ‘There’s Something Wrong With Everyone’ is out now via Beautiful Music.

Despite the debut status, Hall emerges with a class, usually associated with someone making their third album masterpiece. Opener ‘Hold Me, takes the eloquence of the early Bee Gees records and kisses them with delicate vocals of Kevin Parker (Tame Impala), the innocence of Elliot Smith and a sun drenched Colin MacIntyre (Mull Historical Society). Then, just when you think you have him pegged, it melts away into a Curtis Mayfield solo.

‘Everything Is Fading Fast’, re-imagines ‘Live Forever’ for the older and wiser folk. It acknowledges life is precious in way a younger polemic never could. However, it’s defiant, determined and living in the moment as if life depended on it.

Despite hailing from Nottingham, there is something beautifully scouse about his music. ‘Hold Me’ and ‘Blood Flow’ enter an alternate reality where Sice (The Boo Radleys) is backed by Crosby Stills and Nash’s harmonies. Meanwhile, ‘Everything Is Fading Fast’ has Shack’s forlorn jangle combining with The Stands’ Howie Payne vocals.

The biggest criticism of the EP is, it’s not an album. This is an astonishing EP and the entire world should know about!

The Institutes – Heal In Time

Coventry four-piece The Institutes returned on Friday with their latest single ‘Heal In Time’. With support from the legendary Lammo, might this be their breakthrough?

Lockdown has been tiresome and for many, imprisoning. The Institutes’ return flicks the V’s and decrees “what lockdown”. It galvanises the soul with self-belief in a future us mortals cannot yet see.

The pop kissed acoustic guitars of The Primitives align with colossal driving riffs and solos from their own playbook. Once heard, Soundtrack Of Our Lives, Embrace, the orchestral Oasis numbers will be taking a back seat, your record collection has a new hero now.

Drummers so rarely garner attention but, Kirk Savage’s drumming is otherworldly here. Ferocious yet subtle, it catches the eye like Matt Tong’s early work and has the stylistic fluidity of Reni.

‘Heal In Time’ could and should be their breakthrough. It is the roguish counterpoint to the epoch-defining pop of CHVRCHES ‘The Mother We Share’. Both are equally brilliant, but now, now is time for a band to light up the big festival stages.

Glass Violet – Clockwork

Bristol’s Glass Violet are back with their third single ‘Clockwork’. Released on the 19th June, Clockwork

Many rock ‘n’ roll bands conjure dreams of escape. Glass Violet have already freed themselves of their shackles. This is the sound of rock band sat proudly upon their throne with adoring subjects looking on.

Free flowing and aggressive, ‘Clockwork’ holds immediate power. The kind that lifts you of the canvas and fully recharges dreams. The heavenly backing vocals and spirally psyche guitars serve Tom Hurdiss’ vocals as they explode into euphoria.

Glass Violet are not only on their way to big crowds, they are reigniting the idea that, a working class hero is still something to be.

Andrew Cushin - Waiting For The Rain

Newcastle’s Andrew Cushin is back with his new single ‘Waiting For The Rain’. Cushin originally wrote this as a 15-year-old and has worked this up during lockdown.

With nuance deteriorating and misunderstanding rife, Cushin’s moment of personal reflection is a welcomed step back from the affray. Utilising the defiance of Richard Ashcroft’s ‘They Don’t Own Me’ and the melancholic beauty of Johnny Greenwood’s ‘High and Dry’, he allows the world to contemplate what truly matters.

His soulful vocals will linger on your heartstrings. More polished than his new best mate Noel Gallagher’s, but, equal in their ability to create an aching sense of escapism. Coupled with the lyrics about a family argument he ran out on as a child to his best friend, and something truly special is materialising.

Fontaines D.C. - I Don't Belong

Dublin’s Fontaines D.C. returned this month with ‘I Don’t Belong’. It’s the opening track from their forthcoming album ‘A Hero’s Death’ – out July 31 via Partisan. The video was directed by the band’s bassist Connor Deegan III.

Consciously ignoring the resounding comeback album, they have tapped into a lo-fi Seafood meets Idlewild sound.

