The Institutes – Something Beautiful

This Friday, Coventry’s The Institutes release their new single ‘Something Beautiful’. Released via 42s Records, it’s the last release before the greatly anticipated debut album ‘Colosseums’ (released next week).

Images and artwork courtesy of 42s Records

This band’s spirit is unparalleled today. They can start songs where The La’s or Ride might climax at. It’s a sensory overload of love which, in 2021, after 11 years of this government dissecting society, is the unifying tonic we all should drink.

Reid Zappa Currie’s vocals and the hazy guitars soar high but, crucially, they’re never out of reach. As a band, they’re in that sweet spot, we are them and they are us. Their dreams are bigger and in action but, they are always beckoning us to join them!

Much like their previous single ‘I Just Can’t Keep Myself from Loving You’, it’s an outpouring of love they have no control over. Lyrically is where there this song’s superpower lies. Juxtaposed to the sonic, it’s a heart-bursting piece of joy. Even at its most overtly dark, when Currie sings “I’m down again but I wanna get up again”, the crashing drums and Cast inspired backing vocals will take your soul to a natural high. It feels more clarion call than a plea for help.

However, its ambiguity can take you to darker places. The line “I don’t think love belongs to you” is delivered with supreme majesty, blink, and you’ll miss connotations of powerlessness to addiction. Currie goes further with:

“This is like a jail sentence, in the jailhouse / caught up with the hangman and he let me down”

Despite the ethereal cadence, images of habitual reliance on drugs formulate and the song’s sense of hope becomes murkier.

Single after single, The Institutes have grown their escapist rock ‘n’ roll. Sonically they unfurl new pastures to explore and now, their lyrics are taking on interesting depths. As a result, next week’s debut album release can’t come soon enough.

In Earnest - Reasons To Stay Alive

Southend’s In Earnest is back with a new EP ‘Reasons To Stay Alive’. Released on the 8th of October, it follows their fine self-titled EP back from 2020. Can the new release stack up to its formers emotive power?

Images and artwork courtesy of the band.

The EP comes in a seamless form, the band’s effort to reflect the cyclical nature of the time period it was recorded in and, the difficulties of breaking free from living with mental illness. Musically, it is leagues ahead of the debut.; The strings and the guitar licks have a broader appeal which, when the lyrics get personal, is a welcomed offset.

Suicide attempts shouldn’t come wrapped in such packages like ‘Days In Between’. Such is the astonishing beauty of their Laura Marling meets Phoebe Bridgers sonic. This tale, built on the premise of what would have been missed, has the same pin drop ability of a ‘Songbird’. The anguish of Sarah Holbourn singing the line ‘seeing my mother's pain’ is almost too much to bear.

On ‘Welcome to Hope County’, co-writer and guitarist Thomas Eatherton offers up his struggle to come to terms with their relationship. The ability to be this honest, with your partner in the band, knowing the anxiety that could come with it is remarkable. Eatherton, sings with such humble heartfelt honesty alongside Bill Bragg guitars and folk orchestration, it will leave you hollow. It is though, in the closing moments this song’s genius lies. Akin to Noah & The Whale’s ‘Blue Skies’, the injection of pace offers a chink of light. The guitars glisten and the strings have a spring-like quality. Then Eatherton bellows ‘my head is in my hands again / there are reasons to stay alive’ and they bring the cyclical nature of mental torment and this EP crashing home.   

The subject matter has been crucial to the band to date. However, on ‘I Feel Alone Even If I’m Not’ and ‘Hands Are’, their musicality has broadened to match the eloquence of their lyrics. The former taps into folk classicism to create an icy tinged folk gem. Meanwhile, on ‘Hands Are Tied’, they harness bath style and substance exquisitely. Smoky guitar licks sitting between Billy Bragg and Richard Hawley gently paint landscapes of woe before the song explodes into life.

