Afflecks Palace - Dancing Is Not A Crime

Image and artwork courtesy of https://www.spiritofspikeisland.com/

Manchester’s independent kings Afflecks Palace recently returned with their new single ‘Dancing Is Not A Crime’. Released on their own label Spirit of Spike Island it was produced by frontman J Fender.

‘Dancing Is Not A Crime’ is the lead single from their second album due for release in 2023. They have doubled down on the lysergic energy of the debut album and produced their best work yet. There’s a confidence to J Fender’s vocals now which allows the guitars to become, ever so slightly more muscular. This slight tweak gives them an aura that befits their dreams!

The added aggression elevates Dan Stapleton’s guitar licks (and the backward ones) to a mind-altering reality where everything feels rushed, in the best possible sense! Everything bristles with excitement, poised on the edge of a dancefloor waiting for that solo or piano loop to release souls.

It’s easy to see why it has been c-listed on 6Music and their shows with Pastel at 100 Club and Thekla have sold out.

Gazelle – Violet Hour Blues

Leicester’s Gazelle returned recently with their new single ‘Violet Hour Blues’. It follows the success of the ‘Clementine’ back in July.

In 2020, Chesterfield’s The Crooks were on a roll with windswept Oasis-esque ballads. By the end of that year, they sadly imploded. It left a song-writing void that Gazelle have not only filled with ‘Violet Hour Blues’, but they’ve also surpassed them by adding lyrical depth and orchestration to kill for.

This aching character-driven tale lights up the ordinary and mundane like no other. They have The Verve’s ‘History’ at their fingertips with the lyrics and strings but, they go much further. The torment of Richard Hawley and the heart of Frank and Walters lift this to instant classic status.

The guitars pertain to the anguish of Andrew Cushin’s ‘Where’s My Family Gone’ & ‘Waiting For The Rain’ and Noel Gallagher’s regret-filled classics ‘Dying Of Light’ and ‘The Right Stuff’. Subtly and deftly adding licks only when needed. Less is so much more here.

Credence they carry into the guitar solo too. The obvious choice would have been to lift the mood-blistering escapist solo, a talent they are more than capable of. However, what emanates is a divine autumnal jingle-jangle to further enhance their credentials.

Gazelle’s new EP is on the horizon and is becoming the most sort after of the year on this basis.

THIS IS WAR – Pyramids

Liverpool five-piece This Is War continued their run of a single a month in September with ‘Pyramids’. It follows their fine ode to Bob Dylan, 'Exile Poet’.

Even in the band’s quieter moments this year, there has been an immediacy to their music. However, this is the most direct yet and it results in their finest guitar work to date! Frontman Paul Carden snarls “here we are. Here go” like a statement of intent. Less so as courteous information, but more as a condemnation of everything you know. They were coming and they will destroy!

Mike Mullard and Johnny Roberts guitars tap into early BRMC, 00s cult heroes Dogs and Carden’s former outfit Black Velvets on this dirge-laden classic. Leather-clad filthy licks from the gutter bellow out before the garage solo melts cynicism with its fury.

It’s been one hell of a year for the band, and this has been its peak to date. Check back next week to see if their new single ‘I Don’t Get It’.

*Artwork courtesy of Donnie Grant

The Skinner Brothers: Chinnerys, Southend

Back in June, The Skinner Brothers opened for The Music’s all-dayer comeback at Temple Newsum in Leeds. Much like The Coral did in 2002 at Finsbury Park, they announced themselves to many as pretenders to the throne. They blew the Snuts off stage and edged The Coral and The Cribs off too. Nothing that day was stopping The Music from being triumphant though.

Fast forward to this past Thursday and they were headlining Chinnerys in Southend. With home county support from The Lucettas and hometown support from San Quentin, you’d have been forgiven for thinking the same could have happened to them.

Not a chance!

In support of their latest EP ‘Lonedom’, they played the title track and ‘Mellow’. ‘Lonedom’, ironically ignores its message and unites a crowd in a sweat-ridden singalong. Meanwhile, the guitar hooks of ‘Mellow’ resound out like Carl Barat playing lead for the Arctic Monkeys

The acclaimed ‘Soul Boy II’ album makes up the bulk of the set. ‘Culture Non-Stop’ and ‘Iconic’ see Zachary Skinner’s laconic drawl drift through the seaside air to remind everyone who the mortal ones are. Whereas on record, the band often gets into a soulful groove, here, they are harder and faster. It takes their soulful sound towards The Reytons but with far more depth.

