Thousand Yard Stare – Isadora

The Slough missive embarked on a series of single releases in 2022. ‘Isadora’ is the third in that run and was recorded at Raffer Studios in Kent where their stunning psyche comeback album ‘Panglossian Momentum’ was made.

Guitarist Giles Duffy originally created this surreal frenzy as an instrumental. In many ways, it pays homage to his more drawn-out work of the initial run in the late 80s and early 90s. However, once the singer and lyricist Stephen Barnes got to work, it became a condensed, almost demonic nursery rhyme befitting the post-pandemic world we find ourselves in.

During lockdown, with nowhere but to look in the past or inwards, Duffy and Barnes have conjured the dark and weirdness we all strayed to. Hope is often coursing through their melodies. Here, they’ve attacked the studio like a Dadaist nightmare where the concept never existed.

If only uncertainty always sounded this good.

The band will return to the stage again later in the year:

Click image for tickets.

Gazelle – Clementine

Leicester-based Gazelle, fresh from the success of the ‘Magic Carpet Ride’ are back with their new single ‘Clementine’. It was recorded at Hope Mill Studio in Manchester.

Like ‘Magic Carpet Ride’, their love of soul music again comes into play. The combo of Motown’s stomp and the acoustic jingle-jangle of the DMA’s sparkles like Stevie Wonder fronting The Byrds’s with Steve Cradock on lead guitar.

Their step-back time is blessed with a warmth that demands playlist recognition immediately. The psyche-jangle effortlessness of The Left Banke’s ‘She May Call You Up Tonight’ and ‘I’ve Got Something On My Mind’ combines with the emotive pop hooks of Bee Gee’s ‘I’ve Gotta Get A Message To You’. All the while, Richard Sorbi, and Danny Wright’s rhythm taps into the vitality of Spencer Davis Group and Them.

Despite the R'n'B influences, it’s their punk spirit that drives their success. Gazelle, like The Jam and The Rifles before them, delves into the past and produce new subcultures for the next generation.

The best bands always look and sound like a gang, Gazelle are no different. There are times though for the frontman to step up and shine and this is Ryan Dunn’s. The cadence he deposits is divine. From the quick-fire Stevie Wonder chorus moments to the euphoric Steve Winwood in the closing stages, Dunn showcases immortal talent.

Click the image below for tickets to their headline show in August.

*Banner image courtesy of https://www.trustafoxphotography.com/

Spangled - Good Life Better

Manchester’s Spangled, charged up from ‘Tramlines’ and primed for ‘Y Not? Festival’, are back with their new single ‘Good Life Better’. Produced by Gareth Nuttal (The K’s, Lottery Winners), the track is released by This Feeling Records.

There’s rock ‘n’ roll like ‘Live Forever’, which is the purist of escapist dreams. Spangled are in the same cosmic sphere but here, they occupy a more intense personal realm.

The shimmer of Shed Seven’s ‘Long Time Dead’ combines with the heartfelt poetry of MOSES which takes them to the precipice of a Knebworth or Reading headline slot. For all those who gazed on at Liam this summer, step aside now, it’s their fucking turn!

As Johnson sings "All of the scars in my soul are gone" and the Soundtrack Of Our Lives guitars chime, their big stage destiny is so tangible you can smell it. It screams hope to all teenagers unable to wrench out their pain, but has the ambition to take dreamers with them too.

In an alternate reality, Nicky Wire would have written the great sloganeering here for Richard McNarama and Youth to produce. The eloquence of DMA’s is given an injection of British aggression via Ben Johnson’s vocal roar whilst Jamie Haliday’s guitars stray from the harrowing goth of The Cure to the grandiose of The Who.

‘Good Life Better’ is more than just a rock ‘n’ roll epic though. It’s a tribute to frontman Johnson’s father who tragically passed away after their triumphant Isle of Wight Festival set in 2021. If Johnson ever tops this vocal, the world is in for something special. The pain he wrenches from his soul is astonishing, but it is the ecstasy and hope he emits which is truly astounding. At his lowest point, Johnson manages to lift others up around him. There can be no consolation for the loss of a parent. We only hope that, knowing one of his last acts alive was to see his son with his best friends doing (and succeeding) what they love to do. No father could wish for more.

 *Image courtesy of This Feeling Records

Theatre Royal – 1994

Medway’s Theatre Royal recently supported the Human League at Rochester Castle. To celebrate this triumph, they released the lead single ‘1994’ from their EP ‘Beneath The Floor’.

The single & EP are available from their Bancamp page.