As music lovers, we’re all guilty of escapism. Whether it be a forlorn Marr riff, a raging Frank Turner couplet, or a wayward wobble of an Orbital synth, there’s a place to reside in for hope and rebellion. With this EP, In Earnest has shown another way. They’ve turned themselves inside out for the world to see. In doing so, they have brought about a different kind of inclusion. When Holbourn confesses ‘I’m taking my pills, doing my time / pour my heart out in a song / the only thing I know is I don't think I can go on’, she emboldens the view that, it’s ok to not be ok.

 This band and EP deserve your respect if nothing else. They are a triumph of the human spirit. This is the most selfless piece of art you will engage in of 2021.

You can hear the EP here.

Shader - Blackholes (The World Eats A Weak Man)

The indie four-piece from Stoke via Manchester are back with their new single ‘Blackholes (The World Eats A Weak Man)’. Once again produced by Gavin Monaghan, this generation’s Stephen Street, it is available on all platforms now.

Last time out, the four-piece delivered a blistering piece of rock ‘n’ roll. ‘Runaway’ was an anthem with great pop sensibilities begging for attention. This time out, those hooks turn to aggressive basslines, raucous riffs, and nihilistic synths.

This new combination glues everything with vitality and tension which breeds cohesive violence. It’s the sound of polemic and art colliding to produce a collective spirit for good. For any West Wing lovers, this is the bombastic rock version of Leo’s tale of ‘a man fell down a hole’.  A defiant tale of mankind fighting back from the brink is always wanted, in 2021, it’s a dispensable ray of hope!

From the first Depeche Mode synth, lurking in the shadows is 2021’s most volatile guitar solo to date. The eruption is inevitable and, it doesn’t disappoint! It’s a wild adrenaline joyride that erupts from Mikel Lo Bosco’s axe which sets ablaze everything in its wake!

This new aggressive synth-laden sonic has opened a new world to the band. One which makes the prospect of their debut album a fascinating prospect.

*Image courtesy of Puffer Fish PR

Jamie Webster – Going Out

Liverpool’s fastest-rising star Jamie Webster is back with his new single ‘Going Out’. Recorded at the legendary Rockfield Studios with Dave Eringa, the single is released by Modern Sky UK.

With rebellious spit of Tom Clarke etched into his heart, Webster saddles up and rages war against those wilfully overlooking his generation. Centered around two characters, Paul and Annabella, it traverses their frustrations across lockdown.

Webster’s brushstrokes are broad and emotive enough to reel most but, this is not misty-eyed romanticism. Teenagers the world over have had the coming of age moments shredded by covid. Whilst science is undeniable, so is their turmoil. Heightened by a callous greed-driven government who, when they deliver the best results of all time, are still told they’re wrong. Fuck. Off!

Webster’s vocal cadence is a righteous escape into the night. It beckons you into the night on a wing and prayer to forge stories that’ll live forever.  Be McLovin, choose life, find love, drink this, risk it all. Those who haven’t cared, unless a footballer shames them into it will not help. Take the night and own it!

Webster’s second album ‘Moments’ is due for release on January 22nd. His debut, ‘We Get By’, in hindsight lent towards Gerry Cinnamon just too much for it to get the praise its lyrics deserved. On this showing, Webster is now his own man and better for it. Polemic and joy are bounded together for our inspiration.

*Image courtesy of Modern Sky UK

Webster will be touring the UK and Ireland in November and December:

Tue 30 Nov – Glasgow, SWG3

Wed 1 Dec – Newcastle, Boilershop

Thu 2 Dec – Leeds, Beckett Student Union

Sat 4 Dec – Birmingham, Academy 2

Tue 7 Dec – Cardiff, Tramshed

Wed 8 Dec – Bristol, Thekla

Thu 9 Dec – London, Scala

Sat 11 Dec – Belfast, Limelight 1

Mon 13 Dec – Dublin, Academy

Tue 14 Dec – Manchester, O2 Ritz

Thu 16 Dec – Liverpool, Eventim Olympia

Fri 17 Dec – Liverpool, Eventim Olympia – SOLD OUT

Sat 18 Dec – Liverpool, Eventim Olympia – SOLD OUT

Matt McManamon – Meet Me By The River

Images courtesy of Sonic PR.