In 2002, The Libertines launched their good ship Albion. Not many fellow bands got it. The Skinner brothers did. Their rapport, free beers, and demanding people on their shoulders (and fuck the consequences) brought rock ‘n’ roll closer to the punters for the first time in a long time.

 

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The Facades: The Social, London

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Wigan four-piece The Facades opened up for This Feeling’s Test Transmission night at The Social last week.

They roar out of the traps with their beguiling The Coral via The Cramps single ‘That Letter’. Satanic basslines and gypsy punk riffs allow frontwoman Alaanah to slide her vocals in and out of view deftly. There is a wryness to her delivery that enables her persona to grow an enigma throughout the song which, is elevated by Evan’s carefree solo.

This dynamic continues on ‘In These Woods’ and ‘These Days’. The former has the warped universe of The Coral’s ‘Skeleton Key’ and the ska-punk immediacy of Dead 60s’ ‘Ghostface Killah’. Whereas, ‘These Days’ combines Babyshambles licks with Stevie Knicks.

There are other points in the set where the guitars and the vocals are not quite in sync. However, they’re so tantalisingly close, no rock ‘n’ roll romantic cannot fall for this band’s charms.

*Image courtesy of RocklandsTV

Holy Youth Movement: The Social, London

Second up on This Feeling’s Test Tranmission night was Bristol’s Holy Youth Movement. They have been supporting headliners The Utopiates across the UK this past summer.

Back in the 00s, many bands tried to bridge the gap between rock ‘n’ roll and breaks. Kasabian and Radio 4 got the closest, although, if we’re honest, neither married the two to a level the scene deserved.

Step forward Holy Youth Movement!

Everything about them screams Kasabian debut, nu-school breaks, and 3am mayhem in nightclubs (remember them!). Previous singles ‘Information Is beautiful’ and ‘Tranquilizer’ explode into the ether like a Serge Pizzorno wet dream. The former is blessed with the melodic yet destructive synths of Justice vs Simian alongside the beauty and volatility of the Primals ‘XTRMNTR’. It allows their message of humanity to come together, no matter the chaos, to land instantaneously.

Images courtesy of Caffy St Luce

‘Tranquilizer’ however, does what all post ‘West Ryder Pauper Lunatic Asylum’ Kasabian albums have attempted and failed. It delivers a post-apocalyptic rave that throbs and thunders its way to the soul. The guttural electronica of Underground meets the spirit of BRMC ‘Whatever Happened to My Rock ‘n’ Roll’. It leaves the room feeling hollow afterward. It looked your soul in the eye, licked it, fucked it, and left whistling leaving you desperate for more.

It’s easy to see why the legendary Jagz Kooner hooked up with the band in the studio. Holy Youth Movement have tapped into the post-headliner twitching hours of Bestival and Secret Garden Party from 2005 to 2015. Crucial to the success of this live slot is their ability to enthral and show off like a rock ‘n’ band.  They’re not willing to just bring rock music to dance once again. They want both to be as one and, for the most part, they nailed this aim.

The Utopiates : The Social, London

Previous Utopiates gigs have seen them struggle with sound and strings. Struggle as they may have, their talent and dogged spirit always overcome. Last Wednesday, they headlined This Feeling’s Test Transmission night. It comes after a run of headline gigs and it shows. Strolling on stage, relaxed, hindered by nothing and no one, their aura says headliner forever more.

The confidence is personified by a blissed-out rendition of ‘Alpha’ as the opener. The tightly packed Social has had its pulses set alight by the anarchic holy Youth Movement and raucous garage licks of Velvet Hands. They could have been forgiven for changing their set, moving their big hitters first. Not a bit of it. They hit their casual groove and build elegantly until it’s time. Time for Josh Redding to deliver Squire psychedelia and Prince-esque majesty in the solo.

