The Velvet Hands - Sucker Punch

“If it’s us versus them then we’ll be winning …you’ll never be alone”

London via Cornwall four-piece The Velvet Hands return after five years to release their second album ‘Sucker Punch’ (JamX / Blood Records). It follows the exhilarating Ramones and Strokes-inspired debut ‘Party’s Over’ in 2018. The album was produced and mixed by John Logan at Par Studios (Cornwall) and mastered by the legendary John Cornfield (The Stone Roses/Supergrass).

‘Party’s Over’ was a buoyant expression of youth. Their enthusiasm for life laid bare in short, fiery garage-psyche rock anthems to soundtrack a new generation coming of age. ‘Sucker Punch’, although sonically linked to the debut, becomes the antithesis of this lyrically at points. ‘Holiday In My Head’ witnesses the late teen zest for life descend into the forlorn 20s, sick of being skint:

“If I had money left to burn / But sparks just won’t fly / When you’re billed for every penny, you earn”

Credit: Harvey Williams-Fairley

The fog of life without a future swell to unprecedented levels in the verses as they play The Ramones sound in ferocious Stooges style. The intensity is several levels above anything their debut offered, exemplified by the explosive Nick Valensi meets Russell Lissack solo. It encapsulates the pressure and stress of bills mounting, work not paying, and life becoming too much with such vehement brilliance.

‘Telephone Love’ takes the band to darker pastures of overindulgent all-nighters of booze and drugs. The party is over, but the protagonists remain, caning it. A snapshot of a generation sold down the river in every industry. Now they’re left praying the next line will make them feel alive enough to carry on:

“Bloodshot eyes and bleeding gums,
Welcome to the house of fun
And now you’re talking insane,
Telephone love runs through your veins
And I don’t know just how you found me, I don’t know Just how you found me

And now, and now it’s dawn
Riding from the dusk before
We could waste the night
You know you help me feel alive”

Despite the intoxication, The Velvet Hands find their way out and offer hope in the closing stages. With punk’s DIY spirit in their veins, they demand this be their time in the sun (“But You ain’t ever seen me next in line, / It’s my time, it’s my time, it’s my time”). Impatient and angry, the band are set to piss off the middle classes dominating the airwaves, and the world will be a better place for it.

The violence and desolation continue on the title track, ‘Sucker Punch’ but there is a more thoughtful musicality to the band not seen before, which spreads its wings elsewhere on the album. The title track initiates with jagged 00s guitars reminiscent of Bloc Party, Dogs, and early Razolright whilst the vocals roar like Johnny Rotten. Despite the uncompromising snarling of the verses, they lead into melodic Vaccines-esque chorus for fans to buy into joyously. Not finished there, they serve up a breakdown akin to an out-of-body experience. The message of getting up of the canvas and keep fighting becomes less naive and one of “now or never” and “don’t give up”. They emerge on the other side with confidence and solidarity, which is utterly undeniable on this remaining 00s guitar scene.

Artwork courtesy of Sonic PR

‘Devil’s Tale’ continues the band’s musical expansion with a sumptuous Doors via a Doves opening. Bugged out, the band takes their time, allowing this stoner trip to floating towards its solo climax. The guitars, inevitable, they’re coming, we all know it, and yet, the excitement, hysteria, and fever they create are no less mesmerising. ’40 Up and 40 Down’ sees the influx of Gang of Four, Franz Ferdinand, and XTC’s angular post-punk disco riffs flood the senses and, if any justice exists, will become an indie club floor filler for years.

‘Sucker Punch’ may have taken five years but in every conceivable way, it was worth the wait. Perfectly capturing the landscape that normal folk, especially creatives, face today. Skint, downtrodden, and overtaken by those who can afford it or the artistically redundant. Despite the odds against them and cultural pressures pushing them toward a boring mainstream landscape, the band have funnelled their joyous punk debut into something more studied and grander this time out.  It’s only a matter of time before the rest of the world realises their quality.

The Utopiates – Making History

London-based The Utopiates are on the road to their debut album release this May. A key stop-off is their latest single ‘Making History’ released last Friday via V2 Records.

Images and artwork courtesy of the band.

Last time out on ‘Illumanise’, their free-flowing edges sharpened on their Bowie meets Black Grape trip. It also kicked off their lyrical foray into the statement of intent territory which ‘Making History’ has doubled down on.

Frontman Dan Popplewell’s lyrics deftly reference Noel Gallagher’s Knebworth entrance (“I’m not up here making tunes I’m making history”) and Oasis’ live album ‘Familiar To Millions’ (“This music, I use it to ease my soul / And there’s millions familiar, it’s rock and roll”) as he lays bare the bands desire to succeed.

Whilst the Burnage boys had the songs and, their confidence was obviously in-built, they were however financially backed by Creation Records and latterly Sony. Despite being signed to V2, the precarious state of the music industry can ill afford three trips to Rockfields to get their sound right. The urgency, the desperate need to pull this off shines through everything here. Luke Nottingham’s bassline, as funked up as their previous work is more intense, directly burrowing its way to your soul whilst Popllewell’s vocals are set to attack mode! Meanwhile, Ed Godshaw takes the pop immediacy of Clint Boon’s keys out for a joyride with New Fast Automatic Daffodils climbing majesty.