Former Dead 60s frontman returns with his new single ‘Meet Me By The River’. Recorded at the Transmission Rooms (Longford, Ireland), it’s taken from the acclaimed debut solo album ‘Scally Folk’.

Fittingly, on this ode to lost venues of Liverpool, McManamon taps into the melodic majesty of Shack’s ‘HMS Fable’ and The La’s at their free-flowing best. So carefree is the spirit here that, you’d be forgiven for sauntering around like the star of an 80s yoghurt commercial.

Often, songs that yearn for yesterday are doused in melancholy. Here, the feather-light acoustic guitars lend a celebratory feel. As such, it elevates his integrity in telling this tale. A personal joy is extracted which is heightened by the enriching solo and folk strings.

With a sense of normality back in the world of music, McManamon’s mini-tour in November is shaping up to be a must-see. The melodic freedom of this single alone is enough to turn a grey working day into something great.

Rooskin – Eloise

Fresh from their stunning live show at Chinnerys, Southend’s Rooskin release their new single ‘Eloise’. Can it match up to their dreamy debut EP ‘Honey Spells’?

Image and artwork courtesy of Neat Siren PR.

Despite the gloom of cvoid, their ability to conjure a sonic drenched in the summertime hasn’t diminished. Between Rob and Matt’s guitars and ethereal keys of Buddy Caderni, they summon the sun easier than Helios. Not even Kurt Vile has this access!

As with their live show, ‘Eloise’ goes to another level because of the spirit they invoke. They’ve funnelled ‘Teenage Kicks’ through their lo-fi genius of ‘Living Proof’ and sprinkled it with their psychedelic surf sound.

Their youthful buoyancy is echoed lyrically with a newfound hope:

“It’s the longest I’ve been without needing to pretend, that my luck / It ain’t running out”

As we approach the last throes of summer, let Rooskin provide suspiciously high levels of serotonin with their angelic fuzz and sun-kissed charm.

Civic Green – A Million Little Pieces

This Friday, South Yorkshire’s Civic Green return with their new single ‘A Million Little Pieces’. Can they follow up on the working class glory of ‘City Streets’?

Escapist rock ‘n’ roll is always needed but, after the incarceration of the last 18months, it’s should be prescribed on the NHS. Civic Green tossed their hat into the ring with this debauched affair! The directness of lyrics such as ‘if I don’t leave this house today / I think I’ll go fucking insane’ are delivered with the disdain we’ve all felt.

A growing confidence is permeating their work now too:

“these strangers keep on coming back for more / I don’t want to leave them lonely”

Images of desperate indie fans pawing at doors, waiting for gigs and clubs to drink, dance, and sweat themselves to happiness flood to the surface.

Musically, they are clearly striving for a bigger sonic. Subtle licks lurk as their wall of sound builds to a destructive climax. What they drop in intricacy from their previous work, they raise in spirit and, at this early stage, to be able to switch from Noel to The Enemy and now, to the pulsating end of The Seahorses catalogue, marks them out as a much watch band.

Check back on Friday to hear the single.

*Images courtesy of Puffer Fish PR

Daniel Wylie’s Cosmic Rough Riders - Atoms and Energy

Glasgow’s Daniel Wylie has released his ninth studio album ‘Atoms and Energy’. Recorded at La Chunky Studios, it is released via Last Night From Glasgow. With help from Neil Sturgeon, Johnny Smillie, and Stu Kidd, Wylie attempts to follow the loud guitar splendour of 2017’s ‘Scenery For Dreamers’.

The album is available to buy at Last Night From Glasgow.

This time out, the Young and Blake guitars, for the most part, take a back seat as Wylie examines death and past relationships. ‘Heaven’s Waiting Room’ encapsulates Reiner’s ‘Stand By Me’ as he revisits his formative years and just how quickly they fade. A devastating melancholy permeates Wylie’s psyche as he sings ‘I try, I try to do things right / not everybody has their day’.

