Andrew Cushin - You Don’t Belong

Not content with recording with Noel Gallagher, Geordie sensation Andrew Cushin has been opening for him on some massive outdoor gigs this summer. Cushin has released his debut EP ‘You Don’t Belong’ to mark the celebration. Written but Cushin, it was produced by Jason Stafford and recorded The Libertines’ iconic Albion Rooms studio in Margate.

To date, Cushin has released a litany of melancholic tales blessed with Gallagher’s key change joy and soulful lyrics. ‘You Don’t Belong’ for the most part, buries his past and departs on a bombastic carnival ride.

The title track and ‘Yeah Yeah Yeah’ fly out of the traps. The former peacocking across the stage with a glam stomp to get awaken the senses. The absence of a killer solo lets down the guitar hook, Cushin vocals, and its energy. An absence that is remedied on ‘Yeah Yeah Yeah’. The pop-mod immediacy of Ocean Colour Scene’s ‘Goodbye Old Town’ is met with a joyous solo that sounds like Stephen Stills joined ELO.

Stills’ penchant for debauchery and infectious rapture is rolled out to full effect on the Noel Gallagher-inspired ‘Catch Me If You Can’. Cushin spectacularly finds a way of pulling in the dynamism of ‘Keep on Reaching’ and the wonder of ‘Revolution Song’ into the hedonism of Stills’ guitars.

Cushin returns to his archetypal sound on ‘Runaway’. A track was written on the fly in homage to Gallagher’s ‘Supersonic’. Cushin paints tortured souls like no other and, as the exceptional stargazing production soars, his soul falls into the gutter:

“You drink yourself to death / just like you always do / like the wind used to”

Although it leaves you hollow and despairing, the heart will remain full for this is a young man reminding us all that a working-class hero is still something to be!

*Image courtesy of Sonic PR

This Is War – E.T.A

June has struck which means, another new single from Liverpool’s This Is War. As the band embarks on a single every month, they serve up ‘E.T.A’ this month.

This time out, they embrace their funky mod souls and fire out Steve Craddock licks alongside their natural raw power. Craddock’s work with Weller on the underrated classic ‘Heavy Soul’ and the more recent ‘Wake Up The Nation’ come out to play with the effortless cool of Jonathan Richman.

Their previous singles have tended to see one member or certain sections of the band step up for their moment in the sun. Here, a togetherness builds on record to match their live spirit. The layers of guitar parts feed in and around the great bass hooks. Paul Carden’s vocals turn full power on but, only fleetingly to allow the mod beats to reset and begin their infectious shuffle once again.

This Is War is firm proof it’s about the journey, not the destination. 2022 is a year of release experimentation. It’s a roll of the dice that is proving more than fruitful for them. ‘E.T.A’ serves up new textures and a depth not yet seen from them. There’s so much here to admire it is a certainty you will return for more.

Rainn Byrns – Never Ending Story

Peckham-based Rainn Byrns returns on June 10th with his new single ‘Never Ending Story’ (via Futureproof Records). It Follows last year’s EP ‘Country Living’ and precedes his new album due later this year.

Writing the drudgery of working day repeat has a become a fine UK tradition in UK counter culture. The Jam’s ‘Smither-Jones’ offered us an insight into the pretense working-class folk can break the glass ceilings, The Coral turned up the darkness on ‘Bill McKai’s train journeys whereas, Sleeper’s cannon filled in the gaps with the relationship and sex of these characters types (‘Inbetweener’ being the finest exponent).

Byrns has thrown his hat into the mix with ‘Never Ending Story’. With nodes of country and bluegrass, Byrns takes from ‘Sgt Peppers’ and The Kinks to paint pictures of a hopeless slacker. Spiritually, it beds in alongside ‘Importance of Being Idle’ with the protagonists growing sense of lethargy and alienation to success:

“Every waking day I’m painfully conscious that I’m fading away”

Whilst splicing in the laugh out morbid haplessness of Morrissey:

“Can’t find my soul in the lost and found”

It’s firm proof that Byrns, with the pen at least, belongs in esteemed company lyrically. Musically, Byrns hasn’t nailed the standout single of this writing lineage. It’s a more beloved album track than career-defining 3min alt-pop.

However, anything with a country-tinged Graham Coxon solo and ragged Jay Jay Pistolet vocals deserves everyone’s attention!

