The Other Ones - The Other Ones

London's The Other Ones released their self-titled debut album at the end of February. It's now available on Reckless Yes Records.

No matter the discourse, they lay their souls bare on what shapes up to be the most honest record of 2021. 'On Top of Me' gets to grips with the everyday struggles of anxiety. The relentlessness of the guitars add layer upon layer of mental stress to the protagonist. However, slicing through the tension is a chorus to rejoice in. As singer Steph decrees “it's getting hard to breathe / everything is on top of me”, you'll find the unlikeliest of couplets to throw your arms aloft in jubilation!

'Out of My Head' explores the torment of a breakup that still lingers in the heart and mind. All should approach with caution as the line “I look in the mirror and wonder I lack”, will drop you to your knees. Meanwhile, on 'Money', they tackle long-term relationship apathy with behemoth guitars. Boredom never sounded this great before!

Away from the gut-wrenching honesty, they remain confessional but, with a more nostalgic tinge on 'Forever Young' and 'Wasted Youth'. The former is particularly poignant covid preventing society from forging new memories to cherish. The Other Ones have expertly delivered the youthful exuberance where anything felt possible here. The goth guitar solo lifts their musicality to another plane and finesses the sentimental outlook. However, this is a band on a journey and, in the closing stages, they ignite another solo which is rock 'n' roll's bombast at its finest. It lights up the album with a blank canvas for their souls to fill with colour once again.

'Wasted Youth', with its hellish riffs pulsating basslines relives the formative rebellious years as though it was a diary entry until the euphoric present-day ending. The gear change to at the end becomes a heart-warming note to a younger self whereby, all the chaos, mistakes, and dissent are encouraged. Anything less is an insult to youthfulness.

This album is the kind of which young souls should obsess over every lyric and pour over the inlay. It's one to reawaken the angst and become a dear friend to any older jaded souls too. Intelligent, raw, and emotive, it doesn't just tick all boxes, it shatters them!

*Image courtesy of Keira Anee Photography

The Clockworks – Feels So Real

Galway's The Clockworks, now based in London, returned last week with their new single 'Feels So Real' . Released via It's Creation Baby, it was recorded at Unity/Aquarium Studios and was produced Michael Rendall.

The delirious noise and confusion of early Libertines house parties pervades the brooding guitars whilst James McGregor's lyrics and vocals, recall the poetic punk prose of The Rakes' Alan Donohoe.

Their move to London has come alive on this record. The sound of being young, lost, and furious has reawakened dreams of Albion with their razor-sharp social observation. Although stylistically different, their integrity is on par with Doherty, Barat as well as Brett Anderson. Like the aforementioned, their move to London has ignited poignant insights into the culture and crucially, the people of their new home. A rejection of greed is contrasted with the struggles and deprivation many endure is put back in the spotlight and it couldn’t be more necessary.

This feels like a watershed moment for the band. The music, the lyrics, and the intensity have all gone up a few notches and now anything feels possible for this band.

MOSES – Move On

London outfit MOSES have returned with their new single 'Move On'. Collaborating again with producer Gavin Monaghan at Magic Garden Studios, the single is released today.

The song opens with the epic line “this road in my way / it’s my whole life”. Thoughts of their defiant debut album immediately return. However, sonically, they're back with a brand new sound to match their romantic spirit.

Indebted to Foals' career defining 'Total Life Forever', they take their tales of love and rejection to vaster landscapes. As a result, the opening line becomes embittered as much as it embraces songwriter Victor's affinity with euphoria.

The move away from bombastic punk hooks to a groove-based style feels well suited. In closing stages, there are attempts to align said grooves with their early, more robust sound. This avenue is one which, if they land successfully, conjures images of bigger and more raucous live crowds.

*Images courtesy of Mike Radulescu.

There re-arranged tour dates are:

21/08 London, The Grace

03/09 Birmingham, Sunflower Lounge

09/09 Brighton, Prince Albert

18/09 Manchester, The Castle

25/09 Leeds, Lending Room

https://www.ents24.com/uk/tour-dates/moses-2

Model Society - I-Spy

London’s Model Society recently released their new single ‘I-Spy’ via Kitchen Disco Records.