The darkness continues on ‘The Bruises and the Blood’. A tale of domestic violence and the helplessness of a friend. The imagery is brutal but, Wylie has an innate gift to release the tension with melody. The joy in the keys and the Beach Boys breakdown offset the heavy lyrics and tense bass licks.  

The ability to juxtapose dark and light hits its peak on ‘A Memory’. Channelling the guitars of ‘Down By The River’ Wylie takes a soul at its lowest ebb and, frees it with the majesty of George Harrison. Layer upon layer of emotion builds and paints difficult images of a man in the darkness not knowing how to get out.  

Despite the overarching grief and regret, on ‘Saddle up the Horses’, there comes a need release, an indicator that this soul searching has found itself and begins to enrich. Wylie takes himself to his childhood and dreams of being a cowboy hero. The acoustic guitars rain down like glitter whilst the electric guitars are filled with glee.

The move away from raucous guitars has given Wylie the space to let his emotions flow and toy with new ideas. From the Santana-inspired guitars of ‘God Is Nowhere’ or the sinister REM infused ‘Ruth the Truth’, he has proven his worth as a songwriter. It’s the album’s melody where its greatness lay. No matter the mood or subject, Wylie can pivot to a happier sonic and thus, allows each song to develop greater depth and value.

Fightmilk - Contender

London’s Fightmilk released their second album ‘Contender’ via Reckless Yes Records back in May. It followed the acclaimed punk-pop offering ‘Not With That Attitude’, could it stack up?

Images courtesy of Reckless Yes Records.

In 2020, they set tongues wagging with two astonishing singles ‘I’m Starting To Think You Don’t Even Want to go to Space’ and ‘If You Had Sister’. With Pulp’s ‘Do You Remember The First Time’ in its heart, examined those who continually make excuses for not saving the world. Witty and incisive lyrics are met with Feeder’s indie-rock immediacy on this explosive anthem! ‘If You Had Sister’ is a more sombre animal. Singer Lily Rae’s vocals ache with melancholy as toxic masculinity is explored. Lead guitarist Alex’s solo is a fine accompaniment to this troublesome anthem. The eruption of noise and fuzz exemplifies the pain and confusion of the protagonist with exemplary integrity.

To achieve classic album status, the album tracks running in tandem must also strive for greatness. ‘Banger #4’, ‘You Are Not The Universe’ and ‘Cool Cool Girl’ have said tracks. ‘Banger #4’ does exactly what it says on the tin! The guitars fizz with punk’s uniting spirit whilst Rae summons a fury to marvel at. For a generation given nothing but blamed for everything, Rae is their cultural leader. Defiant and blessed with stadium-sized punk sloganeering Frank Turner would die for:

“there’s more to life / than getting it right / you’re gonna be alright”

Their courage and belief in themselves and, furthermore, this generation, is a middle finger salute to the narrow-minded and, pick me up the downtrodden.

‘You Are Not The Universe’ is a stomping adventure to soundtrack a million coming of age stories. Ironically, they juxtapose this with a letter to a younger self to be more appreciative. Nevertheless, it remains a chest-beating, fall to the floor wild storm that demands your love. The melodic genius of Rae as she decrees “had ideas above my station / firing fury out into the dark” feels less advisory and more clarion call. Meanwhile, ‘Cool Cool Girl’, with the shimmering licks of Ash, eloquently and hilariously sarcastically, examines female bands become something they’re not:

“I’m interesting and I’m clever/ I’m always be a contender because I’m not like other girls”

It is though, in the closing stages where something truly magical occurs. Rae’s impassioned delivery showcases a raw power which, offers a blueprint to the outsiders, the underdogs, and the written-off on how to raise souls and save lives:

“I’m into wrestling / I’m clever / I’m always be bartender / because I’m not like other girls”

Among the punk anthems sits ‘Girls Don’t Want To Have Fun’. A Johnny Marr meets The Killers track to echo through eternity. Rae summons the heart of Kirsty McColl and the angelic torture of ‎Dolores O'Riordan on the reincarnation of ‘There Is A Light That Never Goes Out’. Beauty and sorrow collide in the orchestration and delicate guitar licks but, it’s Rae’s lyrics that provide the pin-drop moment:

“when we talk about dying it feels like a pipe dream”

Forget about Morrissey!