Even Josh Redding’s penchant for meandering Hendrix and Squire solos has its foot on the accelerator. His solos, so often mid-rush pieces of bliss have transformed into a rabid elapsing moment of technicolour destruction.

Far less quality has risen to the top in recent months. With The Utopiates debut album on the horizon, the UK will finally have bona fide genius and independent spirit alike on top once again!

Click the image for tickets to their upcoming tour:

The K’s – Hoping Maybe

Warrington band The K’s kick-start the new year by self-releasing their new single ‘Hoping Maybe’ this Friday. In 2022, they supported the likes of Liam Gallagher and James as well as kicking off the Shiiine On festival in glorious style. With their live presence quality having no questions left to answer, they returned to the studio and embark on a five-single run this year which culminates with an album release in November.

Pre-save the single here https://sndo.ffm.to/xoxakgp

To date, The K’s have been serving up the life-affirming pedal to the metal Jam-esque mayhem in the form of ‘Hometown’, ‘Sarajevo’, and ‘Aurora’. The one exception being the poignant lockdown release of ‘Valley One’. On ‘Hoping Maybe’ they’ve merged the two but with musicality in the studio not yet witnessed.

Jamie Boyle’s songwriting has reeled in the aching beauty of Andrew Cushin alongside his penchant for conjuring silver screen majesty. It’s lent his already heartstring-panging odes another level of drama for fans to revel in. The romance, the hope, and the love he imparts will inevitably burrow into the hearts of the masses.

Backing him up, as ever, is this generation’s guitar idol Ryan Breslin. Ethereal licks accentuate Boyle’s soulful vocals until it’s his chance to shine on the solo. The solos on the early tracks have often been raw unadulterated releases of rage and angst. Here, Breslin’s guitars are blessed with the cinematic romance of Clark Gable and an otherworldly shimmering that reverberate across the galaxy as a ray of hope amid the recession and social decay.

Together, they are the UK’s finest songwriting partnership since Pete and Carl. Different in sonic of course, but, they breed the love, affection, and desperation to buy their records and pour over the lyrics of the Albion pair.

It’s one hell of a benchmark they have set themselves for this five-single run, but is anyone in any doubt it’s going to get better? Thought not!

*artwork courtesy of CDP Radio PR

Click the image below for their upcoming gig tickets:

Hazy Sundays – Losing Control

Glasgow four-piece Hazy Sundays kick off 2023 with their new single ‘Lose Control’. It follows last year’s anarchic ‘All You Ever Wanted’ and the volatile ‘Never Know’.

Where ‘the previous two singles were unrestrained animals spilling out into the late-night streets, sonically, ‘Lose Control’ feels like a few hours earlier into that night. The Kinks’ ‘Days’ acoustic guitars come out to play with the Libertines and Tribes on this boozy anthem.

The guitars are also blessed with Noel’s unifying hedonism of ‘Don’t Look Back In Anger’ and ‘Stay Young’ as they swagger and stray around a pub 6 pints deep. Mark Devlin’s solo lifts the woozy affair to the level of ‘The Mighty Quinn’ or ‘One For The Road’. Divine escapism!

The self-reflection of the lyrics tempers escapist sonic with a pause for thought and an arm around the shoulder. Couple this with frontman Shaun Kenny’s Tom Meighan meets Liam Gallagher vocal and you’re left with no doubt Hazy Sundays are going to do big things.

Click the image below for Hazy Sundays tickets:

Marseille – Only Just Begun

Derby’s Marseille put down two massive markers at the end of 2022. Firstly, their last single ‘Freedom’. A roaring Oasis-inspired anthem that demanded attention. The second was an intimate gig at London’s The Slaughtered Lamb (full review here). Small in size, huge in stature, Marseille went from pack runners to leaders.

A week today they release their new single ‘Only Just Begun’. It is to be taken from the upcoming EP featuring the aforementioned ‘Freedom’ and will be released via Away Day Records.

Where ‘Freedom’ tapped into the hissing fever of Rolla and Owen Morris’ wall of noise and confusion, ‘Only Just Begun’ steps back into a hazier realm. As weightless as ‘Twistarella’ and freeing as Shambolics’ ‘Dreams, Schemes, & Young Teams’, they’ve conjured images of ‘Sally Cinnamon’ flirting with The La’s and DMA’s.

Vocally, the band has stepped up to another level with harmonies enhancing what was, already a rich sound. Frontman Will Brown’s vocal gives the record the mid-60s beat classic sonic to such great effect, elder record collectors will be double checking their copy of ‘Nuggets: Original Artyfacts from the First Psychedelic Era, 1965–1968’ to see if it’s there.

As Brown decrees “I don’t want to be that guy”, he emits a level of emotion not seen by him before. His soul, for a fleeting moment, is left exposed and vulnerable. This level of openness and generosity of feeling is so often wrapped up in angst and rage. Brown and co have encased it with lysergic licks of love to echo down eternity.

