Red Rum Club - The Hollow Of Humdrum

Liverpool’s Red Rum Club follows 2019’s critically acclaimed ‘Matador’ with ‘The Hollow Of Humdrum’. The album is out now via Modern Sky UK.

‘Matador’ hit great highs (‘Angeline’ and ‘Would You Rather Be Lonely?’) but, it also fell flat (‘Calexico’ and ‘Casanova’). ‘The Hollow if Humdrum’ is a different animal altogether. Like a Charlatans album, it’s remarkably consistent throughout.

There is a striking vitality pulsating throughout. ‘Kids Addicted’ is bursting at the seams with Dexy’s pop radiance and the guile of The Coral. Meanwhile, ‘Vivo’ rattles along like a melodic bull in a China shop. In the year Ennio Morricone sadly passed away, it seems fitting Red Rum Club has fused his epic western soundscapes with their brand of punk.

In the past five years, Blossoms have been torchbearers for bands writing bona fide pop classics again. Red Rum Club is now hotly in pursuit with ‘Ballerino’, Eleanor’, and ‘Dorado’. ‘Ballerino’ cuts loose like Miles Kane but, with the more welcoming nodes of Orange Juice. ‘Eleanor’, is beset with the electro-pop romance of Robyn and is the greatest reinvention of a name you’ll ever hear. Whereas, ‘Dorado’ is a turbulent and unrelenting adventure set to ride off into the sunset.

In an era where albums seem to matter less, Red Rum Club has delivered one of the true classic opening tracks. ‘The Elevation’, combines their knack of writing party songs with a rock ‘n’ roll’s desperation to be heard. From the vocal cadence to the synth solo, it solicits your adoration.

‘The Hollow Of Humdrum’ is not a classic but, like a ‘Tellin’ Stories’, Tellin Stories’, ‘A Maximum High’ or ‘Life’, it’s will remain close to the hearts of many for decades to come.

Model Society - Are You For Real?

London’s Model Society have returned with their new single ‘Are You For Real?’. It’s the first from their upcoming EP ‘Entertainment’ via Kitchen Disco Records. Last time out, they delivered bona fide classic in ‘Public Service’, can they pick up where they left off?

Musically, they hit upon the oppressed realising they can struggle and break free of the chains. The guitars are bullish and unifying, but, are clearly in a fight, something we can all relate to.

Lyrically, it seeks to reject those of cultural totalitarian thought. A brave concept in an age where opposing sides seek to destroy rather than engage and enlighten. An aptly timed release with Biden’s election victory in tandem. Neither signifies a bright utopian future but, they are stepping back to consensus building and normality.

This is not the dizzying heights of ‘Public Service’ but, it gleefully sits in its slipstream!

Come At The King - Take To The Streets

London trio Come At The King returned on the 13th November with their latest EP ‘Take To The Streets’.

Here is our track by track review:

Back Around

This aggression shouldn’t have this fluidity, should it? It’s rapidly becoming their archetypal sound. When venues re-open, small gig venues are going to have their faces blown apart from the ferociousness of the sound.

Uniform

This scathing attack is, lyrically, a huge step forwards for the band. Recognisable reference points are flooding the senses like never before. It feels though, like a work in progress still. The lyrics don’t quite match the power of the sonic but, boy, when they do, its going to be a joyous riot!

In My Place

The howl and stomp of Oasis in the pomp collides with yet more progress for the band. This time, their love affair with the Britpop era has started to permeate their work.

As the dank looping ‘Columbia; guitars loop, the guitar parts offer a melodic chink of light like the majesty of Liam “Skin” Tyson’s work with Cast. They hit the release valve at the perfect moment and make you desperate for it to repeat!

Overgrown

This is Come At The King coming of age. The suffering of no-one at gigs is nothing compared to no gigs at all. For the first time, they have used their menacing sound to unite and the results are breath taking.

Wonderful dialectics are at play. Light and dark, slow and fast, hard and soft, they’ve found their golden formula

This is their moment. This emotive wave will scoop you up off the canvas and place you back where it all begun. No matter the failures and hurt getting older brings, Come At The King have shrugged them off to deliver their ‘Live Forever’ and ‘Hey Hey, My My’ moment.

As front man they decree “these streets are ours and they will be forever and always”, lives will flash before eyes. They’ve used this feeling as a dirty rock n roll outpouring of love and everyone should thank them for it.  

The Institutes – All That You’ll Ever Know

The Coventry four-piece have been building a head of steam in 2020. Their escapist dreams ‘Alleyways’ and ‘Heal In Time’ have been championed by Lammo and, led them to sign with 42’s Records. Can their latest single push the envelope further?

With the pop hooks of Gigolo Aunts, they set out on a quest for meaning. Although isolated, they are never beaten into submission. The struggle leads them to the glory of 3 Colours Red’s ‘Beautiful Day’ and Feeder’s ‘Pushing The Senses’.

Andy Hall’s more aggressive guitars have drawn out something more vital from frontman Reid Currie. A desperation to be heard in a world falling apart couldn’t be more apt right now.

