Nobodies Birthday – Shattered Dreams

Reading five piece Nobodies Birthday are back with their fourth release of 2020. ‘Shattered Dreams’, released 30th October, follows ‘Bridges’, Drift Away’ and No Place To Hide’ but, can it inspire escapism to the same level?

The Waterfall-esque guitars contrast with Dom’s robust vocals to create a glorious contradiction of shimmering guitars and a lyrical tale of life ebbing away.

There is robustness to this record we havent seen from the band before. There is a personal anguish when he decrees “leave it all behind leave it all behind / I don’t care for consequences” but, it lends the listener a defiance for the times we live in to rally around.

With the winter crashing down on the UK like a horde of White Walkers, Nobodies Birthday have delivered another set of guitar licks to cart you away elsewhere. However, it’s within the lyrics they begin to move to the next level. This tale, often forlorn and heart-breaking offers a hand of the canvas. It’s that flicker of hope we all have when turning the news on, is there a vaccine yet? No, well, maybe tomorrow.

*Image courtesy of Benji Walker

Bradford - Like Water

Blackburn’s Bradford, back in 1988 were handpicked by Morrissey for a support slot and then signed by Stephen Street to his Foundation label. Their wit, charm and kitchen sink drama pop songs were all set to make them the next big thing.

Alas, they found themselves in the unfortunate category of great songs, unfortunate timing like The Claim, The Orchids and Thousand Yard Stare. The aforementioned all returned in recent years and were met with sell out gigs and albums of critical acclaim. In this vein, Bradford have returned with their first original music in 30 years with new single ‘Like Water’.

With Street at the helm in the studio once more, Bradford’s relaunch begins where it left off. Social observations of the highest calibre. This tale of town centre characters is told with heart and never scorns. It’s this integrity which sets them apart. When its twinned with an effortless sonic flow, it becomes a joyous occasion.

Ian Hodgson’s lyrics have been affected by time but, never jaded. As he sings “everybody’s life runs out / like water”, it doesn’t dwell or recoil inwards, rather, they meander with que sera sera in their heart, pondering what might yet occur.

Ewan Butler’s guitars by no means take a back seat to Hodgson’s song writing. They lend the track the maturity it deserves. A sense of outward facing wisdom permeates throughout the crisp licks.

With their new album ‘Bright Hours’ due in 2021, a post covid world is set to see Bradford sell out many a venue with records this distinct and powerful.

Andrew Cushin - Where’s My Family Gone?

Newcastle’s Andrew Cushin is back with his latest single ‘Where’s My Family Gone?’ and, this time he brought his mates. Having forged a friendship with Noel Gallagher after his praise of former single ‘Waiting For The Rain’, Gallagher stepped in to produce, provide guitars and backing vocals. From demos to Virgin Records and supporting Two Door Cinema Club, Cushin’s rise is one of 2020’s music industry success stories.

From the moment took Ashcroft’s modern classic ‘They Don’t Own Me’ and channelled it through Gallagher’s aching,

It was inevitable Gallagher would become a kindred spirit. They share the ability to paint broken and battered landscapes with the merest of chinks of light to sow seeds of hope. ‘Where’s My Family Gone?’ reaches into the heart of Gallagher’s ‘The Dying of the Light’ and ‘Right Stuff’ and pulls out another aching gem.

Where Cushin departs from his idol and mentor is lyrically. Where Gallagher buried his family past, Cushin has opened his heart and, in a time of such despair, is highly welcomed.  

Noel’s influence is apparent to see, the ‘Riverman’ solo illuminates Cushin’s pain and the production begins to paint broader horizons for him to search. The past eats away at the mortals. For the greats, well, they turn into something we all want to follow.

Shambolics - Love Collides

With the world maligned and the arts being sold down the river by the short sighted Chancellor, hope and escapism are drifting out of site. As the dam is set to overflow and surge away for good, Alan McGee’s Creation23 stable is providing the glimmer we all need.

Leading his charge are Fife’s Shambolics. A string of shimmering rock ‘n’ roll meets Big Star singles behind them, they have returned their latest record ‘Love Collides’.

With Marr’s jangle set to drug fueled release, they channel their love of Fleetwood Mac into this sauntering pop gem. Behind the glory of the racing guitars lies a relationship clinging on for dear life. Its fingernails claw at the dirt as life’s pressures damningly swirl above all the while guitars howl with anguish.

