The Utopiates - Anywhere But Here

North London outfit The Utopiates are back with their debut EP ‘Anywhere But Here’. To date, they have been nothing short of spectacular, can they maintain their form?

On their previous single ‘Only Human’, they delved into the past to paint their futures. This tried and tested method is on display once more. However, there’s an overriding sense of unity permeating the EP which takes it to new horizons.

You can buy the EP on their Bandcamp page.

‘Love Salvation’ is blessed with the soul of Puressence and Chris Helme’s infectious simplicity. As Dan Popplewell decrees “this trip is love”, images of Gareth Southgate’s England bringing harmony to a troubled nation flood the mind. All the while, Josh Redding’s guitars tap into the heart and psyche of Liam “Skin’ Tyson (Cast/Robert Plant) as they blast love into the sky. So effortless and hypnotic, they almost make Cast and Space Monkeys brand of joy redundant on this ‘Sympathy for the Devil’ meets the Mondays and Electronic meandering masterpiece

Title track ‘Anywhere But Here’ is heavily indebted to the grooves of ‘Wrote For Luck’ and the warped genius of Flowered Up. However, the menace in Popplewell’s vocals cut through to create a unique punk-cum-soul take on the baggy sound. Then, taking everything to higher planes are Redding’s guitars. Full of Mark Day’s debauchery and Squire’s ‘Second Coming’ and ‘Do It Yourself’ expansive magnificence, they climb towards the heavens like a guiding light.

Whilst the majesty dissipates somewhat on ‘The Getaway’, there is something truly laudable about its accessibility. The gentle hum of the Cure and shoegaze guitars and Popplewell’s dazzling Miles Kane vocals call upon all not just an indie niche. They can lure pop lovers towards something more meaningful and, reacquaint music obsessives with the pop that started their journey.

This EP "is love, it belongs to us and it’s the only thing worth living for.“

Murderers – Tape One

Manchester’s Murderers is the nom de plume for Luke Thompson. The ex-physicist, now game developer, began his musical journey to re-recreate the live circuit he loved and missed so dearly in the past year.

Image & artwork by Sam Tygier. Courtesy of Puffer Fish PR.

No one can recreate the live scene on record. Not fully. Thompson though has relayed his cinematic majesty. ‘Save Yourself’ is destined for the said big screen. Colossal in sound and clear in purpose, Thompson defines the inciting incident has laid out the quest and now, our hero must traverse his demons both physically and mentally, ‘Save Yourself’ is the emotive art to the spine-tingling montage accompanying it. The drama he deploys is tantalising close to watching a gripping film. Does the hero make it? Does he save the day? Well, the glory pervading ‘Man Made’ suggests yes and yes.

On ‘Made Man’, things get truly mega. The human spirit has been tested beyond what most thought possible this year. Thompson relays its frailties and, in doing so, what truly makes it great. Flawed, and fatigued but never out. Hope lives on in a new Spring or child’s first steps. For ’Made Man’ it comes in the form of a man-mountain of a synthetic soul record.

Defiant and determined but wavering on the edge. Thompson stands on the edge of the world, staring into the abyss. It stared back and encroached by the second. No matter, Thompson lays out his mortality and marches forwards to say ‘so fucking what’:

 “it’s not a victory march / you will forget my name”

A resplendent trip to the 80s via the White Lies, Editors, and Spielberg’s masterpiece ‘Ready Player One’. This is as cinematic as an EP can be.

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!

Cinema Lumiere - Will You Catch Me?

Cinema Lumiere are a Manila-based four-piece made up of Jon Tamayo (vocals/guitar), Manny Gallo (drums), Sue Torrejon (vocals/bass), and Tan Evangelista (guitar).

Their hearts belong to C86 and Sarah’s Records which is always a fine starting point. With that in mind, here is our track by track review:

Love

A glorious riff echoing the love and summer dreams of Brighter and The Wake. Gentle and sweet, it meanders its way through a tale of romantic hopes and dreams that, even the most cynical can’t fail to be moved by.

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The EP is available from their Bandcamp page.

London Tears

A more lo-fi approach but less beautiful. The hazy swirl of guitars emanates an aimless, almost isolated sense of identity. While we mortals have our heads down, stressed, Cinema Lumiere lifts their heads high above the clouds.

The spirit of The Orchids’ ‘It’s Only Obvious’ burns bright here!

Will You Catch Me?