The song details both heroic and moronic cases of isolation. The first verse recounts the tale of a principled soldier rejecting his medal of commendation. The second verse shines a light on the bloke who erupts violence in the pub and can never be talked down. For the second verse, frontman Grian Chattan donned his Daniel Day Lewis hat and had a few beers before recording to emphasise the protagonist’s lack of clarity.

In an epoch of short careers, their emotive lyrics and innovation in drawing people’s attention are surely the blueprints to longevity.

*Image courtesy of Pooneh Ghana

Argh Kid ft Isaac Taylor – Dickhead DNA

Manchester’s Argh Kid, in the wake of the descent of the far right on London, wrote and recorded ‘Dickhead DNA’ in three days. Accompanied by Isaac Taylor, ‘Dickhead DNA’ is available on Bandcamp, alongside a powerful freestyled spoken piece about George Floyd and Argh Kid’s lived experiences in Manchester.

Vocally nestling in alongside Jason Williamson, Tom Meighan, and Preston Samuel circa ‘Brassbound’, this polemic offers up Specials-esque dub and spiky basslines from Arctic Monkeys debut. It culminates in all the great sounds of Britain’s counter-culture standing up for what’s right.

Unsurprisingly, the lyrics take aim at the Trump-supporting, sieg heiling all lives matters delinquents who equate patriotism to far-right nationalism. Undoubtedly, humanity needs bringing together right now but lines in the sand must be drawn and Britain First types shall not cross Argh Kid’s.

*Image courtesy of Rocklands

IDLES – Grounds

Bristol icons, IDLES, are back with their new single ‘Grounds’. Taken from their upcoming third album ‘ULTRA MONO’, and, will be released 25th September via Partisan Records. Produced by Nick Launay (Nick Cave, Yeah Yeah Yeahs, Arcade Fire) in Paris, does this mark a brave new direction for the band?

Their unique punk fury has dissipated but, their power has grown immeasurably. Frontman Joe Talbot, speaking of the track said:

“We wanted to make the sound of our own hearts’ marching band, armed with a jack hammer and a smile.”

Unifying society has never sounded this destructive. When Pulp called time on the Tories in 1996 with ‘Mis-Shapes’, it was ecstatic and exhilarating. IDLES have binned the clarion call and delivered a violent reckoning.

Despite lacking their usual energy, this single marks their entrance into a more thoughtful sonic realm. It has a vastness and a breath taking power they haven’t matched before. Roll on September.

*Image courtesy of Tom Ham

CALM - Is There Anybody Out There? / Something Changed

The DIY indie five piece are back with a double a-side ‘Is There Anybody Alive Out There?’ and ‘Something’s Changing’. CALM wrote both songs in lockdown and, was produced in Adam James’ (lead vox/guitars) bedroom, they both look at the effects on the human condition during covid19.  

‘Is There Anybody Out There’ is straight out of the pop masterclass book of Blossoms and the tropical vibes of Riscas. Every note is determined to be the pop hook that you fawn over. James’ vocals sit somewhere between Ride’s Andy Bell and Mark Gardner but, have the emotive immediacy of Night Café’s Sean Martin.

‘Something Changing’, indebted to Blossoms’ debut ramps up the intensity and takes a wander with DMA’s ‘Life Is A Game of Changing’. The synth driven anthem seeks to grasp the reflections of the Western world at present. They manage to reel in seismic discourse quite neatly but, poetically, this record sounds out of control.

Check back hear Friday 26th June to hear both tracks.

The Spitfires – Life Worth Living

The Watford three piece are back with their fourth album ‘Life Worth Living’. They have been an underdog success story for the past decade, selling out small venues nationwide with minimal backing. Having signed to Acid Jazz Records and, having Simon Dine (Weller’s cohort on ’22 Dreams’, Wake Up The Nation’ and ‘Sonik Kicks’) at the helm in the studio, they have said backing, can this be their entrance into the mainstream?