*Images courtesy of Futureproof Promotions

The Shed Project - The Curious Mind of a Common Man

Bolton five-piece The Shed Project released their debut album ‘The Curious Mind of a Common Man’ recently. The album was recorded at Bolton’s Ivy Studio and produced by (and mixed) by Danny Hayes (The Jade Assembly).

The album is available to buy via One Love Records.

This debut album comes in two parts essentially. The groove-laden and the ultra-personal. ‘Modern Way’, ‘One Shot’, and ‘Temptation’ fall into the first category to give the album some real gloss.

‘Modern Way’ takes the warming glow of the Allman Brothers solos to the hedonistic drugged-up John Squire circa ‘Second Coming’. The clash of baggy and rock ‘n’ roll is the perfect accompaniment for this tale of awakening and political outlying. ‘One Shot’ pays homage to ‘Country Song’ and Brain Dead’ via the Roses. The Shed Project is intent on stamping their mark on history though and, through an urgent, almost violent need to defy, they deliver a no-nonsense attitude to keep these tracks current. The guitars and backing vocals glide through the air with a sense of danger as frontman Roy Fletcher lays out his clarion call. Meanwhile, ‘Temptation’ taps into the underdogs and underrated baggy-era bands Northside and New Automatic Fast Daffodils. The grooves are effortless but, their penchant for spikiness allows nuggets of A Certain Ratio and The Fall to add funkier and harder edges.

It’s on the tracks ‘Sal’, ‘Luck Number’, and ‘My Life’ where the album comes together. The former is a hazy Kurt Vile via DMA’s ode to his loved one. It’s The Streets with guitars, and, like Mike Skinner, those jarring moments are the real beauty. ‘Lucky Number’, seemingly the prequel to ‘Sal’, lights up the album with romantic hope. The c86 sound is given the human interest it deserves as early Wolfhounds and Sarah records unite to produce a great anthem. ‘My Life’ however, is the album’s shining light. Afflecks Palace lysergic beauty collides with Style Council’s summer adventures. Nostalgia is the foe of so many guitar bands but as Burke sings “be who you arrrreeee” and the Marr and McGuinn guitars glisten, they paint to show how their past can be the future for new generations.

The guitars will inevitably lure people in. The licks of ‘Livin’ are so infectious its medically advisable to wear gloves when listening. It is though, vocally and lyrically where the real rewards come. What at first, seems too direct become astute in the moment observations upon return visits. There’s so much to admire on the UK scene right now, Afflecks Palace, Pastel, The Institutes and The Utopiates have all found new ways to reignite the greats from the 80s and 90s and now, the Shed Project have firmly added themselves to that list.

*Images courtesy of the Simon Lee & David Sangster

The Office for Personal Development – Do It All Over Again

Despite the incompetence and lies of no.10, one government office continues to its positive output. The Office for Personal Development have returned with its new mission statement ‘Do It All Over Again’. It was recorded and produced by Jesus at ODP HQ in Bexhill-on-Sea

Seemingly inspired by the blonde narcissist, the protagonist has adopted a messiah complex as they traverse the supermarket's cold meats and detergent aisles. Alas, this character is beset with doubts (“Or am I gonna fuss and fret away yet another fine day”) a trait our bedraggled goon could barely conceive.

‘Do It All Over Again’ is available from their Bandcamp page.

Musically, they move away from their modern take on Pet Shops Boys to the quainter and quirky areas of indie and dance. Lemon Jelly’s innate sense of fun infiltrates the effortlessly cool Computer Love era of Kraftwerk. Although more subdued than previous efforts, buoyant pop bombast akin to Junior Senior still lurks.

We only write about music we like. We see no point in highlighting things we hate. However, with OPD, it feels irrelevant. Objectively they are the best put-together pop outfit since Lady Gaga. Fully formed characters, intriguing narrative, fine costume, and above all, great singles!

Marseille – Might As Well Be Mine

Derby’s Marseille returned last Friday with their debut EP. It centers around their new single ‘Might As Well Be Mine’ written by their frontman Will Brown and produced by James Singleton. It also features the previously released ‘Forget It All’ and ‘She Knows Her Place’ from our New Band Spotlight section.

Artwork courtesy of Karl Shaw

As with ‘She Knows Her Place’, ‘Might As Well Be Mine’ taps into the heady party spirit of Oasis’ ‘What’s The Story…’ era with its ‘Step Out’ vibrancy and ‘Round Are Way’ debauched party vibes. The raucous rock ‘n’ roll celebration culminates in the scintillating guitar part. It fizzes with the early excess of Steve Craddock and others and drags the beauty of Lee Mavers towards the punky psychedelia of Noel’s early live work.