Johnny Marr is the undoubted king of riffs. However, loitering behind him are the guitars of Oliver and Robert. Single after single they find a new way to bring mod revival and c86 glory into the modern world. ‘1994’ is no different. The warming guitar parts alongside the dazzling brass conjure images of Graham Coxon joining Orange Juice. Meanwhile, the solo fires out from Steve Cradock’s majestic OCS cannon circa 1996.

The use of brass (Chris Kingman) is not new for the band. To be in full carnival mode is though. It’s the perfect accompaniment to this tale of an erratic friend. It places the wayward soul in the middle of a party they most likely should never have arrived at. The edge of darkness lurking beneath the celebratory atmosphere is a joy to behold.

‘1994’ confirms we’ve known for a decade and what Louder Than War professed perfectly:

 “why the fuck are they not really famous?”

Marseille – The Jungle

Derby’s Marseille have been on a hell of a run in 2022. Debuting at the Isle of Wight festival and playing Pride Park to name a few landmarks. Last week they returned with their new single ‘The Jungle’, out now on all platforms via Away Day Records.

Artwork courtesy of Karl Shaw - https://www.silverbirchcreative.com/

The day of release was one of celebration for the band but, for music lovers, the tragic loss of Paul Ryder was tough to take. A week on and, the loss still stings but, ‘The Jungle’ has served as a timely eulogy for the Mondays’ funk master. The new single locks in a Ryder and Mani-esque killer bassline and builds a baggy classic around it. Once it combines with the funk and flair of Mark Day’s guitars, the tribute is complete!

Coincidence aside, this is a single of unswerving talent and ambition. ‘Fools Gold’ it is not but, the spirit of the Roses looms large. A steep trajectory awaits and evidently they have the skill to get there.

Today marks the anniversary of the Hammond genius of Rob Collins. Marseille have celebrated the present with a nods to Manchester’s baggy past. Meanwhile, there’s a cloud with Ryder, Collins, and Liam Maher having it to ‘The Jungle’.

*Image courtesy of Jason Bridges.

The Chase - Not the F*cking Game Show

Nottinghamshire’s The Chase have been on a roll the last 12 months. Brothers Tyler (frontman) & Dion (drums) along with cousin Luke on bass and James on keys have notched up support slots with The Rifles and The Skinner Brothers.

They recently released their debut EP ‘Not the F*cking Game Show’. Here’s our track-by-track review:

Black Cloud

Raucous garage punk sitting between The Stranglers and The Velvet Hands. James’ great keys light up this explosive affair alongside the scintillating guitars.

I'm the Man

Tyler’s vocals have the deranged but melodic joy Frederick Macpherson (Les incompetents/Spector). The power he emanates alongside the stomping drums and violent guitars feels like the single comeback Oasis always attempted ‘Heathen Chemistry’ until the end but never landed.

The bluesy stomp teases The Stones’ devilment out of BRMC’s wayward souls and yet, there is a togetherness oozing from this record. One which is going to set ablaze live audiences.

Live to Die

Great synths take the band towards an indie-punk rapture. Taking all the best bits from Maximo Park, Spector, and The Cribs they lift off to a destination unknown but one you’ll be hell-bent on finding.

Set The World To Rights

Despite the frenetic pace to the EP so far, musicianship worthy of session artists has lurked. Here, with pace mercifully slowed, they showcase just what they’re capable of when they let everything breathe.

Melodies worthy of Crowded House are taken to the sun-setting rock ‘n’ roll of Soundtracks of our Lives. Despite the center-ground here, the vitality of the sound is not diminished. Urgency pours from their sweat like fine wine!

La La La

The Dead 60s ‘Ghostface Killah’ collides with early Ordinary Boys on this psychedelic ska anthem. Volatile like The Coral’s debut, they prove that, no matter what the genre, they are unpredictable, melodic, and ready to take the alternative scene by the scruff of its neck!

In The Queue

A sign of their quality that this ramshackle throwaway affair carries more melody than most alt-bands we saw at Glastonbury this weekend.  

Lucigenic - Joy

Manchester supergroup Lucigenic returned recently with their latest single ‘Joy’. It was recorded at Far Heath Studio with Mike Bennett (Fat White Family, The Fall, Ian Brown) producing and Angus Wallace engineering.

Artwork Photo credit : Olivia McCaffrey/Rachael Flaszczak / Dylan (Fried Banana)

In 2021, they released the ’Hope’ and ‘Still Breathing’, reacquainting themselves with many of rock music’s classic moments from the 70s and 80s. A method that takes some courage with so many ready to sneer in the modern world. On ‘Joy’, they double down on this methodology. Does it pay off?