What Brighton’s Lacuna Bloome ignited five years ago Marseille have enflamed with a poetic beauty unrivalled. Their debut EP is set for release this April and inevitably will change guitar music for the better.

*Image courtesy of Paul Dixon

Click the image for tickets to their upcoming tour:

Berries – Spiral

London trio Berries completed their fine run in 2022 with their new single ‘Spiral’. It was taken from their debut album ‘How We Function’ via Xtra Mile Recordings.

Berries have hit all the right notes this year for grunge and riot grrl fans. On ‘Spiral’ though, they play with the formula to remarkable effect teasing listeners with angelic vocals and bursts of pop melody before the jagged force of their grunge is thrown down.

Lyrically, they explore the fashion trials and tribulations society endures in order to fit in. Such is their coolness of the vocal delivery, the opening lines “jeans don’t have holes / hair is longer than shoulders” could be forgiven for taken as literal advice. It is, however, the destruction and melody combining that give this track it’s edge. Hopeful of rejecting the norms but honest enough to admit its nigh on impossible will speak to teenage hearts and minds instantly but, inevitably will lend itself to older souls still trying to fit in.

*image courtesy of Sonic PR

Berries will be on tour with Skinny Lister in the new year here:

March

27 - Nottingham, Bodega

28 - Leeds, Santiago Bar

29 - Manchester, Gullivers

30 - Bristol, Mr Wolfs

31 - London, Oslo

The Velvet Hands - Over It Now

London via Cornwall four-piece The Velvet Hands signed of 2022 with a new single ‘Over It Now’. It follows three of the finest anthemic punk anthems in recent times ‘Holiday In My Head’, ‘I Wanna Be There’, and ‘Telephone Love’. All of these will feature on their sophomore album ‘Sucker Punch’ released next February.

The Strokes have always featured heavily the band’s sound and that remains prevalent here. However, their back-and-forth vocals bring The Libertines into play as they begin to splice Pavement’s slacker rock. The dual vocals are edged towards a more universal sense of euphoria than their Albion seniors but the sense lives spontaneity remains.

Lyrically they tread similar paths to many counter-cultural icons and fire shots at the daily 9-5 dross we all endure. With the newfound Malkmus vibes in full swing, they have to search for different ways to impart their venom and it serves them well. It means that the foot isn’t permanently on the accelerator but, when it is, it’s bursting out the stereo like an uppercut of social justice.

Everything they have touched this year has been goldust, it’s almost impossible to see how they don’t produce the breakthrough album of the year in 2023.

*image courtesy of Sonic PR

Rooskin - Evergreen

Southend’s Rooskin signed off a fine 2022 with the single ‘Evergreen’.

There’s been a hazy vibe to their guitars from day one but, here, there’s a depth to the bubblegum kaleidoscope shredding not seen before. The hope and youthful exuberance of Sub Pop Records surfs down the West Coast of the US to flirt with Laurel Canyon scene whilst getting stoned in San Francisco.

The richness of the guitars feels like a warming goodbye to the teenage souls of the Honey Spells EP and hello to a more mature set of adventures in sex, drugs, and rock ‘n’ roll. Whereas once they were the sound of summer’s heights, here they have perfectly encapsulated summer’s fade towards autumn. Although ‘Evergreen’ doesn’t have an urgency to its sonic, the hazy guitars are blessed with such beauty that a live for the moment quality emerges.

Rooskin headline the iconic Chinnerys in their home city of Southend in February. Click the image for tickets:

This Is War - Weekend

Liverpool’s This Is War set out in January to release a single each month in 2022. The final instalment comes in the form of ‘Weekend’. Have they saved the best to last?

Frontman Paul Carden has had an innate ability to develop a febrile atmosphere across the singles this year. He demands your instant attention and can often plummet the soul into the gutter but, it’s always a great place to reside.

Like the ‘Crossfire Fever’ before it, ‘Weekend’ builds to a crescendo of great but brief guitar solos. In the early stages, the riffs take Interpol out for a bravado fuelled night out in the UK. The climatic guitars are a different animal, however. Lead by Carden’s growl, they take the early hiss of Stereophonics out to play with U2’s euphoria.

In many ways, This Is War have been ground-breaking in 2022. Freeing themselves from the usual promo format, they built hype each month with remarkably consistent tracks. All of which, have their own claim to be an old-fashioned radio-friendly single.

The Kynd – Whispers & Tones

Originally formed in the 90s, The Kynd reformed in 2021 and have been promoting the re-release of ‘Shakedown’ with sold out shows and festival appearances since. ‘Whispers & Tones’ marks the first original release since the heady days of the mid-90s. Written and arranged by the band, it was produced by Brian O’Shaughnessy at Bark Studios and mastered by Barry Grint at AIR.

‘Whispers & Tones’ is available to buy from their Bandcamp page.

Beefy Ocean Colour Scene riffs unite with Mclagan-esque keys, Ian Page vocals, and a glorious nod to ‘Sympathy For The Devil’ on backing vocals to conjure a modern-day mod gem. The middle eight is blessed with the freeing nature of Northern Uproar and the rock ‘n’ majesty of The Seahorses.