The Style Council’s sun-kissed adventure chimes with the joy of The Pastels on this romantic adventure. The nuggets of brass and the dual vocals bring the EP’s most triumphant moment.

Yet again, they found an outlet for an indie-pop solo to ripple across still water in the evening sun. If another band can bring a sense of peace and sunshine in 2021, then we’re in for a great year (we are owed one!).

Dreamcatcher

Beauty and melancholy collide in this cinematic tale of friends reassuring one another. Skins, This Life, Superbad, The Inbetweeners, and Sex Education, picture any of these coming age tales to these songs and your senses will come alive with glorious montages.

As lockdown rears its ugly head once more, their windswept solo fills the heart with all those you miss and the memories missed. However, their message is one of love so hang in there!

In Earnest - In Earnest

Southend’s In Earnest has been making a name for themselves in 2020 with enlightening tales of mental illness. They recently self-released their eponymous debut EP, can they continue to push the boundaries?

The three-piece centre around the songwriting partnership (and couple) of Sarah Holburn and Thomas Eatherton. They’re a band with a purpose, that purpose being to open a dialogue around mental health and, in former singles ‘Put Me Under’ and ‘Come Upstairs’, they do just that.

‘Put Me Under’ focuses on Holburn’s chronic anxiety and depression, conditions that prevent her from holding down regular jobs. She goes a long way to paint the perspective of anxiety sufferers. The awareness of what should but can’t be done builds a tension full of integrity. The isolation she suffers Is captured hauntingly with the line ‘You are everywhere and nowhere / just don’t put me under your spell’.

Meanwhile, ‘Come Upstairs’ follows Eatherton’s struggles to cope in the relationship. Eatherton depicts himself as ‘woefully unprepared” which leads him to the despair of “there is a war in every silence’.  Despite inner torment, he manages to conjure a Smiths-esque moment of beauty amid the darkness to enrich the soul:

“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”

Their lyrics are so powerful that, It’s easy to overlook the music on offer. There is though, a rich tapestry to draw from. ‘29’ taps into Ryan Adams’ celestial guitar playing and the warmth of I Am Kloot. The nodes of Celtic folk bring King Creosote and Tom Williams to the fore. Dear Father Christmas, please put In Earnest In a studio with Guy Garvey and let them carve out aching lullabies.

‘Come Upstairs’ showcases guitar player Toby Shaer’s love of Bon Iver and John Martyn. Holburn switches up her vocals from the angelic Julien Baker (‘Put Me Under’) and the rousing Laura Marling-esque ‘Fables’. On ‘Fables’, they drift effortlessly into the ethereal territory of Cocteau Twins. They are a band with an arsenal of ethereal weapons.  

In Earnest have the songs, they have the talent but, crucially, they have the one thing stadium selling artists can spend a lifetime grappling with. Truth. Their tracks read like diary entries and serve as thought-provoking pieces of art.  There’s no pretense and no overreaching for something miraculous. They don’t seek to light up the muddy river beds of Southend, rather, they have become part of the fabric of Southend with these robust but fragile tales.

Four Crooks - Black Magic

Hailing from Telford, Four Crooks is a four-piece indie rock band. During lockdown, they regrouped to a remote farmhouse to record their new EP ‘Black Magic’.

Title track ‘Black Magic’ is a foray into the Black Keys big riff catalogue. While it may start with a big base, and. Whilst Dave Morris is a clear vocal talent, the track fails to ignite any real excitement.

‘Feel Alright’ and ‘Paranoia’ though, are bristling with the potential that gets you up in the morning. ‘Feel Alright’ takes adventurous production and big riffs on a drug-fuelled night out that no one will remember.  It’s a solo away from going somewhere truly special.

‘Paranoia’ doesn’t miss this opportunity. Eamon Russell’s guitars deliver total psychedelic carnage! The harder edges of the verses allow for Morris to be the emotive link between the band and soon to be massive venues.

*Image courtesy of Dan Bradley

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 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.

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

Peter Hall - There’s Something Wrong With Everyone

Nottingham’s Peter Hall, has followed his exquisite cover of The Jam’s ‘English Rose’ with his debut EP. ‘There’s Something Wrong With Everyone’ is out now via Beautiful Music.

Despite the debut status, Hall emerges with a class, usually associated with someone making their third album masterpiece. Opener ‘Hold Me, takes the eloquence of the early Bee Gees records and kisses them with delicate vocals of Kevin Parker (Tame Impala), the innocence of Elliot Smith and a sun drenched Colin MacIntyre (Mull Historical Society). Then, just when you think you have him pegged, it melts away into a Curtis Mayfield solo.