Despite the hedonist sonic, they eloquently conjure images of the fallen rock star who wants to recapture their humble beginnings. In these stark financial times, it’s a protagonist few would tolerate in public life. However, it’s hard not to fall in love with the character’s spirit. To go on the journey again from nothing, from youth to working-class triumph is a choice few mortals would ever turn down.

Marseille not only have the escapist rock ‘n’ roll to take them on their journey, but they also have the intellect to do it with a uniquely creative perspective. They are taking Weller and Davies’ fully formed characters’ narratives to the full-throttled nature of Oasis and it’s a joy to behold.

*Image courtesy of Jason Bridges.

This is War – Mona Lisa

Liverpool’s This Is War are embarking on a single release a month in 2022. Their 4th instalment released in April was ‘Mona Lisa’.

Like all three previous singles, their rhythm section is on point. Grooving like The Beatles circa ‘Rubber Soul’ with the fierceness of Dr. Feelgood. The beat and mod instincts infiltrate the licks and bass hooks to make this 2022’s coolest record of the year. While everything is sounding slick, frontman Paul Carden finds a soulful rage, almost despair to launch his powerhouse vocals. It takes the record from cool to vital!

It is though, the solo where the true greatness of this record resides. It’s a glorious update on the ‘Taxman’ and ‘Pretty Green’ style/ In fact, the one thing it misses are those exact reference points. It’s as though Mick Jones wanted to rewrite the guitar parts of both songs in his indomitable style. 

This Is War have, so far produced 5 fine singles. They seem to be able to turn their hand to all eras of counterculture and find a new take on them. Here’s to the next 6 singles!

The K’s – Hometown

The Earlstown quartet returned recently with their new single ‘Hometown’ to support their near sell-out tour. Formed in the wake of watching The Jam, they have been tearing it up on the underground and in support slots. Could this be their breakout moment?

Hissing with hope, ‘Hometown’ roars its way to the hearts and minds of music lovers once more. The joyous rebellion of Slade and the everyman appeal of The Courteeners lurk but, this is the sound of the band entering their pomp. They’ve been defining their identity through aggressive but caring and humble tales and, now, they’ve hit upon the most accessible single to date.

Slade’s unifying debauchery hooks up with the Phonics early tales of local boys and big-time drinkers to ignite The K’s inevitable rise to main stages. Like The Simpsons or Scorsese, they walk the tightrope of underground art and mainstream appeal with an effortless. From Breslin’s stadium-sized riffs to Boyle’s poetic fury, this band with fierce polemic looks to unite the world.

On paper, as the protagonist “empty’s all his wages / Into the pockets of the boys he hated / When he was at school”, you’d be forgiven for feeling exasperated. However, The K’s have The Rifles and The Jam’s skill of making aggression and the downtrodden sounding lovingly Goliath to the point that, you’d throw yourself into the trenches for the character to fight alongside him.

Politically, this country is bankrupt. Liars, cheats and the inept fill the top 2 seats. The apathy towards them is yet more depressing still. The K’s are not Billy Bragg. They’re not standing dialectically opposed to them. However, what their brand of rock ‘n’ roll does is, breathe life into moribund souls. They put under the skin of those who are bored and down. They’re going to escape their woes; will you follow them into the light?

*Image courtesy of Songbird PR

This Is War – Ecstasy

Liverpool’s This Is War are back again with their new single ‘Ecstasy’, which follows the Clash-inspired ‘Nightclub’ from last month. Can they keep their fine run going?

Bewitching vocals at times, drawing from Jim Morrison whilst drummer Martyn Leah smashes on through to the other side with his ferocious and apocalyptic drumming.

Through Andy Williams’ bass, a throttling sense of entrapment clouds the mind. Holding you in a state of purgatory until frontman Paul Carden and guitarist Johnny Roberts relieve the pressure. Carden turn’s on the soul power in the closing moments with nods to Tom Meighan on ‘Fire’ and Roberts’ guitars are the touch paper to something far bigger than their means.

Their last four songs have all offered something different, all something irrepressible. There is a growing sense that, their upcoming album could pull together something far-reaching but with chest-beating power.

Cleargreen – Messiah

Manchester’s Cleargreen were in the ascendency before the pandemic. They were wowing This Feeling audiences across the UK on the ‘Big In 2019 tour’. Many had attempted to blend Oasis and The Roses, they were only true successors.