From here on in, the crowd, populated by lots of fellow bands are in total awe. Whether it’s the trippiness of ’Love Salvation’ or the Chicago-enthused ‘Devolution’, they turn heads in disbelief. On record, and especially on stage here, they mirror the greatness of Scorsese. Never rushed, they give space to the solos and Ed Godshaw’s subtle but killer keys and yet, always sound intense, like theirs a million things going on. It’s detail rather than overindulgence; personified by the brooding Depeche Mode inspired ‘Only Human’.

The window bands to reflect the audience back on stage is always a brief, and glorious time. That time passed at this gig. The Utopiates have greatness coursing through them and this was a huge stride to big stages and immorality.

*Image courtesy of Caffy St. Luce (Rocklands)

The Native – Looking Back

Plymouth outfit The native recently released their debut EP ‘Looking Back’ via This Feeling Records. It comes off the back of the Reading & Leeds Festival and appearing on Soccer AM. It was produced by John Cornfield (Oasis / Stone Roses) and mixed by Grammy Award-winning Adrian Bushby (Everything Everything).

Some bands thrive on the fringes. They can tear up the rule book and conjure a new scene from thin air. Then, there are bands like The Native. They come fully formed destined for the centre ground. Not enough for the punks but, everything to who believe in headline togetherness of The Killers or a Coldplay.

The Devon band have real intent on creating something epic before their time is up. On the latest single ‘Looking Back’, they race to the centre ground of indie-pop. They condense down the euphoria of Embrace and try to motor skywards. Whereas, ‘Blindside’ tunnels into hearts with bombastic drumming keeping it on the right side of credibility.

There is a brief moment on ‘If Not Now, Then When?’ where they strip it all back and stray into the world of acoustic guitar blandness. Without the age behind them to crash into life’s failures, it doesn’t land the depth this kind of song needs to succeed.

However, when they let their youthful exuberance of the leash on ‘All Or Nothing’, taps into the emotive power of Starsailor and eloquence of the DMA’s. Similarly, to Snow Patrol’s breakthrough, few will be able to ignore its beauty and Edge-esque solo

You'd be forgiven for rolling your eyes if this was a band three albums deep. The fact is, this is a debut EP and The Native have emerged with a decent swing at mainstream indie. With the chancellor on a path to destruction, mercifully, The Native offer a flicker of light as they hint at Editors’ haunting qualities, Blossoms pop instincts, and The Railway Children’s rueful melodies.

*Images courtesy of Fear PR

The Shakes – Sorry Officer

On 7th October, London-Liverpool hybrid The Shakes release their debut single ‘Sorry Officer’ via iii Records. To date, they have been wowing audiences at Shiiine On and This Feeling. Can their studio time match the live prowess?

You can buy ‘Sorry Officer’ on the 7th October via their Bandcamp page.

In 1994 Liam Gallagher bedded in between And Lydon and Lennon to become an icon. In the past 18 months, frontman Zac Nimmo has been finding space between Gallagher and Miles Kane as rock ‘n’ rolls heir to the throne. His looks, attitude, snarl, and dancing are too good to be denied. On ‘Sorry Officer’, he switches up from anthemic punk to beat poet spitting venom as the guitars hiss and swirl all around.

However, this is not a band all about the frontman. The riffs, the keys, and the solos are phenomenal. The Strokes are dragged by the throat to a brawl with the Small Faces and Oasis on this guttural single.

Not since The Libertines released ‘What A Waster’ has rock ‘n’ roll tapped into such a rich vein of disquiet. The immediacy of ‘Pretty Vacant’ and raw power of ‘Holidays In The Sun’ is rewired by Sam Gibbs’ scintillating gunshot guitars. They set ablaze to everything as ‘Sorry officer makes the aforementioned seem like nursery rhymes.

It’s the sound of Steve Craddock and Peter Green off their tits duelling with Will Seargent and Steve Jones in a late-night bar. Ian McLagan and Rob Collins pop in for a sesh whilst Entwhistle holds it all together!

*banner image courtesy of the band

**artwork courtesy of iiiI Records

They are not to be missed on their upcoming dates:

The Skinner Brothers - Lonedon EP

Not resting on the laurels of ‘Soul Boy II’, London’s The Skinner Brothers have returned with their new EP ‘Lonedom’.

