Shade – Jump Into Heaven

Manchester's Shade recently returned with their third single 'Jump Into Heaven'. It follows the colossal Seahorses inspired 'Head in the Clouds' and Noel key change Gallagher behemoth 'Neverdie'.

Motoring in town like most songs climax, Shade have set their lasers to euphoric motherfuckers once more. It rips apart everything you loved about The Courteeners for a decade and screams, it's their turn now!

Whilst they strive to be above clouds, they beautifully deploy the odd seed of doubt. Those fleeting moments of ambiguity cloud its positivity but, crucially, never cages it. Nothing can stop the hope bursting from the seams.

This is very much a song for the end of lockdown. Jaded souls and tired minds are in need of a paternal nudge back into society and, through Shade's stadium-sized belief and earnest soul, it quickly becomes a welcomed shove.

The Kecks - Tonight Might Be Different / Modern Girls

The Kecks are back with double a-side ‘Tonight Might Be Different’ and ‘Modern Girls’. It follows the dark Hawley-esque croon ‘All For Me’, can this be the catalyst for 2021 the guitar scene needs?

‘Tonight Might Be Different’ is wrapped in the 4am glow they speak off and follows the despair of ‘All For Me’ neatly. Emerging from the wallow comes a purposeful strut that beckons you to follow alongside rather than inline.

*image courtesy of Denis Uhreniuk

With more purpose and heart than ever before they building melody like Pulp at their deranged best. Just when you think it’s polished, it staggers into rocks desperate clutches to become more interesting. Warped like Cabbage but, they’ve embedded wave upon wave of melodies it conjures images of Mick Ronson and Graham Coxon having a debauched but fertile studio session.

Meanwhile, ‘Modern Girls’, is a different animal altogether. Flamboyant aggression pervades every turn of this early Strokes track. Whilst us mortals have lived in continual fear, The Kecks have stared down 'Is This It' and spat it out nastier and heaped on the brutality.

This is the sound of freedom beckoning you to a dark sweat-filled room to let it all hang loose. Smashing your doc martens into the floor, crashing into your fellow man, and letting a righteous love fill the night with endless dreams of possibilities.

Not since Dogs' debut album have guitars meant this much. Cosmic mind-bending punk-fueled fuck you guitars sent from the people to the people. You bet your life this is the catalyst needed!

Charlie Clark – A Bridge to Your Idol

Scottish singer-songwriter follows the sun-drenched success of ‘Don't Have A Cow, Man!’ with a more sombre affair in ‘A Bridge to Your Idol’. Recorded with Jason Shaw (Cambodian Space Project) and Calum Buchanan (The Sea Atlas) it will be the closing track on his forthcoming album.

In the summer of 2020, Clark’s father sadly passed away. This single was written prior to this but, in the knowledge, it wouldn’t be long. The song and the video are poignant testimony to how high Clark (and his family) regarded him.

With such emotion at play, it would be easy for Clark to lose sight of what works for him musically. Tapping into the wistful Celtic of King Creosote, he conjures something eloquently joyful. Through isolated soundscapes and hushed vocals, he has created the silence and distance that come with grief. It goes beyond music, it’s a triumph of the human spirit.

The pain of the opening line “I don’t want to feel like this again” lets out an agony they will stop you dead in your tracks. The crushing despair of waiting for the worse news just pours out of Clark’s soul. It’s a reminder of why music lovers need songs as much as the artist. It immediately takes you to a world you don’t want to visit (or revisit).

Despite the nuggets of despair, it’s a beautiful ode to someone lost. Simple and accessible, after the past 18months, one that I am sure many will clutch to their hearts.

‘A Bridge to Your Idol’ is out now via It’s Creation Baby Records.

Mount Forel – Elba

With members from the US, UK, Japan, and New Zealand, London-based Mount Forel are a truly international outfit. Their second single 'Elba', is taken from 'Small Worlds' released today via Futureproof Promotions.

On this showing, it's easy to see why Tom Waits, Robert Smith, and John Mayall recently gave them praise. The slow psychedelic amble into action brings back all the hope of the Roses 'Breaking Into Heaven' before they take us somewhere far more cinematic.

So often, with emotive psyche guitars dazzling as they do from Ross Thompson and Pete Garner here, the vocals will cool off like Kevin Parker (Tame Impala) or Ruban Nielson (Unknown Mortal Orchestra). Here, Thompson does something truly majestic and matches the power of the guitars. The underrated power of Peter Green joins forces with soul of Plant to conjure something truly spellbinding.

Mount Forel's debut album is out today. Check it out here https://mf.fanlink.to/smallworlds

*Images courtesy of Futureproof Promotions

The Gabriels - We

The Midlands four-piece follow up on their stunning debut single 'Loose Canyon' with 'We'. Recorded in 2020, can it stand up to their fine start?

You can buy the single on their Bandcamp page.

The scintillating guitars of 'Feel A Whole Lot Better' saunter across West Coast landscapes with ease and an elegance that is simply undeniable. Splicing in Gene Clark's country-tinged masterpiece 'No Other' lifts 'We' to another dimension.