‘Everything Is Fading Fast’, re-imagines ‘Live Forever’ for the older and wiser folk. It acknowledges life is precious in way a younger polemic never could. However, it’s defiant, determined and living in the moment as if life depended on it.

Despite hailing from Nottingham, there is something beautifully scouse about his music. ‘Hold Me’ and ‘Blood Flow’ enter an alternate reality where Sice (The Boo Radleys) is backed by Crosby Stills and Nash’s harmonies. Meanwhile, ‘Everything Is Fading Fast’ has Shack’s forlorn jangle combining with The Stands’ Howie Payne vocals.

The biggest criticism of the EP is, it’s not an album. This is an astonishing EP and the entire world should know about!

Tom Lumley & The Brave Liaison - Sign of the Times

The Cambridge four piece, recently released their debut EP ‘Sign of the Times’ in April. Released via Fort Records, each song attempts to raise awareness of mental health problems. As this is Mental Health Awareness week, we saw it only fitting to review his EP.

There is a huge sway of material of late, that covers mental health. Some deliver with integrity but no quality, and vice-a-versa. Step forward the song writing partnership of Tom Lumley and Jake Day.

Musically, they have given indie-rock its clout back. Ruthlessly vital and adrenaline pumped, audiences are going to be swaying in one unified sweat ridden mess to this set of songs, when they can again.

‘New York Paranoia’ is the sound of a new epoch of teenagers fronting up to its detractors. The spikiness of the verses melts, into the best guitar solo in a generation. Loaded with anxiety, but, oozing with a ferocious melody that cannot be denied.

‘Shrink’, is a full throttle joyride that puts The Strokes and Miles Kane in their back pocket. As the protagonist’s life tumbles into disarray, the death defying guitars breathe adrenaline and euphoria back into the soul.

‘Casual’ and ‘Let Go’ may not land in the same way but, they frame the discourse with magnitude it deserves.

No one knows when gigs will return but, we know where we’re going first.

*Image courtesy of Sam J. Lance

Louis Croft - Ever Again

Nottingham’s Louis Croft, 20, has shown remarkable promise to date. At the start of May, he released his debut EP ‘Ever Again’.

Here is out track by track review:

Ever Again

With the indomitable rumble of Jake Bugg, the everyman appeal of Kyle Falconer and the charm of George Harrison, Croft has lifted his game significantly here.

His lyrics have become socially sharper. The sense of a lost soul traversing an inescapable town are flourishing. With every release, Croft’s ability to play with light and dark grows immeasurably and, the influences begin to fade in the rear view mirror.

Don’t Let It Happen

The backing vocals and the dynamic percussion enhance Croft’s credentials as his own man yet again. Embracing the enriching but, gritty landscapes of Badly Drawn Boy, he has stridden beyond his folk roots

Made of Gold

Stepping back into his stripped back Jay Jay Pistolet meets Jake Bugg mode, he showcases he is as good as all those have gone before, except Dylan.

Like most, he should seek inspiration from Dylan’s spirit. His edge, is all that is really missing here. That said, Croft’s lyrics are becoming more politically astute, a journey to follow rather than persevere with.  

The World Is Sleeping Now

Fans of Johnny Flynn and The Detectorists deployment of Flynn, will drink this in like a crisp golden ale in Britain’s glorious countryside.

Spector – Extended Play

Nine years on from formation, London’s Spector have returned with a new EP ‘Extended Play’. After a riotous first album, they were lead to precipice of the next big thing. The release of ‘Moth Boys’ was greeted well but, their spark had been lost somewhere.

Frontman Fred Macpherson, with Spector, Ox.Eagle.Lion.Man and Les Incompetents has seen and done it all. Spector has taken him to the highest heights, Ox.Eagle.Lion.Man unfathomably passed by and with Les Incompetents, one of the true great pioneers of the 00s ended in tragic circumstances.

At the core of all three, lies MacPherson’s integrity. So, when Spector announced they are releasing their most honest work to date, the gauntlet was thrown down to his own authenticity

Musically, any ghosts they had from ‘Moth Boys’ are laid to the rest. The synths remain but, their injected with the directness of ‘Enjoy It While It Lasts’.