The closing stages see the keys flicker light a Brian Jones number on this tale of hope. It’s the positivity that keeps you coming back for more. Rather than entice you to the bright lights, it lures you to the smoke-filled shadows where the real devilment takes place. It’s a gateway drug to a northern soul and blue beat night which will change lives and reignite fraying ones.

The Kynd will finally release their second alum ‘Timelines’ on March 10th.

Charlie Clark - Late Night Drinking

Scotland’s Charlie Clark released his debut solo album ‘Late Night Drinking’ on the 25th of November this year via No Big Deal Music. It was produced by Jason Shaw (Cambodian Space Project) and mastered by Ride frontman Mark Gardener.

Image and artwork courtesy of Sonic PR.

‘Late Night Drinking’ is a journey of self-reflection detailing Clark’s years with drugs, rock ‘n’ roll, and grief. Back in 2021, Clark kicked off the long redemptive road with the stunning pop-psyche single ‘Don’t Have Cow Man’. Brutally honest, Clark wraps up his remorse of drug abuse in the splendour of Cosmic Rough Riders' 00s classic 'Enjoy The Melodic Sunshine' album and the pop prowess of The Wannadies. Before this record. Clark had reinvented himself as a promoter in LA but due to the terminal illness of his father, he returned home to Stornoway. There’s a determination to be sober so that his father worries no longer. The frailty of the vocal lifts this song to remarkable status. The lack of confidence and anguish at whether he can succeed is so powerful you can smell it. This single is a rare breed; its hook is unadulterated pop music. Sonically vibrant, it spreads joy and colour across all that listen but, beneath the surface lies darkness and guilt threatening to spill over.

The title track ‘Late Night Drinking’ travels further back into Clark’s timeline on this tale of his destructive drinking. Exquisitely exposing the naivety of his former self (“I was thinking, I could stay / late night drinking/ it’s better this way”) on opening himself up to destructive patterns. Through the jangle of The Byrds and Snow Patrol’s spritely sense of exploration, Clark conveys the hope of alcohol’s allure and the inevitable melancholy when it fails to live up to expectations.

On ‘Blink Of An Eye’, Clark digs into the minutiae of relationships as he pours over past failings and rues things unsaid and left undone. His angelic vocal advocates less ‘High Fidelity’ nihilism but the inner workings of a fractured mind attempting not to repeat the past. In doing so, Clark freezes you in bliss and confusion.  Despite his specific narrative, there’s a universality to his songwriting which is timeless. The guitars gently explode into a Daniel Wylie rumble encapsulating the human brain’s ability to reel you into sleepless nights of agitation.

In the summer of 2020, Clark’s father sadly passed away. ‘A Bridge To Your Idol’ was written prior to the event but knowing it would come sooner rather than later. The poignant testimony utilises the wistful Celtic folk of King Creosote Clark and eloquently describes the helplessness of watching your hero fade. For most, allowing memories to flood the senses cause us to look away mournfully as it’s all too much take. What Clark has done is nothing short of heroic. Facing down all his demons, he has penned an ode to the man that gave him everything.  The isolated soundscapes and hushed vocals, conjure the distance grief births and should be required listening to all in this mental state to heal the pain.  

In many ways, ‘Late Night Drinking’ is the antidote to youthful rock ‘n’ roll. Teenage years are well spent dreaming of escape. Great records are built on the foundation of sex, drugs, and getting out of your hometown. Clark’s journey is coming full circle returning home and dealing with the excesses of escape. Captured by his own mind, often unable to rid himself of regret, he has had to find a new source of escapism. ‘I Don’t Mind If You’re Right’ details Clark’s quest to go beyond what he is and find new pastures new. A meditative tale of his newfound love of Kundalini Yoga is soundtracked by the Ride’s euphoric shoegaze and a great nod to Tim Burgess’ deeper vocal delivery. It’s on ‘Acid Rain’ where solace and contentment with who he shines brightest. Clark simmers down MBV’s emotive fog and taps into pop elements of Andy Bell’s classic debut ‘The View From Halfway Down’ as he cross-examines his past and present. Only this time, the pain of the past is being washed away and a gentler kind of hope emerges as a result.

A tumultuous cleanse of the soul that rewards creator and listener alike. Clark has built upon The National’s ability to embed melody into troublesome discourse by adding psychedelic pop to certain tracks. It’s a stunning debut from the Astrid bandmate, a piece of art in its purest form.

The album is available to purchase from his Bandcamp page.

Armstrong - Graffiti

Wales’ Julian Pitt, aka Armstrong followed up his 2019 album ‘Under Blue Skies’ with ‘Happy Graffiti’ earlier this year. All songs were written, arranged, and produced by Armstrong in his living room in Newport and mastered by Phillip Shaw Bova. The album is available for purchase via The Beautiful Music and Bandcamp.