Sha na na naaing its way to the hearts of a nation of dr martens wearing Buzzcocks loving freaks. It’s has a wonderful British sense of rebellion. Snarling positivity from the sarcastic wit of sweat-filled gig venues,  they’ve drawn a line in the sand.

This isn’t just a battle line being drawn. It’s the big reset that didn’t come with Rishis’s sopping wet speech in the week. Model Society have presented us with a blank canvas to reinvent this treasured isle of arts, rebellion, and working-class glory.

Their first draft comes equipped with the punk we’ve known and loved for the past 10 years. It also follows last year’s ‘Are You For Real?’ with another sublime solo. It cuts through with rip-roaring ease. It’s desperate and intense, as though Theatre of Hate hired Graham Coxon!

With reality and community on the horizon once more, let Mode Society guide back to the good times.

A. Smyth - Last Animals

Having recently featured in our New Band Spotlight section, Dublin’s A.Smyth picked up attention from none other than Badly Drawn Boy. In the intervening weeks, his debut album ‘Last Animals’ has become greatly anticipated. It’s released Friday 19th February via Lover Records.

‘Last Animals’ will be available on his Bandcamp page.

Smyth’s vocals instantly draw the delicate genius of Elliott Smith to mind. The crispness of ‘Rainy Boys’ and the evanescence of ‘Say You Won’t Mind’ in particular recall Nebraska’s lost great. Neither lends themselves to parody though. ‘Rainy Boys’ roams picturesque scenery as a gang with Steve Mason clutched to their hearts. Whereas, ‘Say You Won’t Mind’ has a warmth and charm akin to King Convenience.

However, it would be amiss to focus on just this similarity. On ‘Yeah You Said’ and ‘Don’t Let Me Down’, Smyth taps into the heart and aching lustre of Jackson Browne with elegant, modern twists. The former, loaded with great piano hooks, traverses life, love, and meaning with splendour and freedom not seen in a generation. The introduction of distorted guitars and twitchy synths raises the title to the fore. A sense that, no matter how much we’re told about life’s simple beauties, a journey and struggle must be undertaken to discover this. Meanwhile, on ‘Don’t Let Me Down’, Badly Drawn Boy’s playfulness combines with the energy of The Shins to conjure images of youthful love affairs stretching across endless summers. Browne’s spirit arises once more during the solo. It blasts across the horizon briefly and intensely, as only young love can.

‘Last Animals’ begins to transcend its influences on ‘River’, ‘When It Calls’, and ‘Me and My Old Man’. ‘River’, pulls from Van Morrison, Smith, and Neil Young but, has a unique and mesmeric meandering quality. The ethereal ‘When It Calls’ has an effortless beauty that Ryan Adams tormented soul wishes it could still unlock. Then, somehow, Smyth has found a solo sound that nestles in-between the maverick blasts of Young and wrenching blues of Jack White. The closing stages, allow for one of the album’s genuine singalong moments but, as he decrees “I feel the river in your heart / I know the thunder because I feel it too”, you won’t be uplifted. Despite his pop sensibilities, images of lonely drunk nights howling these lyrics into the night will formulate.

Then, on ‘Me and My Old Man’, Smyth achieves something remarkable.  Smyth lays his soul bare whilst reflecting upon his relationship with his dad. His smoky Ryan Adams-esque vocals carry this emotive tale to an almost Pixies-style rage. It is, during this rage that he introduces his father into the narrative. Recounting a troublesome night out and the anger upon return.

There is no doubting the quality of ‘Last Animals’. It’s awash with the characteristics of great songwriters past and present. Perhaps, at times his vocals don’t find their distinct voice but, to tales this good, does, should, anyone care? The vibrancy of ‘River’ or the romanticism of ‘Hero’ for example, should be enough to carry the weariest of souls through these trying times.

Girl Friday – Earthquake

L.A.’s Girl Friday have come flying out of the traps in 2021 with their new single ‘Earthquake’. Produced by Norm Block, it will be the new single from their album ‘Androgynous Mary’.

A stinging piece of punk rock that demands attention! They evoke the Riot Grrrl fire of Bikini Kill and Veruca Salt to a level that, frankly, makes the early 90s scene redundant. Percolating among the vicious storm of vocals and guitars is the playfulness of Generation X’s ‘Dancing With Myself’ and the hypnotic drama of L7.

