The Yellow Melodies – Sunshine Pop EP 1

Despite Covid19. Murica’s The Yellow Melodies have quite the 2020 planned. They are releasing three EPs via Discos Imprescindibles, each containing a cover version. ‘Sunshine Pop Ep1’ is the first of the three EPs and features Scott Walker classic ‘Jackie’.

EP is availble via The Beautiful Music label.

2017’s album ‘Life’ (full review here) was alive with British influences bathing in the sun. ‘Sunshine Pop EP1’ picks up that mantle and runs deeper into the light.

‘Dance Party’, with its Del Shannon ‘Runnaway’ backing vocals and carefree handclaps, is the party starter 2020 desperately needs. Meanwhile, on ‘It’s Good Day Today’, Rafa Skamon’s vocals will deliver you visions of Sice (Boo Radleys) singing ‘Itchykoo park’and ‘Village Green’.

It should come as no surprise that ‘C86 e Indiepop’ is the EP’s standout moment. Forever indebted to that era, they summon the punchy freedom of ‘Anti-Midas Touch’, the adorableness of ‘Part Time Punks’ and the engaging defiance of ‘E102’.

Despite covid19, Trump’s potential re-election and a worldwide recession, The Yellow Melodies will cart you away from it all instantly.

*Image courtesy of Jose Carlos Nievas

Nobodies Birthday – Bridges

At the beginning of lockdown, Reading outfit Nobodies Birthday released double a-side 'No Place To Hide' and 'Drift Away'. On 27th July, they release their next single 'Bridges'.

With their heads in the clouds and their hearts in the stars, they have produced their biggest sound to date. It doesn't land cleanly like the dreamy 'Drift Away' or the rasping 'No Place To Hide' but, it's ambition is heartwarming. Too many strum an acoustic guitar and play it safe with bland melodies. Nobodies Birthday have taken a huge swing and, its not hit the middle of the bat, but it's made solid contact.

To create these vast landscapes without the backing of label money should warrant serious attention. They are right on the cusp of something and we wait with baited breath to see how big it is.

Check back here on release day to hear their rock ‘n’ roll epic!

*Image courtesy of Benji Walker

The Novus – Man On The Bridge

The Novus really stepped up the quality on their last single 'Frosty' (full review here) in February. The Stourbridge outfit returned to the studio with Gavin Monaghan (The Blinders, MOSES, Editors) to record the latest offering 'Man On The Bridge'.

After gigging in London, they witnessed one of Camden's cult heroes. The elder statesman who cuts shapes by Camden Lock inspired them to write this single.

Urgent and undeniable, The Novus have delivered a 00s indie-punk masterclass. The danger of The Rascals locks horns with the riotous Jamie T. What better way to pay homage to Camden's top raver.

Refusing to be just a musical nod to their childhoods, they splice in divine Gothic nuggets which keep the track fresh.

Despite 2020 falling by the wayside, The Novus have lit it up with two great singles so far. Roll on the hat-trick.

The Blinders - Fantasies Of A Stay At Home Psychopath

The Blinders follow up 2018's album of the year 'Columbia' (full review here) with 'Fantasies Of A Stay At Home Psychopath'. Released on 17th July via Modern Sky UK, it was recorded at Manchester’s Eve Studios with producer Rob Ellis (PJ Harvey, Anna Calvi).

Columbia was an intense social reflection that laid bare the uncivil rest in a Trump and post-Brexit world. 'Fantasies Of A Stay At Home Psychopath' catches fire in a similar vein. 'Forty Days & Forty Nights' summons an unhinged Western villain to a blizzard of noise. 'Lunatic' (With A Loaded Gun)' bridges 'Columbia' to the present day perfectly. Anti-Trump rhetoric spews from their gut (“there are children in cages on Mondays pages”) on this fine display of despondent rock ‘n’ roll.

'Fantasies Of A Stay At Home Psychopath' sets out to achieve far more than just punk rock polemic. Enhanced musicality and character-driven songs emerge from the embers of 'Columbia'. The elaborate styles of ‘Tranquility Base Hotel & Casino’ and the romance of Bowie’s ‘Drive-In Saturday’ shimmer with pop glory on 'Circle Song' (full review here).

'Mule Track', inspired by a painting from the Imperial War Museum, disparately uses guitar parts like the Mary Chain to channel shorter but more resonating blasts. As they examine hell on earth as a concept, the twists and turns of Brian Jonestown Massacre unfurl in a whirlwind of drama. Meanwhile, 'Rage At The Dying Light' takes their rebellion for a messed up dance with Phil Spector and Joy Division.

Joy Division emerges once more on 'Black Glass', a monologue of a twisted introvert's descent, they deliver the album's moment of true genius! In the shadow of “no more experts” and an era where the facts can't be agreed on, this song will rattle your soul. The haunting keys sound off like warning signs to the impending doom of Pandora's box being opened. Despite the bilious world we live in, The Blinders conjure a 'The Chain' meets 'Transmission' solo to echo down the ages.

That guitar part alone could be enough to transform their fortune. Their cult status has been given a dose of something more universal but crucially, maintained all of their integrity. The world needed The Blinders angst in 2018. In 2020, with nuance almost extinct, they have begun to sew the fabric of society together again with this eclectic blend.

Sam Valdez - Clean

Sam Valdez has followed up the critically acclaimed ‘Toothache’ with her latest single ‘Clean’.

Drenched in dreampop guitars, Valdez takes The Cocteau Twins for a mournful journey through the desert. Los, but never without hope, she imparts a creative integrity many spend a lifetime searching for.