It’s lyrically where the magic occurs. Leadoff single, ‘When Did We Get So Normal’ wryly looks at getting older and becoming your parents:

“Mortgages and marriages
Waiting in for packages
Now I know what average is
Now I'm one of them
More M&S than S&M
Two can dine for News at Ten
Voucher for my requiem
Now I'm one of them”

Macpherson’s vocal delivery is exquisite. Such is the conviction of his anguish, you’re left pondering, mid-life crisis or, Blackadder levels of scorn?

EP opener, I Won’t Wait’, pulls from The Cure, The Killers, The Jam, The Horrors, and early Kaiser Chiefs. Examining the apathy, we endure to keep relationships functioning, it shouldn’t be set to indie at its cinematic best, but it is. Within the chorus, scours nights lost to debates on his phone, long after he should have been asleep. Has a chorus been so brutally self-examining and piss-taking simultaneously?

“Your words still keep me awake
(I've been scrolling forever)
Rolling through the promises that we never keep
Why's my contract so expensive if I talk so cheap?”

Meanwhile, ‘Half Life’, outlines that death defying feeling an indie disco can give. The sticky floors, snakebite, and sweat flying in glorious pandemonium. With themes of youth fading through the EP, it’s hard not to taste the bittersweet though. An over exaggerated sense of getting stuck in for, these nights become less frequent in your thirties.

‘Simplicity’ is the realisation that, the precipice of the next big thing is paved with empty shells:

“Saying when they tell you they understand
That's your cue to get out while you still can
Cash it in and cancel all your plans”

At 33, Macpherson is focusing on family and close friends more. So, this EP should be a lame duck, right. Not a chance. There’s no pretence its 2005 and he his bouncing around the 100 Club to David Walliams. That fire still burns, but now, the muse is purer.

Rooskin – Honey Spells

Southend’s Rooskin have released their debut EP, ‘Honey Spells’. After eye catching shows at The Railway and Village Green in 2019, the three piece are rising stars on their local scene.

Here is our track by track review:

Radio Slave

Warped melodic brilliance that makes Peace’s debut ‘In Love’ virtually redundant. Rob and Matt’s angelic vocals alongside the hazy guitars is a slice of escapist summertime we’re all going to be in need of soon.

Donnie (Beach for Tiger)

“The great art of life is sensation, to feel that we exist, even in pain.”, Lord Byron.

If this isn’t sound tracking the third series of Sex Education, then, the world has lost its mind. As front man Rob Humm decrees “I’ve been looking for love in all the wrong places” and latterly wrenches, from his gut, “I’m sick of waiting”, images of Otis and Mauve come flooding in.

When I’m High

Real Estate’s lazy sun drenched guitars meander their way to a chorus worthy of Phil Spector in his pomp. Here, Rooksin have set their standards incredibly high for all future success. It could only have been written by those in the throes of youth and yet, its wisdom is way beyond their years.

On this comparison of heartbreak and substance addiction, Rooskin have landed a coming of age gem. Whether you relate to the heartache, the drugs or both, this is the soundtrack to this generations relationships. The ones that bring endless joy and inevitably, crushing despair.

For those old enough to look back, missed opportunities, regret, wry smiles and sarcastic laughs at those heady days will undoubtedly be unlocked.

4:33

Echoes of Peace’s debut come out to play again on this achingly confessional dreampop affair.

With Rob taking the lead vocals here, it shows a maturity in the band many do not possess. One of Bobby Gillespie’s greatest assets is, to know when to step aside. Here’s hoping they produce great art like the Primals did.

Eilis Frawley - Never Too Emotional

Berlin based percussionist Eilis Frawley (Party Fears & I Drew Blank) recently released her debut EP ‘Never Too Emotional’ via Reckless Yes Records.

Bold and distinct, Frawley has combined a unique blend of spoken word and the Avant Garde pop of Flying Lizzards and tUnE-yArDs. Despite the left field approach to music and production, Frawley has anchored her lyrics in the hot topics of our time.

On ‘illusions’ she tackles the stresses of projecting our best selves on social media and simultaneously neglecting the nourishment of the soul. Better still, rather than offer clichés about living for the weekend, Frawley offers up a savage indictment of how over worked and pressured we are:

“One free evening and we ruin our livers to forget”

Meanwhile, on ‘intellectual men’, her feminist outlook shines bright. The minute-long intro is a warped and deranged array of synths and emphatic drums. Seemingly the rage boiling within before, Frawley calms herself to deliver a beautifully sarcastic attack on the so called enlightened men.

‘leave the house’, is not for the faint hearted. Frawley deals with mental health and feelings of isolation. As a friend offers advice without any sense of understanding, the anxiousness and loneliness of the protagonist grows more intense.