Unsurprisingly, this blast of punk is a tale of liberation. They’ve embedded a belief and desire to cause an uprising that usurps the Arab Spring! Even though sonically, it’s as direct a record as you’ll hear, there is a universality at play that allows for personal traumas to formulate around their fire.

‘Androgynous Mary’ is out now via Hardly Art Records.

Lucigenic – Hope

Manchester supergroup Lucigenic are set to release their new single ‘Hope’ on the 19th of February. Recorded at Far Heath Studios with producer Mike Bennett (The Fall & Ian Brown) and engineer Angus Wallace (The Fall) it is taken from their debut EP (EP 1).

The band are made up of Lucy and Gary Wyatt, Simon Wolstencroft (The Fall/Ian Brown), Dave Barbarossa (Adam and the Ants/Bow Wow Wow/Republica), Mark Refoy (Spiritualised/Spacemen 3), Steve Etherington (Rubettes/Sisters of Mercy), Mark Woolfenden and Chris Toole.

Wyatt’s vocals are a joy to behold from start to finish. At points, there are flourishes of Bowie and Patti Smith. Then, when she really lets go, both her and the sonic combine to recreate the magic of JJ72’s ‘October Swimmer’.

Feather-light production and delicate guitars shimmer across shoreline like paradise coming into view and, who can say they don’t need that right now. When they deploy an injection of tempo, a warmth will rush up the neck as ripples of joy keep on coming.

Despite the supergroup status, there are no egos at play here. There’s a recognition that Wyatt’s vocals are iconic and all has been done to make them soar. It’s an effortless piece of music and, one that eases the misery and must be savoured.

 *Video/Photography by Jim Solan at ‘Wolf Films’

L.A. Witch – Motorcycle Boy

LA punk trio L.A. Witch released their second album ‘Play With Fire’ last August to critical acclaim. They are back with a scintillating video for the track ‘Motorcycle Boy

Cat’s Eyes 60s girl group pastiche meets the outsider rock ‘n’ roll of their label mates (Suicide Squeeze) Death Valley Girls on this Hopper/Fonda inspired gem. Aloof, sexy, and dangerous, they traverse ‘Easy Rider’ and ‘Wild One’ landscapes with the effortless cool of Nicholson and Brando. Backed up by the instantly iconic video, L.A. Witch have found a way to move their punk sound forwards with distinct and rebellious integrity.

The guitars are simply divine. Freer than any BRMC track, beefier than The Byrds, and cooler than Steppenwolf, they are set to titillate even the sourest of souls! If like us, you missed the album, dive back in and let its magnificent wash away the February blues.

*Image courtesy of Marco Hernandez

My Raining Stars – Mirror

Alaska is perhaps the unlikeliest place for a band indebted to Creation and Sarah’s Records to emerge but, in My Raining Stars, the indie flag is flying high. Their latest single ‘Mirror’ is from their ‘Obvious Reasons’ EP released last November.

Many look those labels for inspiration, few can say they take from the angelic side of Creation and the harder edges of Sarah’s Records. It’s often vice versa and becomes a poor rehash. However, My Raining Stars have successfully revaluated the era to carve out a tiny space of the record shelf for ‘Mirror’.

The cuteness of Ride’s early work and the pop genius of MBV’s ‘Soon’ collide with the spirited noises of Brighter’s ‘Does Love Last Forever?’ and Gentle Despite’s ‘Darkest Blue’. Inevitably, it creates a beautiful sound but crucially, it has momentum and positivity. It goes beyond aching introspection and finds a space for hopeful romance.

Their EP ‘Obvious Reasons’ is free to download on their Bandcamp page and, on this showing, is well worth exploring.

The Crayon Set – Moment

Dublin outfit The Crayon Set have released their new single ‘Moment’. Taken from their forthcoming third studio album ‘Downer Disco’.

The array of vocals here is nothing short of breath-taking. The infectious and sweet nature of Suzanne Vega, Chvrches, and Roisin Murphy infiltrate the various lead and backing vocal deliveries. Often, with so many twists and turns, there is no room for the music to breathe but, here, everything is dreamily laid out for you to adore.