Then the pandemic hit. Nothing. Not a peep. Many, us included, feared another working-class talent had fallen by the wayside due to financial pressures.

Then, from nowhere, the second coming. A fitting term for the new single ‘Messiah’ on many levels. On previous singles ‘People’ and ‘Gone’, there was a sense of hunger, a desire to grab life by the horns and make it better for themselves. It was, unequivocally exhilarating. ‘Messiah’ is a different animal.

If the Roses hadn’t been hit with a lawsuit after ‘Fools Gold’, this surely would have been their next single. Mike Wilcock embodies Reni’s flair on the drums whilst lead guitarist Josh Haworth takes the roll of Squire’s funked-up Hendrix licks. Not only does Haworth adopt this role, but he’s also achieved what mid-90s Squire couldn’t be concise. ‘Messiah’ is condensed into less than three minutes, redefining what a psychedelic single can be.

Pre-pandemic, anthems like ‘People’ and ‘Stargazed’ were littered with dazzling moments on the guitar. They were always offset by frontman Ali Staley. He had a great skill to let the audience into their genius through his everyman appeal. That spirit remains but, overriding this is a defiance and righteousness that wasn’t present before. The pandemic hit us all hard, now Staley is here to lead the fightback for the people with his newfound snarl.

For many, the last two years feel lost to a sense of nothingness. In Cleargreen’s case, it’s been totally worth it. They have come back in the mood for success but, moreover, more talented than ever!

The Clockworks - The Clockworks

The self-titled EP from Galways The Clockworks will be released on 1st April (no seriously) via Alan McGee’s label It’s Creation Baby.

Here’s our track by track review:

Endgame

Being directionless in a world gone fuck up has never sounded so great. Frontman McGregor’s vocal cadence radiates “4 Real” carvings in the arm it’s so vital; every breath, note, silence sounds like the key moment in the best film you’ve ever seen.

Previously, their guitars have been in two camps. ‘Can I Speak to a Manager’ and ‘Bills and Pills’ were a great homage to 00s icons The Rakes, The Cribs, and beefed up Good Shoes. Then, in ‘Enough is Never Enough’ something changed.  Brutishness pervaded their punk as they traversed far more desolate landscapes.

Image and artwork courtesy of Sonic Pr

Here, they have married up the two to create the next wave of UK punk. It’s fired them into the brace of Shame and Fontaines DC, arguably surpassing them. Especially when you consider McGregor has found a way to sit between Henry Dartnail’s (Young Knives) slightly high-pitched growl and the warming punk of Grian Chatten (Fontaines DC).

Money (I Don’t Wanna Hear It)

It’s felt an age since social commentary and great characterisation were a part of our lives. There has been great polemic of recent times but, ‘Money’ goes further. It unites the town crier with the poet and is destined to reel in fans from all strands of the alternative world!

Feel So Real

Almost a year to the day since this was first released and its prose feels more needed now than then. The disgusting Spring Statement that neglected millions (becoming a habit Sunak!!!) are lit up perfectly. McGregor’s lyrics scour London life, consuming the good, the greed, and the destitute.  It feels like Welsh, King, and Niven have formed a three-piece punk band with one objective, righteous angst!

The Temper

Not many punks can strip down to acoustic guitars and maintain the quality levels. The Clockworks do not struggle here. The passion of ‘England’s In The Wars’ and the playfulness of ‘D’Ya Wanna Be Spacemen’ offer up a moment of calm but incisive lyrical joy.

Images of Pete and Carl filling time between stage collapses or Brett Anderson sitting on the edge of the stage without a mic come racing to the fore as, this acoustic affair sways with Blake-esque poetry.

Berries – Wall of Noise

London trio returned earlier this month with their new single ‘Wall of Noise’. Recorded and mixed by Antony Smith at Big Smith Studio it was released on the iconic Xtra Mile Recordings label.

Image and artwork courtesy of Sonic PR

‘Wall of Noise’ bravely tackles mental health issues. It poignantly portrays the nagging voices and the exhaustive cerebral fog this brings about:

“The wall of noise / Threatens to leak all the things we don't see / Distorted voice /Blink and it's gone but for now it lives on.”