This tale is seemingly dark as the protagonist descends into a tumultuous state. However, the deliberate nature of the plunge allows the guitars to catch the odd fragment of hope. There is always a sense of emerging the other side a better person.

Perhaps the intense and immersive landscapes of her home state Nevada are informing her writing. Where else is a tale of soulful redemption better staged than the home of Las Vegas?

Her ability to play with light and dark textures in her fledgling status suggests more than just a bright future.

The Holy Knives – Always Gone (Jamie Hince Remix)

New Orleans brothers Kyle and Kody Valentine are The Holy Knives. Their latest single, ‘Always Gone’, is remixed by the legendary Jamie Hince of The Kills.

Frontman Kody, beds his vocals in somewhere between gloomy glory of The National’s Matt Berninger and the husky drawl of Nick Cave. All the while, their guitars re-create the Western styles of Ennio Morricone (God rest his soul) via Portishead’s 4am misadventures.

Instant images of smoke filled pubs and shady characters are built on this single. A bright and cinematic future lies ahead for these brothers.

Siracuse - Forever

Cheltenham trio Siracuse have followed 2018’s ‘Control’ EP with their debut album ‘Forever’. Can they channel the intensity of the EP into the longer format and create a big future?

‘Control’, featured on the EP gives a firm answer to this. Yes. Viscous psychedelic guitars parade as weapons of mass destruction. Frontman, Ben Zakotti has hit a sweet spot vocally, nestling in between Tom Meighan and John McClure. This again occurs on the Twisted Wheel bombast of ‘Into the Night’.  

There are moments where the intensity and enjoyment remain but the originality slips. ‘The Keeper’, melodic and memorable, is, in essence, a Liam Gallagher solo song. Meanwhile, ‘Whirlpool’, was the latter-day stadium filler for Oasis that led to their slow demise. Even on ‘Forever’ and ‘Control’ when they find a fire, it’s too indebted to BRMC and Twisted Wheel alike for them to nudge the rock n wheel towards their identity.

However, ‘Forever’, has an innate ability to make you live in the moment. The wheel is not so much nudged and more skyrocketed. ‘Rebels’ shows Tony McCarroll just how ‘Bring It On Down’ was meant. Will Hall’s launches behemoth gunshots that will reverberate through your soul. Meanwhile, Zakotti’ s guitars are entrenched with a menace that demands attention.

Wall’s drumming again shines bright on ‘Love Stands Tall’. The frenetic pace conjures images of snake bite sodden indie dancefloors bursting into chaos. Zakotti’s astonishing licks capture the ‘There and Then’ era of Noel’s playing via Marr’s disco propensity.

A Primal Scream sense of maturity emerges on ‘Shadow Walkers’. Zakotti nullifies his vocals with lo-fi production and allows the band’s destructive take on ‘Barbarism Begins at Home’. To flourish.

Them, on ‘Loosen Your Grip’ and So Serene’, they offer the album’s true moments of ecstasy. ‘Loosen Your Grip’, vocally, is too reliant on the ferocity of Tom Meighan’s ‘Reason Is Treason’ and Liam’s ‘Rock n Roll Star’. However, it’s wrapped up in a feverish explosion of noise that is sure to create indelible memories.  

‘So Serene’, showcases an ambition and togetherness they can build live sets around. The hazy melancholy swirls until Zakotti’s guitar parts offer a stunning release of tension. No matter how much society regresses, cuts services, and denies a future to the next generation, bands like Siracuse kindle the seeds of revolution we all crave.

Siracuse is not looking to re-event the wheel but, they are looking to reawaken many of rock ‘n’ rolls facets that have been lost of late. Escapist, volatile and integrity will keep you coming back to ‘Forever’. Especially those moments where their identity is at its murkiest. Hope is born in those tracks that, if they can clarify their own vision, then something truly great lies ahead.

In Earnest – Come Upstairs

Southend’s In Earnest are a alt-indie band who write about their experiences with mental health issues.

On their debut single (full review here), Sarah Holburn took vocal duties. It focused on her chronic anxiety and depression. This time round, band member and partner Thomas Eatherton takes the lead.

Eatherton details the difficulties of their relationship with an astonishing honesty. As he describes himself as “woefully unprepared”, desperation floods the senses. He goes on to crush your soul with the line “there is a war in every silence” and then break your heart with “no relief to heal the shame…….no proof that exists”.

Despite this, they utilise cinematic and Celtic folk orchestration to build something sonically rousing. This is coupled with the darkest but most romantic lyrics since The Smiths:

“And if a double-decker bus / Crashes into us / To die by your side / Is such a heavenly way to die”

Eathernet tops this with:

“We could both lock lips / On this sinking ship, watch it all go down / We could seal our fate / On a frozen lake, and just drown”

In a world where mental health services are chronically underfunded, their ability to produce great art from their own turmoil is a triumph of the human spirit.

The Taboos - Innovative Thinking

Hailing from the South of England and forged in East London, The Taboos are back latest single ‘Innovative Thinking’.

With technology’s influence on the human condition creeping further into everyday discourse, the three piece outline their two cents in this violent and fragile piece of indie rock.

Their despondent lyrics and chilling guitars create a world on the precipice of disaster. Sound familiar? With Dostoyevsky’s ‘Demons’ in their hearts, the search for meaning beyond the science.  

Frontman Alex Martin inevitably will draw fans from all quarters. Like Orlando Weeks, he makes sounding epic vulnerable and, when he switches to spoken word, he lands powerful rhetoric.

A bright future lies ahead.

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.