Despite cherry blossom pop of the vocals and synths, depression and anxiety loom large:

“Can’t get out of bed / There’s evil voices in my head / Now the wolves have been let loose”

If anyone writes a more devastating chorus of ‘it only takes a moment, to say goodbye’, this year we’re not sure anyone’s heart could recover from the pain. To wrap it up with so many pop hooks is a masterclass of songwriting. One that will surely elevate them towards the greats!

The five-piece have set the bar incredibly high for their upcoming album with this masterclass. If the rest of the album can be within touching distance then, we’re in for something truly special.

Apollo Junction – On The Ropes

The Leeds outfit recently returned with their new single ‘On The Ropes’.

Unashamedly ambitious, it struts and beats its chest like a primordial god! Integrity becomes a tightrope to walk in this style but, they remain righteous as they channel the kinetic fizz of Kasabian and glam-wielding stardom of Miles Kane.

The song builds to such a colossal climax that, you’re left with something more bombastic than their aforementioned icons. It’s brazenly chest-out but, laced with character dissemination to keep it grounded and thus, is easy to clutch to your heart.

Eighteen months on from their debut album, Apollo Junction have accelerated their songwriting skills. Their second album, on this offering, is not one to miss.

*Images & Artwork courtesy of https://weareboutique.co.uk/

Oli Swan – All My Friends Are Lonely

The legendary Fierce Panda Records latest signing Oli Swan, has released ‘All My Friends Are Lonely’. Hailing from Suffolk and based in North London, Swan will release an EP of the same name on April 30th.

Classic pop song-writing is infused at every turn here. If the Travelling Wilburys were to make a laid back glam record, this would surely be it. Swan has a playful sense of Tom Petty about him on this coming of age tale.

Lyrically, Swan paints pictures of inbetweener aged dreamers and schemers. As he decrees “all my friends are losing / ain’t no choosing / ain’t no easy around it”, groups of young outsiders will look upon failed nights out and botched creativity wryly.

“Friday night when we’re drinking” is as a great a closing line as you’ll hear this year. For life’s underdogs and outsiders, dreams, and plans being unhatched rush to the fore. This could be the weekend we get laid, the band get signed, or get served in the pub!

Oli Swan · All My Friends Are Lonely

Paragon Cause – Making Up For Lost Time

Ottowa’s Paragon Cause kick their 2021 off with ‘Making Up For Lost Time’, the lead-off single from their upcoming album ‘Autopilot’. Aiding and abetting their adventure in the studio was, none other than The Ravonettes’ Sune Rose Wagner.

The single is available to buy on their Bandcamp page.

They have taken the noise and distortion of the Mary Chain and infectious indie-pop of Veronica Falls, Vivian Girls, and Dum Dum Girls to conjure a great juxtaposition of regret and positivity.

Michelle Opthof’s infectious vocals summon the angelic majesty of Alvvays’ Molly Rankin and The Concretes’ Maria Eriksson. Not settling to be just another indie-pop band though, the duo channels this tale of looking back at a “prick” of an ex through the power of fuzzed-up production. It gives their great pop instincts a different dimension to adore.

During lockdown (all of them), it’s been inevitable not to look backward. Anyone who hasn’t reflected upon past relationships is frankly, a sociopath. So, to hear their verses riddled with jealously is heart-warming. To hear it countered with the chorus of “making up for lost time” though is inspirational. They’ve laid their soul bare and in doing so, they have found a blueprint for us all post-covid. One life, live it!

Sunstack Jones – Golden Repair

Liverpool’s Sunstack Jones have released their fourth studio album ‘Golden Repair’. It was recorded and engineered by The Verve’s Simon Jones and produced by Paul Den Heyer. To date, they have been a strikingly consistent band but, is now the time they add the magic?

‘Golden Repair’ is available to buy on their Bandcamp page.

For the most part, said magic is in abundance. ‘Where You Gonna Go’ is a classic Brian Jonestown Massacre forgot to write. The time spent in the studio with Nick McCabe (on the self-titled third album) and Simon Jones has paid dividends. They have a sumptuous ability to emerge languidly from a 3am fog into a morning sun full of George Harrison’s romanticism. It would be a perfect song if it just ambled by but, guitarist Lorcan is clearly in a special head-space, summoning McCabe’s mesmeric fire in the closing moments.