Images & artwork courtesy of Fear PR

here is our track-by-track review:

Lonedon

Frontman Zac Skinner’s vocals should be iconic by now. On this latest offing, he has the gruffness of beans on Toast, the insolence of Jamie T but, crucially it’s his soul-boy persona that shines brightest. Theirs an air of the 80s wide boy donning the finest Fila jacket sipping G&T’s surveying the chancers who know better to cross him.

Despite the coolness of the record, their anxiety permeates throughout as our protagonist struggles to belong in London. The big smoke is a vibrant joyous place full of choices if you can afford it. For anyone slipping financially, mentally, or emotionally, it can be a pressure cooker waiting to blow. The Skinner brothers take those infectious laid-back licks of The Astors and the chilled bombast of Eddie Floyd for a walk along desolation row. The solo that blasts out twice takes the band to another level altogether. The Coral’s ‘Magic and Medicine’ unites with Miles Kane’s dreams of rock star status to conjure a perfect blend of isolation and toxicity.

The Mellow

It may lack the 100 overdubs but, it embodies Ashcroft’s sense of freedom on ‘Urban Hymns’. Spikey lyrics, stoner melodies, and escapist guitars unite to create bugged-out rock ‘n’ roll for the 4am finishers.

Loaded Gun

Jamie T’s guttural glory combines with a Fatboy Slim–esque riff. This is gloriously unhinged debauchery set to unite groups of mates on both triumphant and failed nights out for a generation. It has a raw sense of adventure destined to be a catalyst for another wave of bands.

Make It Count

The effortlessness of Peter Bjorn & John and Foster The People flirting with the lo-fi magic of Ian Brown’s unfinished Monkey Business.

Shackites - Vintage Crewneck

After a recent sell-out show at their hometown venue The Snug, Atherton five-piece are back with their new single ‘Vintage Crewneck’.

The irresponsible guitar intro searches for an escape with a fizzing authority that could only come from close friends taking on the world. Far-reaching but always humble, they conjure a fighting spirit that seeks to unify rather than destroy.

Vocally Matthew Jarvis taps into the criminally underrated work of Dylan Giles of Polytechnic and Driver Drive Faster. Fragile but righteous, Jarvis serves up a fine display of 00s indie that Cajun Dance Party fans will love.

It won’t be long before the sold-out shows extend way beyond their hometown on this showing.

The Skinner Brothers - Lonedon

The Skinner Brothers are wasting no time after the success of their latest album ‘Soul Boy II’. Their new single ‘Lonedom’ will be released on August 19th ahead of their new EP of the same name on September 23rd.

Images courtesy of Fear PR

Frontman Zac Skinner’s vocals should be iconic by now. On this latest offing, he has the gruffness of beans on Toast, the insolence of Jamie T but, crucially it’s his soul-boy persona that shines brightest. Theirs an air of the 80s wide boy donning the finest Fila jacket sipping G&T’s surveying the chancers who know better to cross him.

Despite the coolness of the record, their anxiety permeates throughout as our protagonist struggles to belong in London. The big smoke is a vibrant joyous place full of choice if you can afford it. For anyone slipping financially, mentally or emotionally, it can be a pressure cooker waiting to blow. The Skinner brothers take those infectious laid-back licks of The Astors and the chilled bombast of Eddie Floyd for a walk along desolation row. The solo that blasts out twice takes the band to another level altogether. The Coral’s ‘Magic and Medicine’ unites with Miles Kane’s dreams of rock star status to conjure a perfect blend of isolation and toxicity.

“I wanted the EP to have a mixtape kind of feel” says Skinner, on this showing, it’s shaping up to be of a very high calibre.

Tour Dates

OCTOBER 

1st - Manchester, Neighbourhood Festival 

2nd - Blackpool, Bootleg Social 

4th - Southampton, Joiners 

5th - Southend, Chinnery’s 

6th - London, O2 Academy Islington 

8th - Cambridge, Mash 

9th - Guildford, The Boiler Room 

10th - Oxford, Bullingdon Arms 

12th - Edinburgh. The Caves 

14th - Stockton, KU 

15th - Live At Leeds 

The Heavy North – Electric Soul Machine

Liverpool’s piece The Heavy North released their debut album ‘Electric Soul Machine’ for Record Store Day in April this year. Recorded at guitarist Jose Ibanez’s 3rd Planet Recording Studio, the album has been featured on Tim Burgess’ Twitter Listening Party.