Artwork and Layout by Jamie Nordstrand

Armstrong’s previous offering was packed with instantaneous charm. Tracks like ‘Love, Hate, Passion, and War’, ‘Things That Pass You By’, and ‘Crazy World’ (among others) reeled you in with their Gram Parsons in Paris meets baroque pop splendour. On ‘Happy Graffiti’, the melody remains but there’s a more considered and studied approach to the songwriting allowing for a sense of timelessness to come alive.

‘Disinformation’ opens in a similar fashion to Ryan Adams’ haunting ‘Shiver and Shake’ before meandering back to the previous albums’ Parisian landscapes. It is the combination of festive keys, Bacharach, and Pitt’s Mick Head via Howie Payne vocal that takes his creative trajectory to another level.

‘Songbird’ and ‘Keep On Walking’ again build upon the previous album whilst pushing the envelope further. The former has a stunning fragility to the vocal delivery. Frosty, almost helpless at times, but never without love, Armstrong’s vocals are set to the cinematic orchestra which reaches out a hand to anyone not knowing which way to turn. ‘Keep On Walking’ however, Is blessed with the autumnal glow that Richard Hawley and I Am Kloot have perfected this century. The guitars of The Stands are illuminated by a smoky deep vocal in the early stages but, they progress to a joyous state of John Bramwell and Peter Hall. Defiance is always a great trait for songwriter, it’s blessed so many generations coming of age moments. To produce this feeling in middle age, especially lyrically, is a remarkable skill but Armstrong has it:

“Here me or not / When Destiny calls / This rickety life as it twists out of sight to the deep waterfall / Reasons allowed / Are shattered and torn / We live like we do through the rain and stars and the moon and the sun / but I don’t feel afraid / I’m just walking like a summers day”

The key change within this stanza is worthy of Liam Gallagher’s dreams and the Kraftwerk via van Morrison keys are simply divine.

There are moments when Armstrong forgoes the wiser songwriter status and slips back into great pop mode. ‘Rock Star Rock Star’ is the kind of sun-kissed rumble dreamers of alternate universe pictures The La’s making. The jaded Mick Head via the deep gravel of Badly Drawn Boy takes you on a journey of gentle rebellion. Whereas ‘When We Were young’ provides the album’s spriteliest moment with scintillating pianos, the Pale Fountains’ yearning for adventure, and the Lightning Seeds’ sense of bubble-gum glee.

If the above was all there was, there would be would nothing to complain about. There are, however, two moments of jaw-dropping awe to revel in also. ‘In A Memory’ is a sumptuous nod to the opening/closing verses of ‘A Day In The Life’, no mean feat, but Armstrong’s trip down memory lane enhances McCartney’s piano playing to an unrivalled poignancy in 2022. ‘This One’ is blessed with the self-belief of rock ‘n’ roll’s youthful ambition but to the sound of a sage presence out for a head-clearing walk amid the morning fog.  The repetitive lyrics seem to suggest that, although the protagonist is aware of art’s cyclical nature, its intoxicating escapism will always be welcome.

Classic songwriting rarely collides with guts, heart, and pop music but, Armstrong has it all.

Chorus Girl – Collapso Calypso

Chorusgirl, aka Silvi Wersing has followed up on 2018’s critically acclaimed ‘Shimmer and Spin’ with the new album ‘Collapso Calypso’. Produced by Wersing, it was recorded at Cologne’s Bear Cave Studios.

During the pandemic, Wersing relocated to her native Germany causing Chorusgirl to cease as a band and become a fully-fledged solo project. The newfound creative isolation informs a great deal on the record. There are many swings from dark to light as she wrestles with inner turmoil to find positive outcomes.

‘Don’t Go Back To ‘89’ has the aching sense of repetitive failure that Simon Pegg played so well as Gary King in ‘The World’s End’. In this version, Chorusgirl are the friendship group trying to break through to the protagonist who is unaware and unable to break the cycle. There’s a purity to the guitars not seen since Jeff Buckley’s Grace which, alongside Wersing’s 60s girl group meet Cocteau Twins vocal, make this tumultuous tale a great place to reside.

‘Sleepless In South London’ treads similar water artistically. Lyrically, Wersing explores sleepless nights of self-doubt, regret, and the agony of past actions haunting your consciousness:

‘In the middle of the night, in the back of my mind, a skeleton from a full closet says hi, when my morals are drifting and the shadows are shifting.’

However, sonically, she finds a way to make great alt-pop music still. Vocally residing between Romy and Kate Bush with the guitar power of Glasvegas, Chorusgirl takes despair to the edge of anthemic.

Both tracks are a glorious dichotomy of regressive lyrics and positive sounds. A theme that runs throughout the album’s finest moments. ‘In the Business of Dreams’ rippling guitars and angelic vocals take all the best bits of Pip Blom and The Orielles and make them more melodic.

It is, however, on ‘Minimum Descent Altitude’ and ‘Into Gold’ the album becomes truly interesting. The former sounds like joyous Andy Bell and his live Space Station he toured this year. Shimmering guitars lock horns with Erol Alkan beats to conjure frosty but enriching soundscapes. On ‘Into Gold’ however, Wersing transcends her indie roots into mesmeric pop music. Effortlessly building like a Banarama classic but with post-punks substantive power. The intensity of Gang of Four on the angular riffs is met with Slowdive’s beauty on guitars whilst Wersing’s lyrics explode into a technicolour of defiance and self-doubt.