The former single ‘How It All Went Down’ embeds their love of the Canyon scene with lush harmonies alongside ‘Champagne Supernova’ guitars. Maybe this is where we were when we were high? The album’s most angelic moment comes on ‘Distill’. The guitars bridge the gap between The Verve and Lindsey Buckingham, a bridge well worth traversing. The essence of The Coral’s work post-Ryder-Jones looms as the vocals and lyrics subtly deliver an infectious melancholy.

A different but no less substantive power emerges on the title track and ‘Seams’. The former takes Jack White out for a joyride and meets Manassas at a debauched party. It’s a feverish and smoky blues powerhouse that Peter Green is surely smiling down upon. Meanwhile, on ‘Seams’, they unleash the album’s most direct moment. Newcombe’s vitality collides with Richards and Stills in a dead-end bar to produce some spiralling magic.

Clearly, a penchant for the West Coast legends is at their core. However, there are flourishes of Peter Green’s devilment, Harrison’s sweetness, and the spaced-out power of Aphrodite’s Child spliced in. They take ‘Golden Repair’ beyond pastiche to a higher plane. There are, at points, distinct moments of The Verve’s majesty too which, if they could match their unbridled desire, well, who knows where that could take this special band.

The Lottery Winners ft Frank Turner - Start Again

The Lottery Winners have hooked up with punk-folk legend Frank Turner to release the new single ‘Start Again’. The band recorded their part at Giant Wafer Studios in Wales whilst Turner delivered his vocals digitally.

28 days into 2021 and frankly, what’s the point right? Who has energy for anything? Energy for what exactly? Well, not The Lottery Winners and, not national fucking treasure Frank Turner! If this single doesn’t drag you to the brink of changing the world, nothing will.

In the backdrop of Trump being made to look the total cunt that he is, and vaccines breeding hope into society once more, The Lottery Winners have unearthed a blistering piece of euphoric punk rock music.

A tale of leaving the past behind is hard to difficult to grasp from the confines of your bedroom, except, this is where all the great ideas began. Write them, film them, sing them, anything! This world is still there for you to paint with colour, is there for peace to be harnessed in. Get up and start again!

The Coral – Faceless Angel

Merseyside’s favourite sons, The Coral, have returned with their first new music in three years. ‘Faceless Angel’ is the lead-off single from their upcoming double album ‘Coral Island’. Recorded at the legendry Parr Studios in Liverpool, it marks the five pieces next adventure in pop-cum-psychedelia. Will it stack up?

With the swagger of Duane Eddy and the beguiling pop of Lee Hazlewood, you bet your life it stacks up. Johnny Cash’s abrasive licks are met with James Skelly’s iconic vocals. Cool, crisp and indebted to the 60s (and Wirral), Skelly tells tales of forlorn seaside towns and the characters within, whose identities, fade into obscurity.

The Horrors classic ‘Primary Colours’, brought the wild and dank side of the British coast to life. Here, The Coral have painted the fall out of those heady days. Melancholic and despairing, alive but not living, they conjure the images of grey landscapes trapped in yesteryear.

It’s nineteen years since they burst onto the scene with their debut album. They show no signs of slowing down creatively.

Darling Boy – Tea Drinkers of the World

Darling Boy is the creative machinations of multi-instrument Alexander Gold. Having already featured in bands with Carl Barat, films with Topper Headon, and musically directed the All or Nothing musical, Gold is already a star. His latest gift to the world is the single ‘Tea Drinkers of the World’, released on January 29th.

Not many singles can profess to encapsulate the last twelve months and remain euphoric! It’s balled up the hyper emotions of the Covid19 era and batted them away with ecstatic alt-pop joy.

Jagged riffs throb their way to your heart before the synths melt all cynicism away. Elements of Coxon and Super Furry Animals lurk but, this as fresh rock music has sounded, in a generation. It climaxes with thunderous guitars and a screeching cacophony of guitars, illuminating the desperate need to escape the wretched maze we find ourselves in!

This single has it all. Anthemic lyrics, raw emotion and bombastically pounding along at under three minutes. It’s not just what we need, it’s what the human race deserves. It’s less a cuddle, more the intense embrace we know is waiting for us out there.