Rather than just serving up platitudes to raise awareness, they have taken aim at us all who do so:

“Conversations inflate / Spread it on sure / But don't leave it here / As it may interfere / Because we wait / Patient irate / Unsociably perfectly placed”

Their pain and fury are set to a gloriously destructive set of Bugeye basslines and Cribs-esque licks and the righteousness of Liines. It continually threatens to explode, the perfect soundtrack to those who are suffering. When it does erupt, the solo takes on the angst of Sleater Kinney, the power of The Breeders with Yeah Yeah Yeah’s “fuck you” attitude.

Their debut album is expected for release this summer. Here are their live dates:

Mexican Dogs – She Cries Blues

After supporting Jamie Webster on his sold-out tour, Liverpudlian rockers Mexican Dogs are back with their new single ‘She Cries Blues’. Produced once more by Andy Fernihough, it was recorded at Liverpool’s 3rd Planet Studios.

‘She Cries Blues’ is available on the Bandcamp.

There is, seemingly a lot at play here. However, it is never confusing, only desperate for your attention which, it will inevitably grab! The soul power of Shed Seven’s great comeback ‘Room In My House’ is met with nodes of disco and truly scintillating glam rock guitars to make it an instant hit.

Frontman and lead guitarist Gary Wilcox star continues to burn bright. His guitars have the prowess of The Black keys and the rock ‘n’ roll desperation of Soundtrack of Our Lives in the early stages. It is though, in the closing stages where he unleashes a siege mentality with the gargantuan strut of The Datsuns ‘Harmonic Generator’ and vitality of 22-20s. Meanwhile, vocally, he slots in-between Marc Bolan and Peter Hays (BRMC) to produce his best work to date.

Click the image for tickets to their live dates:

Skylights – Outlaw

Artwork by Paul Evans. Courtesy of 42’s Records.

Off the back of sold-out shows in their home cities of York and Leeds, Skylights are back with their third single ‘Outlaw’. Released last Friday via 42’s Records, it was recorded (&mixed) by John Greatewood and will feature on their upcoming debut album ‘What You Are’.

The Instantaneous energy of The Clash and the dark power of The Cult roar into life. Nodes of glam rock and Happy Mondays wobble psyche-guitars lurk with intent to lift this ode to Aberdeen fans.

It’s a stark contrast to the windswept Feeder-inspired anthem ‘Darkness Falls’ and the colossal spiralling guitars of ‘Enemies’.

*Image courtesy of Mark Tighe & 42’s Records.

The evidence is stark, ‘What You Are’ is shaping up to be the underdog album of the year!

Click the image below for tickets totheir upcoming gigs:

JWP Paris – Electric Candle Light

Fresh from their Leave The Capital tour, JW Paris are back with their new single ‘Electric Candle Light’. Recorded at Buffalo Studios. It was produced by Kula Shaker cohort JB Pilon and released last Friday via Blagger Records.

‘Electric Candle Light’ is a tale of nostalgia and yearning for better days but, is musically rooted in the present wave of punk! Danny Collins’ twisted and deranged guitars look to The Kecks with hints of Shame to conjure a future of lawlessness which, oddly is incredibly appealing. The nihilistic psychedelia combines with the resounding hook akin to Sleeper’s classic ‘Inbetweener’ to make it truly irrepressible.

The Blade Runner scenery is enhanced by Collins and Forde’s vocals as they inject raw aggression into the joy of James McGovern (The Murder Capital) and add a snarling immediacy to Opus Kink’s Angus Rogers.

Intense, yes, but it’s riddled with great pop sensibilities. The soft vocals before the climactic end, the big bluesy riffs, and, the incredible synth solo all serve as a reminder of what alt-pop can be.

As powerful as PJ Harvey and as unhinged as The Fall, JW Paris will surely wow crowds on tour with The Skinner Brothers.

*Image courtesy of C24Photography

The Shakes – Demos

This past Friday, The Shakes opened up Martin Rossiter (Gene’s) benefit for Ukraine at the Shepherds Bush Empire. Everyone from James Acaster to Sleeper to the London-Liverpool express were given minimal stage time. Yet, they still managed to blow a hole into the soul for all who watched!

Out of tribute, no, just sheer respect to their ten minutes, we’re revisiting the Demos EP they released in January. Here’s our track by track review:

The Demos EP is availble to buy on the bands Bandcamp page. Images courtesy of the band.

Watch It

Hurtling out of the traps like the Small Faces on speed, ‘Watch It’ fires like The Strypes with The Buzzcocks fury in their hearts.