Lucy Davies taps into her Stevie Knicks and Patti Smith power at times but, it’s the little punky Siouxee or Ari flourishes and the Louise Wener whispering refrain that truly captivate. Mark Refoy’s guitars range from the shimmer Marr to the ecstatic Mick Ronson to the pop splendour of Bolan. Meanwhile, drummer Dave Barbarossa has that Mick Fleetwood or Terry "Bandsman" Howarth appeal which, no matter the vocals or solos in play, just make you want to air drum like a child.

It should come as no surprise this trio has this ability. However, it’s the childlike spirit that makes it great. This is the sound of friends laying their teenage record collections bare. From the Banshees to Fleetwood Mac all the way up to the Rob Collins inspired keys, Lucigenic have reimagined their past to produce a melodic rumble that few can match today.

*Banner image courtesy of Sonic PR and Trust A Fox

MOSES - I Still Believe! Do You?

London’s MOSES have released their second album ‘I Still Believe! Do You?’. Making the trip back to Wolverhampton, they recorded once again with Gavin Monaghan (Shade, The Twang) at his Magic Garden Studio (except 'Caffy' and 'Pawns' by Ian Flynn).

Last time out, they served up a raw an album in every sense, emotion, power, and talent. Firecrackers like ‘Cause Got You’ and ‘River Thames’ were instant indie bangers. On ‘Joy’, ‘Waiter’, and ‘Crocodile’, they sought to try different things musically and lyrically. Brave yes, but ultimately, they were overshadowed by the aforementioned.

On ‘I Still Believe! Do You?’, they not only level up the more explorative tracks, but they also surpass their indie-punk roots at light speed. ‘Move On’, ‘Will’, and ‘Murderer’ are big departures from their roots musically. ‘Move On’ walks into Foal’s living room and says hi to ‘Spanish Sahara’ whilst offering a bolder vision for hope. ‘Will’ taps into the debuts dynamism but is far more courageous and audacious. The spoken word and intense dreampop guitars hover above the clouds until the eruption of defiance. They take ‘Hail The Thief’ to the fury of early Manic Street Preachers’ as they dig in, stand tall and attempt to change the world forever! Whereas ‘Murderer’, is laden with Johnny Cash guitars, Richey Edwards desperation, and Frank Turner’s sense of goodwill. It’s one thing to be angry and spit venomous hostility at the status quo. It is, however, a whole new ball game to do it poetically and still sound violent.

On all three tracks, frontman Victor Moses proves he is one of life’s rarest breeds. Defying the odds with rebellious integrity whilst simultaneously unifying souls with passion. He doesn’t just sing “A murderer that's what we need / To kill the hate to kill hypocrisy and greed”, he wrenches it from the gut if it’s his dying breath.

There are moments that act as a bridge between this new colossal sound and the debut. ‘That’s Who You Are’ has the cuteness of ‘Joy’ and the togetherness of ‘Basically’. However, this is the sound of a band coming to their peak of power. The twist and turns of the narrative, the Peace-esque noodling, and the stadium-sized explosion collide to spectacular effects.

On ‘The Last Kick of Melancholia’, they take their past to new creative highs what is, almost a mini rock opera. Part one pulls together the best bits of Peace, Little Comets, and Foals over the past decade. They descend into the chaos of ‘Popscene’ and the “cockney” mayhem of ‘Sunday Sunday’ before parading to the vast landscapes of The Who in the closing stages. Whereas, ‘Alone’ finds Victor in Rob Harvey mode. High pitched, enraged, and always beautifully melodic.

Most bands’ biggest asset in the build-up to the debut album is their sense of hope. It certainly was for MOSES. Ironically, on an album about hope, they leave this realm. ‘I Still Believe! Do You?’ is blessed with The Kinks’ storytelling, Blur’s chaos, Manic Street Preachers realness, and Blossoms’ pop sensibilities. One criticism could be, does it have the wayward genius of Fat White Family, probably not, but pulling from all those fields has landed MOSES with a second album of real quality.

*Image courtesy of Rocklands Artbeat

Skylights – What You Are

Acomb’s Skylights have had quite the journey to the release of their debut album ‘What You Are’. The band called it a day a few years back their indie euphoria looked set to fall into the category of ‘what might have been’. Then, in 2020, they returned, would this last roll of the dice pay off?

The album is available to buy from 42s Records.

In the spirit of the last chance saloon, they often adopt the windswept string anthems of Feeder and the sun setting drama of Soundtrack of our Lives. ‘Nothing Left To Say’ has the dreamy ambition of ‘Feeling A Moment’ and the emotive power of ‘Just The Way I’m Feeling’ but, Turnbull Smith’s guitars take it to new planes. His Wedding Present jangle of the intro and shimmering solo give it ambition and hopefulness the grey landscapes of the UK so desperately require.