‘strangers’, no less awkward and innovative with its percussion, offers up the EP’s moment of true beauty. The beauty of the synths, at times, is worthy of rave gods Orbital. This tale of a romance fading is delivered with a truly unique musical outlook.

As is, most of the EP. Frawley is jarring and difficult and that, that is why she is so brilliant and rewarding.

The Jacques - Born Sore

When we featured Bristol via London’s The Jacques in 2017 (review here), they were a snarling indie-punk outfit delivering anthems. Good, but just the next in line. Fast forward to 2020, they have far outgrown their youthful polemic.

Their latest EP, ‘Born Sore’, was released last week via Modern Sky Entertainment. Some of the early riff based magic remains. ‘Alka-Seltzer’ is in sync with ‘Eleanor Ring Me’, built upon riffs from Coxon’s play book of ‘Coping’ and ‘Bank Holiday’.

The rest however, explores far different planes. The title track, takes Supergrass’ ‘Eon’ and ‘Born Again’ on a trip down poverty ridden Britain in 2020. The desolation of Shame and the druggy machinations of Fat White Family come roaring to the surface.

Meanwhile, on ‘Kiss The Pharaoh’, the dank world of The Libertines combines with the warped seaside genius of The Horrors’ ‘Primary Colours’. The Horrors again feature on ‘I Never Want to be Your Boyfriend’. Post ‘Skying’, The Horrors have been traversing more blissed out psyche realms. The Jacques have shown them how to do it with the splendour of Phil Spector thrown in for good measure.

Having been through some tough times, The Jacques have emerged the other side better than ever. Their journey has been bumpy but, it seems inevitable that, a great debut album is nigh, right?

Beat Hotel - Beat Hotel EP

Based in Brighton and Plymouth, Beat Hotel, released their self-titled EP last Friday. Recorded at Church Road Studios in Hove, it will be released by Occultation Recordings, the home of indie legends The Wild Swans and Factory Star (The Fall/Blue Orchids founder/guitarist Martin Bramah).

All images courtesy of DC Cane

Frontman Paul Pascoe, driven by a sudden and painful end of a relationship, spoke of “facing down inner demons” whilst recording the EP. Like all hardcore music fans, Pascoe did so by delving into his record collection. Initially looking for comfort, Pascoe eventually found the inspiration that set him on his creative path 30 years ago.

'Bury It Deep' channels the distinct bass of Peter Hook and the fragile vocals of Bernard Sumner via Liverpool. The haze of Michael Head's Pale Fountains and Shack roams freely with the immediacy of Echo & The Bunnymen. Whilst Pascoe's youth is revisited here, the solo lends itself to his elder, more reflective self. It’s hauntingly withdrawn, akin to Noel Gallagher on 'Riverman ' and 'The Dying of the Light'.

The Liverpool connections continue on 'Daddy, I Drown' and 'Heat Light Fire'. The former, possesses the pop simplicity of Cast's 'Live The Dream' and the shimmering beauty of the Bunnymen's 'Lips Like Sugar'. Meanwhile, 'Heat Light Fire', takes the Bunnymen influences for a psychedelic walk with The Velvets and Jesus & The Mary Chain.

'Feel It' and 'Beat Girl', perhaps sums up Beat Hotel both now and in their former bands (The June Brides, The Loft, The Weather Prophets, Distractions, Mudlow, Mojo Fins and Lolita Storm). On 'Feel It', they've taken the dreamy rock 'n' roll of The Byrds and injected it with the raucous hiss of the Mary Chain. Like the great Mary Chain songs, behind the noise lies a great party riff.

'Beat Girl', takes The Wishing Stones 1986 cult classic on a journey through Sarah's Records. The cuteness of Aberdeen and Boyracer is brought to life on this cinematic meander downstream.

Beat Hotel may only be seen as often as a Snow Leopard but, they are no less beautiful. Anyone emotionally attached to the Children of Nuggets' era, should open their hearts to this EP.

Captain Handsome - I Am Not An Animal

Lily Rae lit up 2018 when her band, Fightmilk, released their debut album ‘Not With That Attitude’. Now, she is striking out on her own under the moniker Captain Handsome. Today, she releases her debut EP ‘I’m Not An Animal’ via Reckless Yes.