It has all the hallmarks of great 00s indie-punk bands but, though their guitars, there is an innate ability to take that sound to the vastness of Pete Townsend and hint at the psychedelic mayhem of ‘Disraeli Gears’. The guitar breakdown snarls like Paul Cook but has the prowess of Townsend and the life-affirming swagger of Noel Gallagher with that union jack guitar.

When Liam Gallagher hit his peak, he was the vocal personification of John Lennon and John Lydon. Frontman Zak Nimmo, here, has found something between Liam, Ian McCulloch, and Mick Jagger. Like Liam, he not only has the ability and confidence to carry it off, he has the charisma to work them into his live sets without it ever being pantomime. He is an instant icon!  

I’m Your Man

In between the glorious noise and confusion comes the infectious ‘I’m Your Man’. A sumptuous ode to the lovesick males among us. Teenage boys will bang their chest in bravado to ’Watch It’ but, in front of the bedroom mirror, will swoon with a lynx Africa in hand begging to be this expressive!

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.

Lost Along The Way

Not for the first time on the EP, The Libertines’ sense of togetherness is key to their success. The jagged ska of ‘Guanga Din’ is given an injection of Iggy via Hendrix. Their ability to keep the melodic visceral is remarkable, it keeps this looping verses integrity intact and thus, allows the solo to feel like a cannonball being launched into the night sky.

The aggression and raw power of the looping riff powers this Iggy via Hendrix and Libertines classic. Despite the penchant for ‘Guanga Din’, a visceral and muscular power rumbles throughout that Kinks would be proud of.

The Libertines imagery is hard to shake as lyrics detail a forlorn character making best-laid plans (“when I think of all the plans that I’ve made / I guess they got lost along the way”). Those wilderness years of the band caused a decade of ‘what might have beens’ for fans. Now, The Libs are back but, they’re most definitely playing second fiddle to The Shakes.

The solo shimmers and shakes like the psychotic bugged-out love child of Carl Barat and Dave Davies.

Here Comes The Rat

The guitars, oh those guitars, it’s heaven for lovers of The Stands, The Bandits, The Zutons. Liverpool has been paid homage to here and then some! Despite being the most well thought out piece is beset with the desperation all rock ‘n’ roll needs to thrive!

Thousand yard Stare - Measures

After the success of their comeback album ‘The Panglossian Momentum’, fans may have feared that Thousand Yard Stare had said everything they needed to. Fortunately, the hunger remains as they return with new single ‘Measures’. It’s part of a run of four singles to be released via their Bandcamp page.

The harder edges of ‘Heimlich Manoeuvre’ and ‘Action Stations’ return on this tale of principles and the struggles to maintain them. The volatile riffs are continually threatening to boil over, the perfect accompaniment as Stephen Barnes outlines the joy in taking a stance and then the tension to hold the line.

‘Measures’ has a great directness, bullish but never throttling. It’s also imbibed with the carefree spirit of ‘Version of Me’. It serves to reawaken their younger angst in the opening stanza:

“It’s the measures that you take to define you / It’s the measures when you tie up loose ends / It’s the measures that you take to align you / It’s the pleasure in the message it sends.”

As the song roars to a close, clutching the early years of the band close to the heart become more joyous with the lyrics “It doesn’t matter how you arrive here / Just be sure that you are here at the end / It doesn’t matter how you arrive here / Take pleasure in the message it sends”. Their sage advice to new generations of punks doubles up as a reassuring to the elders who may have lost their way.

Since the ‘Deep Dreaming /Stargazing’ double EP return, they have not rested on former glories. The hallmarks remain but, the sprinkling of Grandaddy synths and the ferocious wall of sound continue to push Slough band on.

Long may it continue.

Columbia – Embrace The Chaos

During Lockdown, there was almost nothing to cheer about. Andrew Cushin and Columbia were musical exceptions to that rule. Last week, Cardiff’s Columbia released their debut album ‘Embrace The Chaos’. Could it deliver on those escapist singles and cement their place as a great rock ‘n’ roll band?

When bands look to the classics, the fact is 99% fail. Those bands may capture their essence but, they lack one of their own. Columbia are in the 1%. Although imbued with the past, they are rooted in the here and now emotionally and that is what sets them apart.