Meanwhile, on ‘What You Are’ and ‘Take Me Somewhere’ they inject their newfound defiance into these well-worn sounds. The former is far more bullish and accompanied by great aggressive Pete Townsend windmills. Whereas, ‘Take Me Somewhere’ has the longing visions and psychedelic hooks of the Soundtracks of ‘You Are The Beginning’.

Their penchant for the indie epic is offset by more urgent flourishes on ‘YRA’ and ‘Lifeline’.  ‘YRA’ is the perfect homage to the 00s with its Kasabian beats, The Music’s guitar licks, and the balls-out swagger of The Twang. ‘Lifeline’ taps into the colossal sound of Adam Nutter’s disco-psychedelia and puts it through Noel’s looping masterpiece ‘Columbia’. Both offer a way out for anyone angst-ridden and yearning for their Jimmy “way of life” moment.

‘Britannia’, originally written for the 2012 Olympics, also has the vastness of The Who’s world. Myles Soley’s apocalyptic drumming provides a cataclysmic platform for Smith’s Townsend-esque fury and frontman Rob Scarisbrick’s snarling to erupt the album into chaos.

What was a fortuitous reformation has undoubtedly led to one of the albums of the year! This isn’t a breakout debut, it’s the sound of a band 3 albums deep commanding the respect of academy-sized audiences.

Image courtesy of 42s Records & Mark Tigue

The Native - Changes

Plymouth’s The Native are back with their new single ‘Changes’. It was produced by John Cornfield (Oasis / Stone Roses) and mixed by Grammy Award-winning Adrian Bushby (Everything Everything).

Sam Fender’s positive influence on the UK guitar scene is laid bare in this new single. The infectious jingle-jangle is met with a breathy melancholic vocal in the intro. The injection of Tom Lumley-esque fury not only alters the song’s trajectory, but it also propels the band beyond any feeling of Fender parody.

The dramatic shift in urgency is the perfect sonic to this tale of standing tall. Whilst frontman Charlie Noordewier vocals strike a superstar accord, this record shines because of its gang mentality. Its chest-beating power comes with open arms, join them or be a naysayer, the choice is yours.

The us versus the world aura they conjure is truly intriguing. Most do via escapist riffs or some visceral polemic. The Natives walk the more dangerous tightrope of painting with broad brushstrokes. One way lies The K’s, The Jam, and Oasis, the other direction be the beige of Keane, Foals, and latter-day Coldplay. The Natives, interestingly, sonically have more in common with the latter but, the spirit of the former keeps the edges harder and their lyrics razor sharp. As Noordewier decrees “I can only do so much / I know the world is tired but at least just try”, images of those two tribes coming together formulate poetic images in the mind.

The Wedding Present : Chinnerys, Southend

Ten years on from their last visit, Leeds’ iconic Wedding Present returned to Chinnerys in Southend. The intention: to play their indie opus ‘Seamonsters’ in full.

A curious album to take on the road; where ‘George Best’ and ‘Bizarro’ lend themselves to youthful exuberance and righteous angst,’ Seamonsters’ turned to the introspection of the 30s with mere flashes of the rage that had carried them thus far in 1991.

It’s within that spirit that the audience largely gazed. On ‘Blonde’, Sarah’s Records and Nirvana’s pop-tinged grunge enters the affray; but it is Gedge’s forlorn protagonist that the audience has come to rejoice in. No matter how old and settled we become as an audience, Gedge has the ability to transport an audience back to their naive unrequited love days. Meanwhile, the gentle psychedelia of ‘Rotterdam’ in tandem with Gedge’s ability to wrap his unique voice around melody was truly life-affirming.

There are moments (with 30 years’ hindsight, of course) where their performance sheds light on how music travelled in the direction it did back then. Opener ‘Dalliance’ walks proud with Wedding Present identity, but raises a glass to early Andy Bell guitar licks and in the closing stages, Swervedriver’s future roar lurks on the horizon. ‘Dare’ also takes from their archetypal ‘Bizzarro’ sound to the precipice of grunge and shoegaze. It may at the time have been seen as a departure from what made people fall in love with them. But in 2022, it sounds like a band that knew which way the wind was blowing and had the creative nous to propel their vision beyond their humble start.

They do, of course, dip in and out of those modest beginnings with ‘My Favourite Dress’ sounding as vital as ever and ‘Everyone Thinks He Looks Daft’ remaining one of the most fun anthems ever written. 

Whilst being a night of nostalgia, the true beauty of ‘Seamonsters’ is it’s sonic of introspection and self-reflection. It gives everyone the breathing space for an hour; to ponder life, love, and loss, which, post-covid is akin to therapy.

The Wedding Present were never a force of nature but, they are a force to be reckoned with. They have an emotive power many would kill for. Long may they continue.

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.