Themes of both, light and dark, permeate the best work here. On ‘Annalise’, the ambition of The Decemberists ‘The Crane Wife 3’ hooks up with the raw pop prowess of Kid Harpoon’s ‘Late For The Devil’ as, Rae delivers bubble wrapped gift of beauty and melancholy.

Earlier this month, she put out ‘Halloween’ (full review here) as the lead single. The sinister strings build so much tension they should come with an anxiety warning, that is, until the release of the last chorus. What was once Rae’s deluge of sadness, becomes triumphant, an amusing footnote in a life clearly turned around.

Though ‘Halloween’ has a cathartic feel, ‘Dolly Parton’ lands you right into the mire. It’s soul crushing all-night vigil for one. Through the stunning orchestration and, Rae’s sublime Kirsty McColl-esque vocals, she explores a painstaking night home alone pondering poor choices.

On the title track, McColl’s inspiration again looms large. However, she goes much further and heightens her sense of fragility. So much so that, it allows both beauty and danger to circulate like angels and demons. Although the song builds like an epic Embrace single, its awkwardness, lends itself to the introverted brilliance of Frank Black and Graham Coxon.

This is, with perhaps the exception of ‘I Wish I Had a Dog’, a masterful EP. Whist we all break at times, Captain Handsome show how to plummet and, then recover!

Idealistics - The Rain In Our Eyes

Cambridge's Idealistics are back with a new EP. The three piece released 'The Rain In Our Eyes' recently and, have rightly been garner interest from Lammo and John Kennedy.

Images courtesy of Vanadian Avenue

It's hard to talk about the trio without mentioning singer and bassist Alexandra Hirsz. Having been diagnosed with a rare form of EDS, she is having to be fed via a tube that runs into her heart. So, the fact that she can record and perform live, to such high standards, is a a remarkable feat of human spirit.

However, this EP, is not something to pity. This is a shot at rock music glory and, at points, it succeeds. Arguably, it's only 'Timeless Goodbye's' where the EP falls short.

'Scandalous' takes Oasis' Kinks inspired 'Importance of Being Idle' guitars in the verses and then, switches through the gears to the Manics' 'Dylan & Caitlin'. It's no surprise Hirsz has joined the Manics to duet on 'Little Baby Nothing' in the past on this showing.

It's on 'Scandalous' and 'My Rules' where the Idealistics excel. The former, combines the aloof sexiness of Chris Stein's (Blondie) guitars and the undeniable prowess of Stevie Knicks. Then, on 'My Rules', via Hirsz' vocals, they transcend music.

The haunting pianos immediately warrant attention. Something special is happening here! Then, in five minutes of lyrical and vocal glory, Hirsz makes the world bow down to her sheer brilliance. By just stepping into a studio, she is defying what most of us would believe to be possible. To then poetically lead us mortals, into a head-space of not pigeon holing people with disabilities, especially in the arts (or anywhere), is as brilliant a social comment you will hear all year.

Couple this with, Hirsz' ability to channel the life affirming power of Patti Smith, you will be physically shaken.

‘The Rain In Our Eyes’ is available on Spotify.

Champion of Youth - Champion of Youth

In recent times, the indie-pop scene, has been dominated by Darren Hayman, Wave Pictures and Field Music. Often awkward, but always rewarding. Champion of Youth, have taken their baton, often spliced in the work of the legendary Pete Astor, and attempted to push the scene forwards.

Vocally, John Ammirati the has the hall marks of said Astor on ‘Admit It’ and ‘Restraint’. The former, is a solid indie number. That is, until Andrew Beswick delivers a solo with the cuteness of Alvvays and the charm of Coxon’s ‘Bittersweet Bundle Of Misery’.

On ‘Restraint’, the joyous Ray Davies-esque vocals of Astor’s ‘Spilk Milk’ combine with the effortless rumble of Allo Darlin‘ on this instant alt-pop classic.

Their quest innovation continues on ‘Every Tongue’ and ‘Last Day In The Sun’. ‘Every Tongue’, has the abrasiveness of The Wolfhounds at their best. The angular free flowing riffs of classics ‘Anti-Midas Touch’ or ‘Me’ are slowed to an almost funk meets Lou Reed drawl. There are, injections of pace, and Thousand Yard Stare points of aggression but, it never lets you settle.

On ‘Last Day In The Sun’, their quest to forge new paths peaks in a moment of joyous pop music. They inject the coolness of the Velvets with askew indie genius of Standard Fare.

Champion of Youth, on this EP, have given new life to an already creative genre. Slots at Indietracks and the Cambridge Indiepop alldayer beckon.