Former singles ‘Glory People’ and ‘Waiting For You To Believe’ are fine exponents of the past that connect in the modern-day. On the former, guitarist Ben Rowlands has found a sweet spot that pays homage to Richards, Squire (Second Coming/Seahorses era), and the hypnotic riffs of early Oasis & BRMC. This is a statement of intent! Columbia determined, destined even, to be their equals. More importantly, through the shimmering loops and escapist solos, they will take us, mortals, with them. Whereas, on ‘Waiting for You To Believe’, Decadent guitars join forces with the most robustly defiant vocal you’ll hear this year. In frontman Craig Lewis, there is a raging bull smashing away at the gate for freedom. Not many can carry the devilment of these guitars, in this instance, the guitars just about latch on to his behemoth spirit. When he wrenches ‘took too much and took it again’, the dark glow inside you will brighten. Whilst we care for his health, vulnerable but bullish rock stars are a depleted force.

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

Now, although different tone, a love of Kasabian also lurks on the album. Kasabian’s debut album of punked-up synth grooves comes out to fight on ‘I’m On Fire’. Sonically different, of course, but, Lewis’ vocals chime with the destructive power of ‘Club Foot’ whilst Rowlands’ furious Stephen Stills guitars collide with the fraught nature of ‘Ovary Stripe’. ‘Keys To The Kingdom’ on the other hand, takes the febrile ‘Reason is Treason’ to the edge of Oasis’ Knebworth sized glory. Craig Lewis pulls back on the snarling temerity and lets bassist Sten inject the violent disarray. His funky-punk lines allow the fire of Kasabian and The Music to come to the fore as, yet again, guitarist Rowlands taps in 70s stadium excess to joyous effect.

There is an astonishing intensity to this album. Even when the pace lets up on ‘All The Streets Are Silent’ and ‘Devil On Your Shoulder’, the clarion call remains. In the album opener ‘Fall Into The Sun’, they have delivered one of rock music’s great statements of intent. The spirit of their hometown heroes’ Stereophonics early work comes out to play with the debauchery and despair of ‘Bring It All Down’ and the fury of ‘Holiday in the Sun’.

The Phonics come out to play again on ‘Something More’ and ‘Devil on your Shoulder’. The former, is, no less than a seismic change in pop music. This is the sound of ‘Last Nite’, ‘Somebody Told Me’ or ‘Dakota’ sticking their hand up and saying “we’re the fucking top 10 now”. The guitars roar towards the best sunset you’ve ever seen. Every time The Rifles and The Enemy fought and lost for the recognition they deserved feels worthwhile as Columbia makes their guitars glisten alongside Kelly Jones-esque vocals on circa ‘Madame Helga’ and ‘Rainbows and Pots of Gold’. ‘Devil on your Shoulder’ finds itself beautifully in ‘Billy Davey’s Daughter’ territory as it humbly closes the album out. Rather than a tale of tragedy, Columbia eloquently proclaims you’re never out of the race, you just have to keep going.

24hr news and social media have busted the myth of being a rockstar. The era of idolising excess and womanising is over. Good riddance! However, with it (bar Liam), went confidence and a swagger in the frontman. Millions of us lead ordinary lives. Boring lives. Often without hope. Step forward, Craig Lewis.

Lewis gives birth to the new rockstar. Never taking a backward step, his unwavering belief in his ability lifts you closer to a promised land not seen in a while. Crucially, empathy leads his vision. No sneering, just a helping hand through the fog:

“Embrace the chaos as the silence invades your mind / When we walk into a storm I know we’ll be fine / We are the glory people shine / we are the glory people yeah”

Somehow, they have reimagined the Stones, Stereophonics, Oasis, and Kasabian into something new on this debut. A life-affirming set of songs that will smash whatever stands in its way. For once, we alternative types beg the gatekeepers to put up barriers. It’ll only be that much sweeter when Columbia destroys them!

The Boo Radleys – Keep On With Falling

The Liverpool outfit returned last autumn with the triumphant EP ‘A Full Syringe and Memories of You’. On Friday 11th March they followed up on this with their first studio album in twenty-four years. Could they follow the critical acclaim of the EP?

You can buy the new album here.

Themes of catharsis and awakening run throughout the album. Album opener ‘I’ve Had Enough I’m Out’ and former EP track ‘A Full Syringe and Memories of You’ pull no punches as frontman Sice tackles the hypocrisy of the Catholic church. The former humbly strolls through the fog with gentle acoustic guitars before springing to life as a slower-paced Motown stomp. Being present is at the heart of this former single. The here and now override the secular totalitarian need for eternity.