Shambolics rise to glory is inevitable. Their effortlessness hits a mid-point ecstatic rush where nothing else in the world matters which, when, in a time when everything matters, might just be the most important thing of all.

Fightmilk - If You Had A Sister

Last Month, London’s Fightmilk returned with their latest single ‘If You Had A Sister’ via Reckless Yes Records.

Having built a solid reputation on the underground as a budding pop punk outfit, this offing marks a big shift in direction but not unwelcome. Lily Rae’s vocals have been a huge hook from day but, now, Stevie Knicks’ stardust emanates from her soul.

This is effortless pop worthy of early Madonna via Wolf Alice, Ash and ‘Tusk’ era Fleetwood Mac. It’s the perfect vehicle for its heavyweight message. Rae eloquently highlights, at best, the casual offense women have to tolerate all too often. Sadly, as the song grows to its crescendo of crashing drums and sublime solo, its apparent this is a worst case scenario of domestic abuse.

This new approach has catapulted their new album into the eagerly anticipated category for 2021. Few can walk the tightrope of integrity and bombast, Fightmilk just took an assured stride onto the said rope.

Theatre Royal - Portraits

Medway's Theatre Royal returned last week to release their fifth album 'Portraits'. Out via Vacilando'68 Recordings, their ebullient pop music has already won high praise from Bonehead, Lammo and John Kennedy.

With life as we know it going round in ever decreasing circles, Theatre Royal's opener 'A Marvelous Death' is a triump of the human spirit as defiance oozes from its pores. With covid making the worst comeback since Take That's tax dodge adventures, the chorus “I wont let the outside keep me in / I don't want the undertaker stealing my sins” is certain to capture hearts and minds. In the same week that Cast's debut 'All Change' turned twenty five, they have channeled it's Mersey beat bombast and drawn a Churchillian line in the sand for everyone to unite behind.

Theatre Royal have so many single contenders across all five albums, you do begin to question them. Have they been taking performance enhancing steroids? Cut them, and they'll bleed pop hooks. The forlorn tale of political homelessness of 'Together We're Alone' is a lost George Harrison classic. Angelic and infectious, it jangles with supreme perfection.

Former single 'TV Blind' is the perfect bridge from their Mersey psyche classic '...and The It Fell Out of My Head' from 2017. Summoning the lusher side of The Coral circa 'Jacqueline', it tantalises you with the threat of a Who-esque eruption but, remains joyously in realms of guitar pop. Frontman Oliver Burgess' vocals sit eloquently between early angelic Liam Gallagher and Ray Davies' wistful 'Village Green' era.

There are moments where they play with psychedelia alongside their effervescent pop. The echoing vocals on 'Count Your Blessings' and sparkling production on 'Splinter' splice in variety that lifts them above most bands. Their adventure in the studio culminates on the sexy 'Callow'. Fusing mod sensibilities with Talking Heads daring. Prepossess idea on paper, landed with aplomb.

Five albums in, they show no signs of fatigue. The hooks keep coming, even Johnny Marr must be thinking “slow down a bit lads”. They instantly forge a path to your heart, but, the key to them is the depth of meaning. Their tales of British life bring the grit and wit of the big screen to life and prove, a working class hero is still something to be.

The City Gates - Siegfried 1969

The single is available on their Bandcamp page.

Canada's foremost post-punk cum shoegaze outfit The City Gates present their latest single 'Siegfired 1969'. The single is taken from their new album, due for release in the autumn on their own imprint Velouria Recordz.

The Cure's Gothic guitars get taken to dank landscapes not even they knew existed on this tale of art in East Germany. The track collaborates with Alexander Donat (Vlimmer, Whole & Fir Cone Children) and Francis Nothingwater (La Mecanique). Donat's grandfather was a famous pianist during the cold war era and it is he who is being compared to the Berlin Wall during this colossal noise stomp.

Despite their Canadian roots and German origins, at points, the warped thrust of Middleton's The Chameleons cut through its industrial power. The closing stages ignite into a brooding Depeche Mode via White Lies fire cracker that is simply undeniable; an astonishing force of pleasure.

If only all collaborations were like this.

*Image courtesy of Renee Coutlee

Order of the Toad – Lady's Mantle

With their second album due out this autumn, Order of the Toad have returned with their lead single Lady's Mantle. Released via Gringo Records and Reckless Yes, it is digitally released on all platforms now.

The supergroup of Gemma Fleet (The Wharves) and Robert Sotelo (Upset The Rhythm) and Christopher Taylor have returned with their unique styles to traverse topics such as past lives, conception and fate.