‘Electric Soul Machine’ is available from their website https://theheavynorth.bigcartel.com/

In short, ‘Electric Soul Machine’ is an album of great guitar solos. They’re everywhere! Former single ‘Darkness In Your Eyes’ sees the dream of Jack White joining The Black Keys to create blistering bluesy riffs alongside Clapton’s soulful vocals from the Cream era. Cream feature heavenly in the solo as the psychedelic darkness descends. Ibanez and Jack Birch’s guitars create a tornado of haze that could set fire to ice. ‘Awake’, another former single, evokes memories of Kasabian circa ‘West Pauper Lunatic Asylum’ and Noel Gallagher’s greatest choruses with its great key change. Ibanez and Birch cruise like Santana until the solo where they tap into Neil Young at his escapist best. It allows frontman Kenny Stuart to toy with his cadence, which delivers both soul and west coast moments of joy.

Even on ‘The Genie’ and ‘She Gets Me higher’ where their slightly laboured verses explode into life on the solos. The former finds Peter Green jamming with Soundgarden, whereas ‘She Gets Me Higher’ comes to life with a Stephen Stills-esque dose of hedonism.

In ‘Satisfy You’ and ‘To The Wind I Go’ they moments where they raise the devil to glorious effect. ‘Satisfy You’ dons its leather and drinks whiskey with rock ‘n’ roll outliers BRMC. The scintillating guitar and defiant lyrics are begging for excessive dry ice and flashing red lights to blow audiences away. Whereas, ‘To The Wind I Go’ takes Muddy Waters out for a night of excess and regret. Both tracks, despite their bluesy nature, have an unknown destination which creates a sense of carefree abandon. They set themselves apart on what is, a remarkably consistent album.

The Heavy North have achieved a great deal on this debut. The guitar solos are the big take home but, the creative flourishes with the drums and vocals begin to shine upon repeat listens. It leaves you with a sense of hope that, next time out, they could do something really powerful.

*Images courtesy of http://www.blue22photography.com/

Afflecks Palace: Islington Assembly Hall

 Afflecks Palace, although headlining, were dealt a tough hand by label mates Pastel. So stark was Pastels’ performance, Afflecks had to work overtime to whip the crowd back up. Hard work is what Afflecks Palace lives for though. Running the label Spirit of Spike Island, producing records, writing records, artwork, and designing merch. They must be the hardest-working band in the UK!

Images courtesy of the Adrian Lee.

What might have taken some bands half a set to recover, they did by track three ‘Spinner’. The paisley guitars were drenched in floral glory. As sweat and booze fell to the floor, souls were released into a kaleidoscope of bliss.  

‘We Can Be The Avalanche’ went up a notch from the album. Pete Darling’s basslines darker and broodier alongside Pete Redshaw’s devastatingly destructive drumming took their clarion call to dizzying new heights!

In James Fender, the band has the humble icon the UK scene has sorely missed for some time. Fender looks like us, dances like us, and he is here to save us all! Proving to the world men in bucket hats are full of love and not to be avoided, he danced like it was 1988 apace with his ethereal baggy vocals. Watching him effortlessly groove across the stage to the sun-drenched ‘Pink Skies’ or explode into life on ‘Calling All Cars’ was nothing short of poetic.

With new songs ‘I’m So Glad You’re On Ecstasy’ and ‘Big Fish Small Pond’ sounding equally as dynamic, the future looks incredibly bright.

The Utopiates - Best and Worst Days

It’s a special release day for The Utopiates. ‘Best and Worst Days’ is their first signed to V2 Records and marks the official run to their debut album.

Single is available from their Bandcamp page.

The shimmering acoustic guitars of ‘Kinky Afro’ and the chilled sunset beats of ‘Dennis and Lois’ chime gloriously in the intro of this tale of looking back. Frontman Dan Popplewell’s ability to bring influences into his indie-soul vocal continues to grow. This time out, he softens his snarl to allow nodes of Bernard Sumner and Danny Wilson in. It adds to the sense of self-reflection permeating throughout but, in the closing moments, he turns on his raw power to say goodbye to his younger self.  