What cuts through and prevents this from being just a pastiche are Gudg's vocals. The cuteness of Beth Arzy (Aberdeen / Luxembourg Signal / Jetstream Pony) chimes with the alt-pop vibrancy of Maria Eriksson to conjure something truly unique.

The Gabriels have now released two singles of the utmost quality in 2021. Their debut album is shaping up to feature on many end of year lists.

Charlie Clark – Don't Have A Cow, Man!

Scotland's Charlie Clark released 'Don't Have A Cow, Man!' last month on Alan McGee's new label It's Creation Baby. The former Astrid member has often gone under the radar, might this be the time he steps out of the shadows?

Having forged a new career in promoting in LA, Clark had left his song-smith days behind. However, with the tragic news of his father becoming terminally ill, Clark moved to Stornoway to help with the care. Such life-altering moments not only charged his muse but altered his personal life too.

In doing so, he has sent out the clearest reminder of this decade that music still has the power to sparkle and change lives. Shimmering like Cosmic Rough Riders' 00s classic 'Enjoy The Melodic Sunshine', it possesses the joyous pop of The Wannadies and the infectious meanderings The LA's. The lyrics detail Clark's tale of cleaning himself up which is admirable. Set to this pop-psyche whimsy, it almost renders Big Star and Belle & Sebastian obsolete.

Clark's new album 'Late Night Drinking' is due out soon and, after this single, has laid down a marker very few can follow.

Columbia – Meet Me at Dawn

Cardiff's Columbia are back with their latest single 'Meet Me at Dawn'. It follows their escapist anthem 'Waiting For You To Believe', one of 2021's singles of the year.

For anyone who feels life has ebbed away this past year, put this record on. Now! Columbia have picked a fight with your fears and are throwing bombs from start to finish! The relationship between front man Craig and lead guitarist Ben is rapidly becoming one of the most vital in the UK. The guitars brood with an intensity that compliment the unhinged desperation to succeed of the vocals and lyrics.

Musically, Embrace's 'Last Gas' has been given the looping magic of Oasis' 'Columbia'. It's an explosive piece of rock 'n' roll that will destroy all those who stand in its path. Together with lyrical bullets like “too young to die / never too old to old to fly / we search for heroes tonight” it resounds with defiance.

Columbia have delivered yet again, making their upcoming album 'Embrace The Chaos' is becoming one of the most anticipated rock 'n' roll albums of the year.

Shader – Runaway

Shader follow their massive anthem 'True To Life' with their new single 'Runaway'. Released on 42s Records, it was produced by the king of new bands Gavin Monaghan.

Following their previous single is a tall order. It was a monster demonstration of rock 'n' roll escapism. Their only option was to produce a single so infectious it slaps you round the face. 'Runaway' does just that! You'll know the words by the end of the first listen and, by the end of the third listen, you'll be on your knees, offering your soul for sacrifice.

The rejection of vapid celebrity cultures dominating our TV screens in their discourse is a welcome return. Corporate scum masquerading as hipster and empty vessels from reality TV has been too prevalent for too long! Shader's rock classicist rebellion should be prescribed on the NHS to wash this pain away.

When June 21st comes, let their howling guitars feed your determination to change everything you hate in society for the better!

*Image courtesy of A Supreme Shot

David Long and Shane O'Neill - Moll & Zeis

Childhood friends David Long (Into Paradise) and Shane O'Neill (Blue In Heaven) have hooked up to release an album made solely during lockdown. 'Moll & Zeis' is out now on Pylon Recordings.

The two Dublin songwriters have known since the age of six and this connection resonates in the fluency of the album. Lyrically, an air of mystique looms throughout which lends a beautifully open quality to the songs.

Title track 'Moll & Zeis' maybe be about a US pilot but, for anyone unwillingly saying goodbye to love, it provides an eloquent outlet. The ethereal beauty that emerges from the guitars builds a mournful but hopeful turn away from the past.

The 'Earth Moves' protagonist cuts a forlorn figure, who agitates for clarity of mind but is still beset by fog. The track’s triumphant moment comes from its rejection of “man up”, a phrase no one should be uttering in 2021.

The darker moments of the album come via the Primal Scream inspired 'In Out' and 'Morning Song'. The former conjures images of a wayward soul going beyond its means. It brings in those heavily shrouded drug moments of 'Vanishing Point' like 'Trainspotting' or 'Long Life'. Meanwhile, 'Morning Song', grooves like their dub classic 'Echo Dub' but, crucially, adds nuggets of psyche to carry it to higher planes.

The album is given a cut through and immediacy from 'Far From Home' and 'For You'. 'Far From Home' strips back New Order's 'Crystal' to portray a fragile character reflecting upon a relationship. Their take is more New Order at sunrise rather than sunset which, allows a joyous tension to arise between past and present during the solo. Whereas, 'For You' finds a slot somewhere between Beatles and The Beta Band for the album’s most pop-friendly moment.

Human connections have been lost this past year. No matter how much you jump on Zoom, it doesn't suffice. Yet, somehow, Long and O'Neill's life-long connection has burrowed through the inhuman aspects of technology to really connect musically. One can only imagine what could happen if they were in a studio together.

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/