Redux – Ozzga

Released back in November 2020, ‘Ozzga’ is a  three-track EP hailing from Filipino shoegaze outfit Redux.

You can buy the EP on their Bandcamp page.

There is something oddly heroic about this EP. Little fragments of sound shift gear to signify the good will out. On ‘Zurg’, with MBV’s heart reverberating throughout, they touch upon defiance we could all use right now. Adversity keeps on coming but, their guitars howl back, providing the merest of lights through storm-filled skies.

Meanwhile, on ‘Always’, the drama is intoxicating. A sense of now or never for humanity emanates from their colossal soundscapes. They’ve taken the fragile majesty of Ride’s ‘Vapour Trail’, pissed it off and it’s come back fighting to save our souls.

‘I See When’ launches with LCD Soundsystem’s ‘All My Friends’ riff gently wobbling alongside MBV circa ‘Loveless’ vocals to a short, cinematic, and heavenly noise.

This highly emotive EP needs to be the beginning of a far-reaching album to carry through this year!

Columbia – Waiting For You To Believe

Cardiff’s Columbia have released their latest single ‘Waiting For You To Believe’. Recorded at Kings Road Studios, it’s taken from their upcoming album ‘Embrace The Chaos’.

Decadent guitars join forces with the most robustly defiant vocal you’ll hear this year. In frontman Craig Lewis, there is a raging bull smashing away at the gate for freedom. Not many can carry the devilment of these guitars, in this instance, the guitars just about latch on to his behemoth spirit. When he wrenches ‘took too much and took it again’, the dark glow inside you will brighten. Whilst we care for his health, vulnerable but bullish rock stars are a depleted force.

After just ten seconds, a knowing wink comes from the lead guitar. Something special is imminent! Little gold licks flirt their way through this tale of debauchery. Then, from heaven, comes the divine solo. As though Richards’ devilment made its way into Stephen Stills’ soul in his Manassas period. Dark and satanic, it’s escapism at its best!

Their album ‘Embrace The Chaos is due out this Spring. With this kind of ambition and talent, it’s set to be one of the year’s underdog successes.

The Moons - Pocket Melodies

The Moons followed up on 2014’s ‘Mindwaves’ with ‘Pocket Melodies’ at the back end of last year. After rehearsing live at Black Barnes Studio, they recorded it live in one day at Abbey Road’s Studio 2. Also backed with an orchestra, would this new method stack up to their previous work?

Their love of the Beatles hasn’t diminished. Some may see this as a positive, some may not. Through singer and songwriter Andy Crofts though, they have a creative who can summon melody at a snap of his fingers.  

Bass player Ben Curtis described the intro of ‘Rear Window’ ‘something that should be star Steve Pemberton in Inside No.9 and Reece Shearsmith’. The eerie piano intro develops into the albums standout melody. The crisp soul of Weller’s ‘On Sunset’ and the rustic romance of Ocean Colour Scene’s ‘Spark and Cindy’ are given an orchestral lift to something truly special. The chorus glides by carefree whilst, Crofts’ vocals hit a melodious peak that, only Liam Gallagher’s ‘One of Us’ has rivalled in recent times.

The recording of ‘Pocket Melodies’ was ostensibly working up unfinished songs from the back catalogue. Despite this, their brand of tuneful melancholy brings with it, a narrative of yesteryear and, on ‘Tunnel of Time’ (co-written with Weller) and ‘Where Are You Now?’, the lyrics accompany the sonic.

The former takes stock of the incredible ride Crofts has been on with The On/Offs, The Moons and Paul Weller. Finding his sense of belonging with bands and mod culture, Crofts has got to see the world and do things most of us could only dream off. However, as the tale’s protagonist drifts through space, a yearning to find a new belonging emerges. The acoustic Lennon strumming collides with sumptuous Mick Ronson solos and stunning orchestration to leave you thinking that family life is the healthy anchor to one’s adventures.

‘Where Are You Now?’ is blessed with George Harrison’s effortlessness and timelessness. Uplifting orchestration ambles on by unto a stunning Moody Blues middle eight. All the while, a child contemplates where a parent who left is now. Pensive but beautiful!

‘Pocket Melodies’ is like a group of friends meeting annually to get drunk. No matter the time apart, The Moons slot right back into a groove of great melody and warming embrace.