‘A Full Syringe and Memories of You’, similar in theme, tackle the difficulties that come with the sanctity of life on what is, a truly remarkable piece of songwriting. As they explore the rejection of Catholic teachings, a clarion call is born. A never give up spirit oozes the great chord changes and, as they build layers and mental fog descends, a guttural fuck you emerge. It is though, through Sice’s angelic vocals the spectacular lay. They shine through the mire, which, during this grave era of war, act as a tangible sense of hope.

Many albums, when they strike this level of confessional discord fade when the angst fades. Here, their angst passes for sun-kissed melodies and inspirational lyrics. 

‘Keep On With Falling’ extracts the wisdom to carry on when most would fold under the weight of collapse:

“When you fall, it will follow, it will shine, it will bite,
And you'll see all the windows that have closed up on your life”

Sice’s vocals hit their angelic nineties peak without missing a beat. No more prevalent than on the delicious layers of backing vocals. So good are his pop instincts here that, Ian Brodie and will be pirouetting with glee. Not content with being a great indie jangle, the trio introduces elements of Electronic ‘s ‘Some Distant Memory’ and more notably, Nile Rodgers’ guitars. The Chic solos chime with the synths like sunshine on still water, so simple, so pure, and yet so far out of reach of most bands. Not since the Style Council has something English sounded this sun-kissed and funked up!

The album’s recalcitrant spirit culminates in the album closer ‘Alone Together’. Dripped in Orbital and Krtaftwerk sequences, the Boo’s lush melodies soar alongside a tale of school popularity fading into despair.

The melodies they tap into, no matter the discourse, are so infectious they could make Graham Nash blush. ‘All Along’ swirls with the panache of The Hollies and the illicit freedom of the DMA’s. Whereas, ‘I Say A Lot Of Things’ touches upon the romantic orchestration of Richard Hawley’s ‘Lady’s Bridge’ and the pop bombast of ‘C’mon Kids’. Unconstrained by the past, they reimagine their archetypal brass sonic alongside great drum patterns and enrichingly humble lyrics.

If the album had just been the aforementioned set of great pop songs alongside the mental triumph of the human spirit, it would have been a fine comeback. However, ‘Call Your Name’ makes it the perfect one. Channelling The Byrds via Tame Impala, they’ve conjured pure majesty! Trippy but angelic, it feels like Marr and Rodgers have taken the beauty of Thirteen Senses and South for a forlorn but life-affirming stroll.

Without Martin Carr in the fold, the new lineup could have easily folded under the pressure of delivering a new Radleys album. Carr has been an exceptional solo artist after all. Nevertheless, Sice and co have paid tribute to all that they once were and pushed the band forwards with remarkable results.

*Images courtesy of https://twitter.com/wordsandstories

The band will be on tour in April. Click the Image for tickets: 

The Reytons: Chinnerys, Southend

Rotherham’s Reytons sold-out tour came to Southend two weeks ago. Truth be told, their phenomenon had passed us by. They were just a mid-card This Feeling band with too much noughties nostalgia, right?

Wrong! Although heavily indebted to the noughties, this was not parody but, the kind of pastiche that nudges the wheel, albeit slightly, forwards. However, whenever that decade’s chief exponent, the Arctic Monkeys came into play, their visceral beauty faded. ‘Expectations of Fool’ fell by the wayside and ‘Reckless’ strayed to ‘I bet You Look Good on the Dancefloor’ with a Boy Kill Boy haircut far too readily.

Images courtesy of https://www.filmfreephotography.co.uk/

Ultimately, it didn’t matter, the set was electric. Banger after banger with little or no rets between songs kept everything fizzing with punk glory.

Their venomous delivery took the best parts of 00s bands and made them feel like Spartan! ‘Harrison Lesser’ took the twanging glory of ‘Rock ‘n’ Roll Eyes’ (yes, Razorlight, they weren’t always shite) and the pop cadence Jon Windle (Little Man Tate) to aggressive new pastures. Meanwhile, ‘Mind The Gap’ took the musings of Jon McClure and Ed Cosens into a siege mentality, and ‘Sales Pitch for the Bus Ride Home’, the greatest song title in a generation, took aim at The Enemy’s penchant for sounding humongous and, thought, we can be bigger!

The key to everything on the night was credibility. It oozed from them. Independent through and through, they have risen to the cusp of big venues. The drama served up in their kitsch sink lyrics is exhilarating, people like them, like us, should always have their lives lit up in rock ‘n’ roll. The Reytons are most definitely their own beast, a headline animal to be seriously reckoned with.