They’ve taken the classic rock ‘n’ roll adage of “you have to go there to comeback” and juxtaposed it with their archetypal trippy sound. It’s an astonishingly open ode to their early twenties. Nights of excess, relationship failure, and letting people down are examined from a wiser perspective. It’s that latter point that gives the track’s lyrics brevity the sonic deserves. Without the protagonists understanding that it’s made them who they are, a Cobain nihilistic nightmare would be looming.

No matter the torment of the discourse, through Ed Godhsaw’s keys, the single finds a way to cruise effortlessly to the sun. He’s lifted The Horror’s distressed seaside sonic of ‘Primary Colours’ out it’s their despair and slipped them a pill whilst dancing with New Order.

The Utopiates formed during lockdown. Quite how the bleakest of times produced something so entrenched in love is beyond us. This is not the sound of a band on the rise to their debut album. This is The Mondays approaching ‘Pills Thrills and Bellyaches’ or Depeche Mode gearing up for ‘Violator’. Fully formed and brilliant!

Catch them tonight at Colours in Hoxton.

This Is War – Exile Poet

Liverpool’s This Is War are releasing a single a month in 2022. Their seventh of the year is ‘Exile Poet’, their tribute to Bob Dylan.

Former Black Velvets frontman Paul Carden has been showcasing an array of influences through the singles run. From Rod Stewart to Jim Morrison to Tom Meighan. This time out, he takes his punk-soul spirit to the precipice of Dylan’s iconic drawl. The shorter breathier cadence illicit joyous images of the 00s indie-punk scene jamming Dylan songs.

The guitars in the closing minutes light up this ode to Dylan. Johnny Roberts and Mike Mullard’s escapist Rifles-esque licks collide with killer basslines worthy of Maximo Park and The Enemy at their peak.

‘Exile Poet’ is at its best when their own archetypal sound roars. The destructive drumming of Martyn Leah and the desperation Carden’s vocals could set fire to an ocean. They bleed passion, cut them and you’ll see Iggy tattooed on their spleen!  

Roll on next month’s instalment.

 

Pastel: Islington Assembly Hall, London

“Don't you feel alive / These are your times and our highs”

Last Saturday, as part of the record label ‘Spirit of Spike Island’ tour, Manchester’s Pastel went on second at the Islington Assembly Hall. They left all-conquering heroes!

It’s rare for a burgeoning band to leave everyone talking about the as-yet-unreleased songs of the set. However, in ‘Running On Empty’ and ‘Soho’ they did just that. Frontman Jack Yates vocals, sent from heaven, stoned, flood the senses with The Verve circa ‘The Verve’ and ‘Voyager’. Angelic with the ability to step off the power and let everything swirl around him in a t4echnicolour haze. Meanwhile, lead guitarist Joe Anderson was cementing his place as the heir to Nick McCabe’s throne.  Anderson’s celestial majesty conjured a druggy vortex the like of which have not been seen since their Wigan peers’ triumphant Glastonbury return in 2008.

The latest single ‘Escape’ brought a tear to many an eye. They combine the slide guitar beauty of ‘Space and Time’ with the scenic psyche soundscapes of ‘Blue’ and the bugged-out melancholy of ‘Virtual World’. The UK scene has never lacked meaning. It’s full of great polemic. What it has missed as the industry raced to the bottom, is a band willing to shun indie’s immediacy in the hunt for success. Pastel hadn’t forgotten! They have existence and it’s theirs to share!

It was a set of so much power, one in which where you leave knowing the world just changed. Despite this, they still had moments of great brevity spliced in. ‘Blu’ pulls in the delicate immediacy of DMA’s Matthew Mason and Johnny Took’s guitars whilst still striving for their own swirling splendour.

Pastel, despite their trippy sonic, looks like a band of brothers. The gang mentality in all fronting up the stage is reminiscent of Oasis's run to glory. Looking great, all in a line, demanding everyone’s attention! Jack Yates, has that mystical Bobby Gillespie appeal and knows when to refrain and allow his band to shine brightest. A gang, a collective, they rock ‘n roll in arts purist form.