The Spitfires have been heavily indebted to the UK’s counter culture greats to date, especially The Jam. With their new high end mod backing, ‘Life Worth Living’ hasn’t ripped this formula up, it has seeked to enhance. ‘It Can’t Be Done’ merges the musketeer spirit of The Libertines’ ‘Fame and Fortune’ and the indie-dub of Hard-Fi’s ‘Cash Machine’ before unleashing a grandiose Blur-esque piece of orchestration.

There are moments of pure carnival spirit on the record which, keep the aforementioned archetypal sound fresh. Title track lacks a killer hook but, few parties would lose out from this unifying ska. Whereas, ‘Start All Over Again’, truly brings the party fire. The bombast of Spencer Davis Group and the majesty of Weller’s ’22 Dreams’ (the song) combine on this aggressive slice of funk and soul.  

Certain tracks, despite sonic advancement, diminish in power. ‘How Could Lie To You?’ departs for Tom Clarke glory but, never arrives. Meanwhile, ‘Kings & Queens’ is a bit flat.

This all pales into insignificance on ‘Have It Your Way’. The eloquence of George Harrison’s guitars, take the hand of Cornershop’s playful production, and dance like inhibited lovers. Often, The Spitfires offer you all their righteous glory in one verse. Here, they utilise the subtle build to perfection. The Johnny Marr via The Jam circa ‘The Gift’ solo leads the album to it’s one true moment of ecstasy.

‘Life Worth Living’ is not going to catapult The Spitfires to mainstream. However, there is a notable stride forward in musicality. It almost feels like another debut album. IF they can continue in this vein, they are sure to marry up their working class hero story telling with top draw musicianship.

*Image courtesy of Tony Briggs

The Maitlands – Where Did It All Go Wrong?

Manchester’s The Maitlands released their latest single ‘Where Did It All Go Wrong’ last week. Recorded back in Janaury 2020, it is another single set to take on a new life of its own during the Covid19 pandemic.

With the ambition of Spector and the destruction of Ist Ist, The Maitlands are back. They’ve conjured another set of massive sounding riffs that traverse euphoria via the darkness. Detailing the digital race to the bottom should be a bleak affair but, they manage to find the human touch that is sure to resonate.

At the heart of this connection are Carl L. Ingram’s vocals. Switching from aching beauty of Matt Berninger (The National) and pop bombast of Harry McVeigh (White Lies), he manages to land some massive emotive punches.

The single excels in creating drama. The booming psyche guitars against the backdrop of modern technology in the hands of the greedy, creates the us versus the world mentality this generation is facing. Maybe

Bugeye - Ready Steady Bang

South East London’s Bugeye are set to release their debut album ‘Ready Steady Bang’ on July 10th. Produced by Paul Tipler (Idlewild/Elastica/Placebo), it will be available via Reckless Yes.

After their line-up changes and signing to Reckless Yes, their quality levels soared. They began taking risks in the studio with Tipler and, they went from a band who worth a trip to Camden to, one with an eagerly anticipated album.

Staying true to themselves, their archetypal sound remains the bedrock of this album. Former single ‘Don’t Stop’ takes the fury of The Pixies and the pop of Blondie on what is, the definition of a sexy as fuck record. ‘Breakdown’ and ‘Shake and Bake’ both open with the warped seaside synths of The Horrors’ ‘Primary Colours’ before descending into a tale of debauchery. Meanwhile, ‘Blue Fire’ collides the funk of Chic with the dirty garage rock of The Strokes

Despite the musical influences of the US flooding this record, there is something quintessentially English at play. Cynical and dark relationships with booze and partners are often at play. ‘When The Lights Go Out’ launches you into the middle of a tale of alcohol torment via Supergrass circa ‘Life On Other Planets’. ‘Nightlife’ is an unreleased Blur gem that swirls in the haze of weekend escape.

On ‘Sunday Monday’, they have added themselves to London’s pantheon of socially observant writers. The wit of Albarn, the integrity of Weller, and the effortless cool of Frischmann are all present on this instant classic.  

Often, debut albums are a myriad of influences and a sign of what is to come. Bugeye though, having been touring places like the Astoria since 1999. Despite the long hiatus, they have hit an undeniable groove that DM’s are begging to stomp along to.  

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.