In what must have been a testing time personally and creatively, Chorusgirl have come out the other side with a piece of art to be cherished!

Deja Vega – Personal Hell

Back in January, Winsford Trio Deja Vega released their second album ‘Personal hell’. It followed the critically acclaimed self-titled debut in 2019. Although originally recorded before lockdown, their zoom meetings in that time allowed them to redraw their future, would it pay off?

*artwork courtesy of Crooked Cartoon.

Image courtesy of Trust a Fox.

Following a powerful debut album has always been a tricky conundrum. More of the same or to reinvention can ruin all that went before. ‘Personal Hell’ has some brilliant bridge tracks from then to now in ‘Its All Gone Wrong’, Outside Now’, and ‘Who We Are’. ‘It’s All Gone Wrong’, whilst introducing synths, maintains the Mark E Smith vocal menace and Stooges assault of the sense on guitar that everyone fell for on the debut. The synths come at you from every angle like a psychedelic pincer movement as they build the track up, up, and up again before unleashing it back to hell with resounding guitars and a bombardment of drums that no other band can compete within 2022.

‘Outside Now’, is blessed with the spirit of Fontaines D.C. debut has a gloriously windswept feeling to its punk stature, and is destined to be a euphoric set closer for a decade. ‘Who We Are’ has the joyous build of ‘Mr Powder’ but with more space to breathe. The half step back in tempo allows the band to sound like Neu on speed. Throw in the little nods to The Doors’ ‘L.A Woman’ and the life-affirming lyrics and this becomes an instant classic:

“Got the feeling we'll win because we've seen it all / Still scratching our heads and we find it hard to get it / But we take the fall and we erase it all”

More. Cowbell. Please!

On their debut, there was so much punk and psychedelic prowess showcased on the likes of ‘Eyes of Steel’, ‘Mr. Powder’, and ‘Sound of Speed’ that fans were well within their rights to believe mainstage headline slots awaited them. ‘Personal Hell’ doubles down on this thought process and then catapults it out of the galaxy. ‘Slow and Steady’ drops the intensity for an early Verve sense of exploration into the half-light via Soundtracks Of Our Lives’ poetic beauty. ‘Banshee’ introduces rave-esque synths into the equation. Alongside their penchant for garage-psyche it becomes death-defying; an anthem for the downtrodden of 2022 if ever there was one. This is the musical equivalent of nurses stood in minus five degrees begging for their dignity. It will be heard!

Then, if that promise was still in question (it wasn’t) ‘Catharsis’ pops in to mark the 10s psychedelic adventures as redundant. The truth is, the early tens were blessed with good psyche music in Tame Impala, Unknown Mortal Orchestra, Pond et al, but not great music. They lacked the ability to inspire. Not Deja Vega! Their blasts of technicolour guitar rain down like Moon Duo records being played by the Pistols. The lyrics are confrontational and recalcitrant and beckon younger generations to pick up a guitar and change lives!

There’s no filler on ‘Personal Hell’, every track leaves an indelible mark on the soul.  ‘Precious One’ throbs with 70s debauchery and Wooden Shjips riffs to create yet more new pastures of the kaleidoscopic expedition! On and on the superlatives could go. ‘Personal Hell’ is a huge leap forwards from the debut, and whilst the live shows remain in small(ish) venues, for now, their rightful place is the upper echelons of mainstages. Over to you festival bookers of 2023.

David Long & Shane O'Neill - Age of Finding Stars

During lockdown, lifelong friends David Long (Into Paradise) and Shane O’Neill (Blue In Heavan) collaborated to make their debut album ‘Moll & Zeis’. Written and recorded separately due to the pandemic, it was still blessed with a remarkable amount of humanity.

The album is available to buy on their Bandcamp page.

This time around, they were in the studio together to write, arrange and produce everything on their second album ‘Age of Finding Stars’. However, it wasn’t as planned. According to O’Neill, these are the “songs leaked out of the cracks” when trying to make the follow-up album.

The album’s centerpiece is ‘Stickyblackheart’, a devastating tale of someone losing their love. O’Neill’s time with Martin Hannett in the 80s was well spent as his brooding landscapes come alive once more. The atmospheric emotion of the Engineers combined with the bugged-out isolation of Brian Jonestown Massacre’s ‘Methodrone’ conjure a space that is not for the faint-hearted.

Album opener ‘Greeneyessing’ fades up with a pain so raw, it will make you step back from the stereo. The guitars tap into the Doves’ debut album with the shoegaze of Slowdive. Together they provide an intro where regrets ruminate in the mind with anguish so vast, it’s difficult to see a way through. This is met with Long and O’Neill’s astonishing poetry. This is a letter to all to seize the day and cherish every moment with those you love.