This album is nothing short of a triumph. It will bash your soul, break your heart and patch you up mentally, emotionally, and intellectually better than ever! In every sense a contender, especially for album of the year.

Lucigenic – Still Breathing

Manchester supergroup Lucigenic are back with their second single ‘Still Breathing’. Produced by legendary producer Mike Bennett (The Fall / Fat White Family / Ian Brown), ‘Still Breathing’ was engineered at Farheath Studios with Angus Wallace and features dual drumming from Dave Barbarossa (Bow Wow Wow, Republica) and Simon Wolstencroft (The Fall/Ian Brown). 

Back in February, lockdown was taking a stranglehold on the nation’s soul. Lucigenic put the powerfully ethereal single ‘Hope’. A stunning release of tension via singer Lucy Wyatt’s Mark Greaveny-esque vocals.

This time out, the pedal has hit the metal! Aggressive ‘Raw Power’ guitars are met by Wyatt’s colossal Patti Smith vocals. Reinventing the wheel is not on the menu. but is a firm reminder that the wheel can be a force more than cheap fame.

Their exasperation at social media “heroes” is never embittered, nor do they ever yearn for yesteryear like the hapless hacks of GB News. Moreover, ‘Rocks’, Cigarettes and Alcohol’ and ‘21st Century Boy’ are beefed up and renewed for a new breed of defiance and grafting cultural icon.

Wave upon wave of guitar licks thrust themselves at you like gunfire. It’s an onslaught like no other. Then, when all is lost, comes the ecstatic backing vocals to usher in Mark Refoy’s (Spiritualized/Spacemen 3) scintillating solo. With the spirit of ‘Easy Rider’ and the face-melting genius of Death Valley Girls in his heart, he has summoned the devil for a night out on the town!

This is an astonishing change of direction from ‘Hope’. One can only imagine where this supergroup is going next. What ‘Still Breathing’ proves is, it’s a must-listen destination.

Desperate Journalist – Maximum Sorrow

Last month, London’s Desperate Journalist released their fourth LP ‘Maximum Sorrow’. Released via Fierce Panda, it was self-produced and engineered by Rollo Smallcombe at Crouch End Studios.

Having made the conscious decision to not repeat the rock-pop classic ‘In Search of the Miraculous’, could they reinvent themselves without losing way?

Previous singles ‘Fault’ and ‘Personality Girlfriend’ (among others) put bass player Simon Drowner front and centre. A destructive rage permeates his playing for almost the entirety of the album. The former throbs with a disdain we’ve all felt to those who abandoned leadership in the past eighteen months. On the latter, a punky-disco stomp akin to Bugeye shakes. All the while, singer Jo Bevan’s incredible ability to carry polemic via a gripping narrative reaches new heights. The closing stages adopt Idlewild’s ‘In Remote Part / Scottish Fiction’ complex cacophony of spoken word and guitars but, with a devastating psychedelic annihilation!

It is though, on ‘Utopia’, ‘Fine In The Family’ and ‘Was It Worth It?’ where they nail their new sound. ‘Utopia’ delivers the risk and reward Wolf Alice couldn’t land on their third album. The hints of shoegaze bring about an emotional to proceedings and thus, Bevan’s ethereal vocals beckon, almost summon you into the unknown. ‘Fine in the Family’ is the polar opposite sonically. Tapping into the violence of Asylums’ ‘Napalm Bubblegum’ as Drowner’s bass yet again taps a thunderous vein of form. Meanwhile, ‘Was It Worth It?’ with perhaps a lyrical nod to The Waterboys, strides out to their sorrowful heartlands with a brutal intensity not even The Chameleons could match. The protagonist, an anguished soul lost in a city of darkness with hope dissipating becomes the perfect parable for lockdown:

“they’re all endless roads / On a dismal island”

You can buy the record on their Bandcamp page.