 

The Shed Project – If You Know You Know

The Shed Project returned last Friday with their new single ‘If You Know You Know’ via One Love Records. It comes hot on the heels of their debut album ‘The Curious Mind Of A Common Man’ which only came out in April. Album number two is underway, how does the new sound fair?

They may have formed in the garden, but with guitar power like this, they’ll end on big stages. The expansive sonic of Squire’s ‘It’s Begging You’ is given the snarl and hiss of ‘Be Here Now’. Crucially, unlike the latter, The Shed Project have honed its power by keeping it under four minutes.

Despite the ‘Second Coming’-esque power, their baggy spirit hasn’t dissipated. As the hedonistic riffs strive for the heavens Roy Fletcher’s vocals float alongside to anchor their roots. Fletcher could be forgiven for delivering a more ethereal vocal alongside the heavy psychedelia, more interestingly though, he takes his early Tim Burgess-esque style towards the early raw punk spirit of Liam Gallagher with hints of Daltrey circa ‘I Can See For Miles’.

The hate, the anger, and the lack of agency we all feel toward these incompetent and corrupt energy companies posting record profits pour out of the Cream-esque crescendo guitars in the closing stages. It’s the perfect tonic for the masses to release their angst at a world going to shit!

Be sure to catch them at K Festival in Rhyl on August 6th

Click image for tickets.

Matilda Shakes – Fast Lane

Sheffield-based Matilda Shakes returned at the end of June with their new single ‘Fast Lane’. It follows their glam stomping anthem ‘Up All Night’ and the dirge joy of ‘Shakedown’. Can they continue their run of form?

‘Fast Lane’ does exactly what it says on the tin. It’s a genius display of blistering leather-clad rock ‘n’ roll. The Doors mysticism and the Bunnymen’s snarl has picked a barroom fight with BRMC and no one is giving up!

The frenzied attack, like BRMC and the Bunnymen, remains melodic no matter how often its gang mentality violence threatens to spill over. The pace briefly drops for a sumptuous Will Seagrent-esque guitar breakdown. No matter the violence embedded in their sound, this brief moment showcases that, Matilda Shakes are a band in control of their destiny.

Click image for tickets.



Priestgate - Eyes Closed For Winter

Yorkshire’s Priestgate recently released their debut EP ‘Eyes Closed For Winter’ via Lucky Number Music (HMTLD / Walt Disco).

Here’s our track-by-track review:

Bedtime Story

If The DMA’s made a Cure record, this would be it. Dream pop-psyche flirting with the lighter gothic moments of Robert Smith’s eyeliner magic. Frontman Rob Schofield switches from a popper Farris Badwan in the verses to the broken gruff soul of James Geard (Sissy & The Blisters) or Alexander "Chilli" Jesson (Palma Violets) in the pain-ridden end.

Darkness loiters lyrically throughout:

“All I really wanna do is sleep / That's the only thing that belongs to mе”

Our protagonist worryingly losing agency is a brave and bold discourse for such a young band to tackle but, a triumph remains!

Eyes Closed For Winter

They’ve taken The Maccabees ‘Feel To Follow’ to the edge of The Horrors’ psychedelic landscapes.  

Both walked the tightrope of creative and commercial success with aplomb. Priestgate has effortlessly moved into this territory on the title track. Melodically soaring throughout, frontman Rob Schofield toys switches from angelic to anthemic alongside the life-affirming guitars of Connor Bingham and Isaac Ellis.

Credits

Real Estate’s bliss and Ride’s pop alt-pop sensibilities ignite this dreamy affair. Schofield’s vocals nestle in between Robert Smith and Harry McVeigh which elevate The Horror’s ‘Primary Colours’ keys and the sumptuous guitar hooks.

The lysergic joy of Afflecks Palace is pumped full of Walt Disco’s new wave playfulness to create a bona fide alt-pop track for the ages.

By The Door

The crowning jewel of a truly incredible debut EP.  The Maccabees ‘Given To The World’ collides with A Flock of Seagulls on this epic adventure. As Schofield sings “leave your secrets by the door / what ya bring them here for”, a darker abrasive world opens up for them.

It’s here their penchant for great melody soars the highest. The juxtaposition of Cure-esque hooks and fractious relationships is a collision Priestgate should revisit over and over for our pleasure.