On ‘Bruised’, a bitterness rises that is all-consuming.  Grief-stricken, howling at the world? God? The departed? The soulful delivery of “You are a liar, every word, every day /You are a liar, understood, all around the world / You are a liar, lighthouse, miles in from the shore” conjures the imagery of a soul becoming detached from reason and love. This is enhanced by the Johnny Marr-esque guitar solo. The urgency of his cameos on The Charlatans’ ‘Different Days’ (Plastic Machinery & Not Forgotten) with hints of Ride’s Andy Bell emerge but, with sadness that’s burrowed deep into the soul.

The grieving process is lit up expertly during the back-to-back songs ‘Nightpoetsofbeijing’ and ‘Worldpassingby’. They’re a journey inextricably linked by grief and all that comes with it. The former is the album’s only instrumental piece and broods like Unkle before ebbing away gently. It’s the introduction of birdsong that grabs all the attention though. It’s the first flicker of light and suggests our lost soul has found some solace. As the track fades, the birdsong flitters around electronica to suggest a new path, however different and from before, has been found. Alas, ‘Worldpassingby’ plunges back into the void with the electronic glitches and hints of Ryan Adams’ guitars circa ‘Prisoner’. It’s as though the hope of the previous track is being punished for allowing the light in:

“It's just the world passing by / I don't feel anything / I can't feel anything”

What started as an unplanned album has turned into a masterpiece of grief-stricken songwriting. Devastating lyrics and lost soundscapes unite on one of 2022’s albums of the year.

Office for Personal Development – Invisible me

The best government department since DOSAC have returned with their new single ‘Invisible Me’. The 7-inch will be released via Austerity Records and is backed by b-side ‘Love Me Again’.

Image and artwork courtesy of the band.

Last time out on ‘You Are In Control’, they spoke of setting yourself free from life’s shackles and becoming all you can be. Three Prime Ministers later, the Hot Chip via 90s rave sonic has descended towards synths so icy they could reignite the cold war.

Their creative plummet to emotionless pastures has allowed them to pose the finest couplet of the year:

“Are happy people winning or / Have they already been defeated?”

Who among us can honestly say they didn’t consider walking out to see to find Reggie Perrin when Mrs Pork Markets the economy into a red park bin full of dog shit.

Just when all feels lost comes the defiant Aragon charging alone into the Battle of the Morannon moment arises in the final verse. All the bitterness and resentment at this country’s downturn into a Thatcherite tribute act (“I'm truly glad you found a way / To look after number one”) oozes from company director Trevor Deeble. Deeble’s introduction of the spoken word brings Fred Deakin’s sci-fi Armageddon album ‘The Lasters’ and John Hurt’s slow-burning performance in ‘1984’ to the fore.

On the surface, the lyrics still feel defeated (“I know now what I want / I want to be just like you”), but the spoken word gives it the feel of a quitting speech. One doesn’t quit this spitefully without the hope and rebellion flames flickering.

Despite the gloomy conclusion to 2022, their debut album is still poised to be one of 2023’s finest.  

This Is War – Crossfire Fever

Liverpool’s This IS War have been releasing a single monthly this year. November’s offering was ‘Crossfire Fever’ and once more, doesn’t disappoint.

Artwork courtesy of the band.

All year This Is War have delivered killer rock music that flirts with its influences but never overindulges. ‘Crossfire Fever’ is perhaps the best exponent of this methodology. There are euphoric melodic moments akin to the Stereophonics, and intense guitars of The Jam but, it is the warped riff and their destructive playing that you’re left wanting to shout about.

The band’s sense of impending mortality is their heaven-sent talent. Frontman Paul Carden does desperate gravel vocals better than anyone at present. He leaves you feeling out of control, as though life is ebbing away amid frenzied chaos.

Mike Mullard and Johnny Roberts’ guitars emerge from the furious sweat ridden 00s scene of Dogs, The Paddingtons, and Nine Black Alps to produce a new kind of glory. Never in their shadows, they light up the guttural and visceral power they possessed and drive it home to new creative pastures for a new generation to put faith in.

This Is War have one more single to be released on 23rd December before they release all their singles in the new year. It’s been one hell of a joyride so far, we’re sure the last song is not to be missed either.  

The Illicits – Modern Love

Blackburn outfit The Illicits recently returned with their new single ‘Modern Life’. Already hometown heroes with a string of hometown dates sold out dates, could this be their break-out moment?

Artwork by Tucker Creative Studios

Pre-lockdown, they had caught the eye with the destructive ‘Left Behind’ and the fine cover of ‘Born Slippy’. Although Covid knocked the band’s momentum, they returned earlier this year with the post-punk classic ‘Play Your Part’ and the glam-stomp of ‘Feel it’. This time out, they travel to the initial wave of punk to unleash their visceral social commentary.

Like many from that generation, they have reworked 50s rock ‘n’ roll up to a furious conclusion. Guitarist Brad Hayes has found a beautiful dystopia where Steve and Mick Jones have become one guitarist. The howling destruction of the Pistols is funnelled through Mick’s early beefed-up rock ‘n’ roll to produce a savage take on the ‘I Fought The Law’ and ‘Janie Jones’ before a thunderous descent into a ‘Holidays In The Sun’ climax.