Just when ferocity borders on the all-consuming, they provide a momentary release on ‘Poison Pen’ and ‘Victim’. ‘Poison Pen’, with its ecstatic immediacy and venomous lyrics, creates a polemic and defiance legions would follow. ‘Victim’, a torturous tale of repression and depression is lit up by guitars that could glisten in a thunderstorm. Bevan is faultless. Angelic to punk in an instant, a vocal talent at the peak of her powers

Four albums in, the creative well shows no signs of drying up. Basslines akin to wrecking balls and vocals from the gods, they have nodded at the majesty of ‘Miraculous…’ and said an amicable farewell. An album written in lockdown had the potential to be a lacklustre album from the tour bus; insular and lacking intelligent exploration. Not here, not Desperate Journalist. Every word vitriol, torment, and bile is despatched with wit, intelligence, and charm.

*Image and artwork courtesy of Fierce Panda Records.

Shade – Test of Time

Manchester’s Shade recently returned with their new single ‘Test of Time’ (Fear Records). Produced by Gavin Monaghan, the band has been going from strength to strength featuring on Mark Radcliffe’s Live From The Edge TV show. Can they keep their rock ‘n’ roll train chugging onwards?

Images courtesy of Anthony Jones

The haunting Cult-esque opening escalates quickly into another animal. The gear change is rapid, almost jarring but scintillating. Rock ‘n’ roll should be urgent and desperate which, this acceleration provides in abundance.

On ‘Jump Into Heaven’, they took a tumultuous love affair and made it sound like a stadium anthem. With their fingernails in the dirt, they battle the relationships darkness with unbridled defiance:

“We won’t leave / Rely on one another / Forever we will climb”

There is a raw power on these last two singles akin to the fire of a ‘Acquiesce’ or ‘Motown Junk’. They strain every sinew to be heard and, via their everyman dreams and tales of clinging on, soon they will be.

It’s inevitable.

Moses – That’s Who You Are

Images courtesy of Mike Radulescu

London’s MOSES have followed their innovative single ‘Move On’ with ‘That’s Who You Are’. Produced yet again with the legendary Gavin Monaghan at Magic Garden Studios.

MOSES frontman Victor Moses has, for some time, had an ability to produce poetry that befits a punky underdog spirit. They’ve gone beyond this now. It’s triumphant, heartfelt, and full of characters and narrative thousands will line up behind to follow!

The courage of ‘Cause You Got Me’ remains but now, confidence and universality are rushing through their sound. MOSES are shackle-free and unafraid to take creative risks. From the gentle opening to the closing 70s rock riffs or the wall of sound, this is a single packed with charm and energy that daytime radio playlists cannot ignore.

As gigs reopen, we defy you not to cling to his insatiable delivery of “Wait Out / Wait Out / The Storm will be over”.

They will be going out on tour later this month:

21/08 London The Grace (14+)

03/09 Birmingham Sunflower Lounge (16+)

09/09 Brighton Prince Albert 18/09 Manchester Gullivers

25/09 Leeds Lending Room

06/11 London Ghost Road Fest

Ticket links; https://mosesofficial.com/

Mark Morriss: 229, London

Bluetones frontman returned to London last weekend to be the jewel in the crown of the Shiiine On summer party at 229. A gig with Mark Morriss is more than just a mesh of solo tracks and Bluetones classics. With a little charm and a lot of style, he’ll reel in the unbelievers, quieten the talkers and enthrall the diehard fans.

Those unaware of his solo career are reeled in with ‘Rimini’. The stripped-back acoustic version loses none of its ability to convey the loss of certainty and civility “that” vote brought in 2016. Despair has never sounded this good!

His muse has clearly been undeterred by lockdown on the new song ‘Madeline’. A darker tinged number showcased more strings to his bow. Then, on ‘Sick Again’, he exudes vibrancy and bombast that his 90s fame can only look on at in awe.