The Institutes are a band for right here, right now, and god willing, huge stages in 2021.

Columbia – Fat Catz

Liverpool’s Columbia have followed the up death defying ‘This Life’ and The Verve-esque ‘Nothing Left For Me’ with their new single ‘Fat Catz’.

Emerging from the sewer, ‘Fat Catz’ is dank and dirty, it’s the party you’re afraid of but know you must be at. Venomous guitars from the Manics combine with the viscous but melodic aspects of The Cult. All the while, Jonny Eccleshall’s bass and Jay Culkin’s drums combine on to create the hallmarks of a ferocious dance track. Jagz Kooner and Eddy TM must remix this!

Their third release has once again, sonically, shown off another side to the band. Lyrically though, they remain constant. Their tales of working class life anchor their outlandish tunes and are all the better for it.

Tourists – Another State

Torquay outfit Tourists have released ‘Another State’, the title track from their upcoming debut album (out Nov 20th). Released via Modern Sky UK, it was mixed by The War On Drugs and Diiv cohort Daniel Schlett at his Strange Weather studios in Brooklyn.

The blissful swirling guitars chime perfectly with the Grandaddy circa ‘Crystal Lake’ production. It takes the sun drenched joy of Real Estate to somewhere fuzzier and unbelievably, more carefree.

Sonically, with so much at play, you’d forgive them for sounding muddled but, like a sun setting on still water, they have conjured a simple beauty to marvel at.

For anyone desperate to escape Trump, covid or personal woes, ‘Another State’ is the artistic ticket to elsewhere you have been waiting for.  

The Kecks – All For Me

The Kecks are back with their new single ‘All For Me’. Released on the 23rd October, it once again saw the North West via Hamburg outfit link up with producer JB Pilon.

Sheffield has always produced great romantic song writers. Cocker, Walker and Hawley possess a romanticism tha now, the Kecks are tapping into. ‘All For Me’ unlocks the heart of Pulp’s ‘Dishes’ and Hawley’s ‘Coles Corner’ whilst flirting heavily with Bowie’s Berlin phase.

On the surface, there is enough warmth in the guitars to enrich the most broken of hearts. By the time of the solo, they will be dreaming of their wedding bells. Lurking though, is something more twisted and interesting. As front man Lennart Uschmaan sings of “take off your gloves and lay into my guts” and “you have got to have some stuff”, something darker bonding this love affair is clearly at play.

Uschmaan delivers such affection through his vocals that, you can’t help be sucked into this alternative love story. This is one hell of a return from The Kecks. May it long continue.  

The Lathums - Ghosts

Following last week’s debut on Later…with Jool Holland, The Lathums have released their new EP ‘Ghosts’. Produced by The Coral’s James Skelly (and Chris Taylor), its out now on Island Records.

Here is our track by track review:

I See Your Ghost

This is what the backing of a label can bring to band. They have the freedom to play around in the studio knowing that jobs in Spoons are needed for the rent.

This playful piece has the hallmarks of The Coral’s debut album colliding with the Dead 60s cult classic ‘Riot Radio’. It culminates in a thunderous crescendo, a subtle reminder that they always mean business.

Corporation Street

With jangle of The La’s, vocal nods to The Smiths and the playful side of the Kinks, The Lathums have delivered a sumptuous piece of pop music.

 All My Life

The escapist romanticism of Sheffield’s much missed The Crookes comes out for ponderous walk. Emotive hooks lurk at every corner of this instant soul classic.

Frontman Moore has found a euphoric way to tell the world what its like to be a teenager. The searing intensity and idealism will warm the blackest of hearts this lockdown. The self-belief and self-doubt collide like two heavyweights in the 12th round desperate for the win.

Crowds are becoming a thig of the past but, anthems like this, packed with soul music, are surely the seeds of hope to pull us all through.

Foolish Parley

Moore’s produces his best vocal to date. Sliding from the soul of Kevin Rowlands and to the underdog power of Rick Witter, he is set to become an indie icon!

Musically, again, the essence of their song writing is simplicity but, lurking in the shadows, are nuggets pf psyche and hostility to colour the palette.

Howie Payne - It Feels Like Summer

Back in late August, Liverpool’s Howie Payne returned with his new single ‘It Feels Like Summer’. The former Stands member is on the trail of his new solo album, due early 2021.

With Payne playing all the instruments, it should come as no surprise that this is a deeply personal record. The eerily tranquil opening serves up the expressive failure of the male identity.  

Set after the tough times, Payne utilises jangling guitars and heavenly Scouse vocals will be sonic perfection to fans of Payne. Underlying though is the torture he endured to display his gratitude and affection for those who stood by him in the tough times.

As the big key change lands, Payne delivers the lyric “how can I explain, all the things I want to say”. It will leave many a British man dead in their tracks. Hamstrung by their inability to talk, sometimes even be affectionate to their partners, Payne displays masculinity with supreme probity.

Once through this looking grass, Payne serves sheer ecstasy. Love and warmth ooze from every pore so much that, you’ll look back at those dark times in humble amazement they occurred.  

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.