As frontman George Richards howls “this is the modern life” The Jam are brought to the fore. Wrenching the lyrics from his spleen, he breathes life into a generation who skint, downtrodden, and ignored.

This is the sound of punks, skins, mods, and indie kids uniting in the face of political gaslighting and corporate greed’s race to the bottom.  They can lie to our faces, but not our hearts!

*Banner image courtesy of Sonic Pr and @jtm.dos

LOCK-IN – Sweet Love

Essex via London outfit Lock-in returned at the end of November with their new single ‘Sweet Love’.

‘Sweet Love’ got its debut live airing at This Feeling’s Teenage Cancer Trust gig in October. More direct, and more aggressive, it felt like a departure from their fledgling days and a step into becoming a true presence on the circuit. Can they recreate the magic in the studio?

On record, the harder edges have been polished somewhat but not to its detriment. The truth is, many indie bands can’t get past their initial few singles anymore. Lock-in are now showcasing maturity and are building its lovelorn characters into a sonic that is becoming hard for many to deny.

Joe Leak’s lead guitars are used more sparsely, Angus Moore’s riffs and frontman Benjy Leak’s technicolour energy to bristle along and thus, recreate their live prowess. What Joe delivers brings the infectious power of the Little Comets and Night Café to hook you but, the added space elevates the band, particularly at the breakdown.

Frontman Benjy Leak is not to be outdone either. He has outgrown the foot-to-the-floor approach that grabbed live audiences in their early support slot career. Now, he has begun to play with his cadence and tone allowing his boisterous personality to remain prominent but now allowing fragility to filter in and therefore, a depth to the songwriting that previously was only alluded to.

On this form, it’s easy to see why they have booked London’s iconic Garage for their biggest headline show to date next April. Click the image below for tickets:

(*Banner image courtesy of Briony Graham Rudd)

The Shop Window - A 4 Letter Word

Maidstone outfit The Shop Window released their second album ‘A 4 Letter Word’ at the end of November via the impeccable Spinout Nuggets imprint. It was recorded Raffer Studios in Kent, produced by Callum Rafferty, and features Sarah Records icon Beth Arzy (currently of Jetstream Pony & Luxembourg Signal) on backing vocals on four tracks.

‘A 4 Letter Word’ is avail;ble to buy on their Bandcamp page.

At several points ‘A 4 Letter Word’ finds a way to reimagine their love of indie’s angelic past for the modern day. Former single ‘Lighthouse’ s guitars imbue the angelic sheen of The Mock Turtles and through Carl Mann and Simon Oxlee’s vocals, the glorious rumble of Teenage Fanclubs comes alive. Whereas opener ‘Eyes Wide Shut’ finds the Medway’s beat traditions caress the hushed beauty of The Railway Children. Its laid-back stomp builds to a sumptuous wah-wah solo on this tale of wonder and exploration of the soul.

‘On That Feeling’ and ‘Maid of Stone’, they take their Medway indie for an away day to Manchester. The former finds them in Stone Roses territory but, one where the icons had adopted a folksy sonic to their Byrdsian rock ‘n’ roll. As Mann decree “When I Get That Feeling I'm alive / Hold on to the moment now it’s right” the agitation of the Roses’ lack of new music subsides. The Shop Window have found a way to make that explosion of colour from 1989 sound sage and meaningful in middle age. On ‘Maid of Stone’, they rekindle their youth in Maidstone where dreams were made and lost. Like ‘On That Feeling’, it has a wisdom to it, a sense that they have come full circle, have come home. In doing so, the heavenly paisley guitars of early John Squire and more pertinently Andrew Innes circa ‘Sonic Flower Groove’ flood the senses in much the same way their peers The Shed Project have done so adeptly.

Manchester’s heritage surfaces once more ‘Circles Go Round’ and ‘Lay of the Land’. ‘Circles Go Round’ is undeterred by their youth passing. The spirit of ‘Teenage Kicks’ has soared to the surface on this great homage to The Smiths. ‘Lay of the Land’ find is the most interesting piece on the album. Vocally, Mann adopts Damon Albarn’s smoky drawl as the band adopts Blur’s brief involvement with the baggy scene. As the chorus climbs to a euphoric state, the guitars take on the warped world of The Cure, occasionally offering a DMA’s lightness before the deranged glitch re-emerges to signify that, although their souls remain free from that era, life has changed and taken its toll. A truly remarkable sonic take on life’s responsibilities taking grip.

Former Aberdeen singer Beth Arzy appears on four tracks and shines brightest on ‘Dancing Light’. The hallmarks of Deacon Blue and REM’s great alt-pop flirt with Buck and Marr’s guitars whilst Mann and Arzy create the nearest thing to vocal beauty since The Cocteau Twins.

The Kent outfit have lit up a bleak year with this gentle yet defiant indie-pop record. Everywhere you turn there are nods to the 80s and 90s but, with astute sonic updates. Lyrically, they accept nostalgia less as a noose and more as a bridge to their untamed teenage selves and thus, provide endless tales for their souls to relive in the modern age.