The Bluetones always had an ability to open the deepest of wounds. When Morriss strips their classics back, in this form the fervour skyrockets! The opening couplet of Bluetonic “When I am sad and weary / When all my hope is gone” will undoubtedly, transported many to the glory of 96. However, with covid still looking on from the abyss, recent traumas also flood the senses.

‘Learning To Fly’ opener ‘Talking To Clarry’ was given a glorious outing. As his vocals hit the achingly beautiful climax of “communication is blurred / I can’t understand a word”, we raised a wry smile. The Shiiine On festival has grown into a small family over the years. People from all over the UK have forged friendships at their festivals because one is never a stranger when you love the same band.

If like us, this is not enough Morriss, The Bluetones kick off the Star Shaped tour this Friday with Sleeper!

The Utopiates: 229, London

North London’s The Utopiates were second on the bill for the Shiiine On Summer Party at 229 this past Saturday. After wowing fans and critics alike with their EP ‘Anywhere But Here’, could they deliver on the big stage?

Despite technical issues, they grooved their way to the hearts and minds of the Shiiine On faithful. Former single, ‘Only Human’ lit up the room like a bush fire. Josh Redding’s guitars spiralled with such intensity alongside Dan Popplewell’s vocals to conjure, the embers are still burning bright five days on.

On ‘Antidote’, they found unity and power demands the UK’s attention, immediately. It soared above the clouds but crucially, always felt within reach. This kind of songwriting combined with this magical delivery will take them to the main stages of festivals and, thousand along to see them.

This is not a one-man band by any means but, at times Redding’s guitars drew the focus like no other of recent times. On ‘Anywhere But Here’ Popplewell’s acoustic guitar and Ed Godshaw’s keys laid the groundwork for his Squire-esque majesty.

In ‘Love Salvation’ they have set closer for life. Anthemic and euphoric, it had that mid-paced beauty that pulled a group of strangers together as one. Tripping along like Primal Scream, swaggering like Mondays, they’ve tapped into a golden age of love-seekers and found a way to make it sound fresh.

A truly astonishing performance from a band only formed in lockdown. It’s easy to see why The Pigeon Detectives have added them as support at the Forum this autumn. 

*Image courtesy of Shiiine On legend Louise Deveraux

The Shakes: 229, London

This Image provided by the band.

The Self-described “London-Liverpool Express” The Shakes opened Shiiine On’s summer party this past Saturday at London’s 229.

Openers they might have been but, they played to and owned this crowd like a band at the peak of their powers. Oozing charm and style, they grabbed this opportunity as if their life depended on it and, frankly, nothing is better than desperate rock ‘n’ roll!

In between the glorious noise and confusion was ‘I’m Your Man’. It’s a sumptuous ode with nods to Liverpool legends The Bandits. With the beauty of Zutons and The Coral and the devilment of the Buff Medways and The Libertines, they have unearthed a classic to wave the flag of good ship Albion once more.

In closing stages, they take a good set to a great set. ‘Change Isn’t’ and ‘Strange Sorry Officer’ bust open creative avenues which allow their mod instincts and love of ‘Definitely Maybe’ to collide. It’s debauched, firesome, and begging to be worshiped.

The Shakes may be in the early days but, on this showing, not for long. The confidence is irrepressible. True icons in the making!

*Banner image courtesy of Shiiine On.

Rooskin: Chinnerys, Southend

Southend’s Rooskin played their hometown venue Chinnery’s this past Friday in support of fellow local band The Waterfalls. Having been away for 19months, and with a big crowd in, could they deliver?

At times, Rooskin transcended music. Maybe it’s the long wait for gigs but, their brand of hazy love songs and sunny climates was the warming embrace Southend needed. ‘Donnie’ drifted across the coastline to thaw even the coldest souls with its infectious joy. Like all special songs, it began to take on new meaning via its lyrics:

“I’ve been looking for love / in all the wrong places / it’s been tearing me up and I’m sick of waiting”

The poor life choices and dangerous crutches society have leaned on to get through the lockdown flood to the surface. However, the effortless guitars and glory of the vocals ushered the room back to positive planes.