Gloriously pastiche, they evoke the Syd Barret, Fairport Convention and Jefferson Airplane on this exploration folk-cum-psyche adventure. Yet, via Fleet's vocals, they manage to fresh enough to warrant the alternative music lover of today's attention. She splices in punk of her label mates Bugeye and a resilient but cute level of pop heaven.

Definitely ones to look out for this fall. Their music is available on their Bandcamp page.

Black Needle Noise – She Talks To Angels

The single is available on their Bandcamp page.

This Mortal Coil's John Fryer has teamed up with Anjela Piccard on his side project Black Needle Noise's latest single. The legendary producer (Depeche Mode, Cocteau Twins, Wire) has chosen to cover the Black Crowes classic 'She Talks To Angels' as the first release from the upcoming album 'These Mortal Covers'.

Out go the iconic guitars and income big resounding synths and Piccard's dystopian vocals. The destructive and futuristic sonic heighten the tracks sense of destruction. With Trump's potential re-election in the fall, it highlights the need for people to reflect seriously and emotionally on what that means for science, racism, public debate, press freedom and common deceny.

Piccard's vocals are formidable. Powerful and soulful, they carry the songs narrative towards the cinematic landscapes painted by the Fryer's doomtastic production. Piccard isn't just showcasing a set of lungs though. Inner turmoil and isolation permeate the narrative to excellent effect.

Asylums - Genetic Cabaret

Southend's Asylums have released their third album 'Genetic Cabaret' via their own label Cool Thing Records. After two stunning pop-punk albums, naturally, they stepped into the studio with Steve Albini. Has the man behind the glass for 'In Utero' , 'Rid of Me' and 'Surfa Rosa' produced another collaborative masterclass?

Songwriter Luke Branch, to date, has had moment of superb social commentary on 'Millennials', 'Joy In A Small Wage' and 'Homeowners Guilt'. Now, he has hit a level of consistency the political mess the world deserves. With Trump's sociopath traits becoming normalised and Boris running from scrutiny, Branch has found a consistent incandescence but always intellectual rage we can unite behind.

In the mire of Trump, Brexit, antisemitism, the rise of the far right in Europe, and ignorance of refugees, Branch received the joyous news he was to be father. This fueled the tension of his rage against the world he bring his child in to.

The thunderous rock effort 'The Distance Between Left & Right' builds this tension. Their archetypal sci-fi punk of 'Adrenaline Culture' creates a space for the politically homelessness to be exasperated. Meanwhile, 'Yuppie Germs' spits out a venomous deconstruction of the greedy Tory 80s tribute act nightmare we've endured for a decade.

Alarmed by the increasing generational divide and its fraught nature, the former single 'Catalogue Kids' (full review here) provides an anthem for the maligned youth of today. Empowering and righteous, it twists The Who classic 'Kids Are Alright' into a clarion call. Get angry. Get poetic. Form a band and strike out!

The raucous sonic subsides, mercifully, on 'The Miracle Age'. Gently shimmering in the shadow of Brexit, it looks for unity and integrity before erupting into Springsteen via pop-punk euphoria.

The album climaxes on 'Who Writes Tomorrows Headlines'. Woody Guthrie and Joe Strummer's eyes will glisten at this, what is, the finest punk sloganeering for a decade. Branch's lament of the press barons who pushed Brexit for their own ends, not the left behind is magnificent. Musically, it's their most complete work to date. The drums ferociously conjure images of outsiders standing their ground whilst, riff magician Jazz Miell strikes gold. His warped guitar parts and solos have found a new level of volatility and infectiousness simultaneously.

The new normal has become a phrase of late. If this album is theirs, the world has new heroes. Vitriolic, defiant, and unifying, Asylums are not their yet but, they've got a monumental stride towards a masterpiece.

Katherine Abbott - Lullaby For Lucas

Katherine Abbott is a singer-songwriter from Stratford-upon-Avon. She began her career by playing working men’s clubs in Coventry and the West Midlands. From humble beginnings, come great things and, her latest single is proof of this.

‘Lullaby For Lucas’ was written about an Austrian opera singer she met walking the Camino De Santiago. Lucas had lost his voice and taken up a nomadic lifestyle. Abbott, borrowing takes from Peggy Sue and Emmy The Great and paints ethereal strokes.

It’s dream like stasis sets the mood for personal reflection on snap judgments we make at the expense of people like Lucas. A lesson that the online world would do well to learn.

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.