Upcoming single ‘Eloise’ (released 20th August), got its first airing and, did not disappoint. A sense of hope permeated the room. As they sing of the West Coast, a spirit powerfully forms and feelings that all is not lost and never give up filled hearts once again.

Rooskin’s laid-back nebulous is given an injection on set closer ‘Goldfish’. The added bombast brought about a clarity and future for all to follow them off stage with. Dreams and schemes among the young crowd were almost tangible as their licks and harmonies soared upon the horizon.

Music lovers will always discuss why certain bands don’t make it. Unlucky, the look, charisma, etc. In Rooskin’s case, there’s nothing to talk about. They look like a gang, bonded together by in-jokes, love, and desire. There’s a wit to their between-song patter that forges more love with the crowd. They have all the indefinable qualities to go with sublime alt-pop melodies. You simply cannot deny this band!

Ocean Colour Scene: Dreamland, Margate

Saturday 24th July, the first gig back, should have begun with uncontrollable excitement. It didn’t. Is this safe? Should we be here? Trust in science was the only thing the brain could summon to urge me to go.  

Strolling into Dreamland, the knots in the stomach remained. Despite a few surging to the front for Black Grape, a clear sense of trepidation prevailed.

And then.

The rush of ‘Riverboat Song’s intro surged through the veins like never before. The psychedelic blues were greeted with an overspill of love. Eighteen months of pain ebbed away into Albion’s ether as Simon’s flawless vocals echoed across the coastline and Steve’s guitars shimmered upon the sunset!

The joyous “if I walk, if I walk, if I walk” reminds everyone of what they’d missed. The collective love of a crowd joining forces with artists. A chance to belong, to hug a stranger in sheer delight once again!

‘Second Hand Car’ and ‘Get Blown Away’, at any time, can plunge the emotions to despairing depths. After everything, you could have heard a pin drop and during Craddock’s mesmerising solo on the former. ‘Get Blown Away’, sent shudders through anyone with pain lingering in their hearts. All that might have been flashed before the eyes and loss swelled in the hearts. For four minutes, tears touched checks, fists punched the air, and lyrics were sung with death-defying defiance. The human spirit alongside British rock ‘n’ roll is a fucking a triumph!

OCS, with no ego and beautiful humility, guided us back to a feeling of hope. What started out with uncertainty ended up being an adventure of our own!

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.“

Shambolics – Dreams, Schemes, & Young Teams

Fife’s Shambolics are back with a new single, ‘Dreams, Schemes, & Young Teams’. Recorded at 7 West Studios and Eggman studios, it was produced by Chris Marshall (Gerry Cinnamon & The Dunts).

Image and artwork courtesy of Sonic PR

So free and easy it makes The View’s ‘Superstar Tradesman’ seem like ‘The Holy Bible’. The sumptuous drums demand your best Motown moves whilst the guitars take the energy of ‘There She Goes’ and jangle of Belle & Sebastien for a debauched waltz.

This is more than just great jingle-jangle guitars though. It’s a clarion call to hope! As the infectious lyrics, “we’re gonna take on the world” resounds, images of teenagers coalescing to hatch dreams. Not since The Enemy’s debut album has youthful polemic been this invigorating.

Bristling with energy, it’s a smile across a grey landscape and a nod upon a rundown town centre, things are going to be alright. Like Tom Clarke, songwriting duo Darren Forbes and Lewis Macdonald challenge the listener as much as they encourage:

“Are you chasing every one of your dreams”

If us mortals are honest, no, probably not. So, call your best friend, form a band, reform a band, lace up the boots, whatever it takes, get out there and make it happen! Fuck covid. Fuck lockdown. Fuck the Tories. No one is going to hand us the Britain we deserve. It’s time to saddle up and make it happen!

Easily Shambolics best single to date. So cinematic with its narrative. It encapsulates the release of Paul Nicholls sprinting through South Bermondsey in Nick Love’s classic ‘Goodbye Charlie Bright’. Gritty, escapist brilliance!