The K’s – Chancer

Earlestown’s finest The K’s are back with their second single of 2023 ‘Chancer’. Since the release of ‘Hoping Maybe’ back in January, they have embarked on a sold-out tour and been added to the main stages of Godiva Festival, Golden Touch Festival, and the inaugural This Feeling By The Sea in Bridlington. Can they maintain the momentum?

Last time out they were in an achingly beautiful mood. ‘Chancer’ retains the cinematic beauty of ‘Hoping Maybe’ whilst returning to the instantaneous and muscular guitar power of their earlier singles. The ordinary streets of ‘Hometown’ resurface as our protagonist is separated from his friends but, embraces the night’s danger with the infectious “fuck it” attitude of Joe Dempsie’s portrayal of Chris in Skins.

‘Chancer’ is the sound of a band fully harmonious with its identity. Frontman Jamie Boyle is now toying with his vocal cadence like a seasoned master whilst guitarist Ryan Breslin, howls into the night sky like Edge at his best, massive yet understated.

Track by track The K’s are injecting the UK with a sense of hope. Their social comment is more poetic than cultural observers of Britpop and their guitars more unifying than the dirty rock ‘n’ rollers of the 00s. They are forging a new path for rock ‘n’ roll, log may it continue.

*image courtesy of Olivia McDowall & CDP Radio PR

Click the image below for tickets to This Feeling By The Sea:

The Lilacs - Sticky Dancefloors

Wigan outfit The Lilacs released their latest single ‘Sticky Dancefloors’ last week. Recorded at Sugar House Catalyst Studios in St. Helens it follows last year’s EP ‘Red Flags & Warning Signs’.

Artwork made by & courtesy of the band.

Lead guitarist Sam Birchall’s guitar parts have a muscular but inviting quality has finds a space between The Pigeon Detectives and ‘St. Jude’ era Courteeners on this tale of indie nightclubs. His raw power is gloriously offset by frontman Ollie Anglesa’s indie-soul power.

Anglesa’s vocal draws from the warmth of Tom Concannon (Stanleys) and the brash immediacy of The Clause’s Pearce Macca allowing the guitars to explode like fireworks. The guitars fizz with such power that Anglesa’s vocal is not just on point, it’s vital to the song’s success. It allows the listener a way into the sonic and an ability to feel a part of something greater. What could be a more perfect display of love for indie nightclubs?

*banner image courtesy of Barnaby Fairley

Click the image below for tickets to The Lilacs tour:

Senses – Harder Now (For Love)

Coventry’s Senses have followed in the footsteps of The Institutes by signing to the impeccable 42s Records. Last week they released their ‘Harder Now (For Love)’ which was produced by the legendary Gavin Monaghan (Fitzroy Holt / MOSES / Lyerr) at Magic Garden Studios in Wolverhampton.

Image & artwork courtesy of 42s Records.

On the surface, ‘Harder Now’ seems a straight-up rock ‘n’ roll number. Scratch beneath the surface and an array of influences and juxtapositions emerge. Brian Callan and Kevin Kavanagh’s brooding guitars are awash with great juxtaposition. There’s a Dandy Warhols and The Brian Jonestown Massacre lo-fi quality chiming with the directness of Oasis’ ‘Heathen Chemistry’ and ‘Don’t Believe The Truth’ era. When they combine with Callan’s lead and Ian Finnegan’s backing vocal, they create a wall of sound worthy of Soundtracks Of Our Lives peak.

Callan’s vocal takes Jonathan Richman’s drawl for a joyride with the sprawling psyche of Revolver’s Mat Flint and the punky-pop snarl of Senseless Things’ Mark Keds. Callan has an innate talent to glide toward spoken without fully landing there. It serves their lo-fi rock ‘n’ roll and punk instincts well by elevating the song’s drama during the glorious vocal hook of the chorus and the scintillating guitar parts in the closing stages.

‘Harder Now (For Love)’ will be the first of three singles via 42s Records in March and April. Click the image below for tickets to their album launch gig:

Spangled – That Farm In Dunham

Manchester’s Spangled are back with their new single ‘That Farm In Dunham’. Produced and mixed by Gareth Nuttall, it follows their riotous double a-side ‘Underpants’ and ‘Charlie Hills’. Can it match up?

(*banner image courtesy of Owen Peters Photography)

Last time out, Spangled showed their teeth on the Art Brut via early Blur and Dinghus Khan on their punk rock singles. ‘That Farm In Dunham’ slots back into ‘Good Life Better’ anthem mode. Jamie Halliday’s slow-building guitars are tinged with otherworldly psychedelia which allows frontman Ben Johnson to lay bare his soul.

Despite the change in sonic, Spangled still serve up astute observations and a great narrative lyrically on this tale of unrequited love. Johnson’s vocal is blessed with fragile, boisterous, and angst-ridden moments, the perfect blend for reliving teenage boys’ dreams of being Freddy and Effy but falling closer to Cook’s despair and JJ’s lost sense of reality.

The expansive sound has headline act oozing from its blood. It’s the sound of a band with one hand on their destiny and the pushing at end of the galaxy to make things bigger. This colossal ambition coupled with Johnson’s diary entry honesty lyrically are marrying the excess of rock music to incisive punk for the first time in a generation.

Asking whether ‘That Farm In Dunham’ matches up to the previous double a-side is in fact the wrong question. The two are interloping pieces of art and rock ‘n’ roll serving one another. The double a-side was the eye of the storm, ‘That Farm In Dunham’ is a celestial cloud to recover from it on.

Click the image below for Spangled tickets in London next month:

Lyerr – Changing Trends

Manchester’s Lyerr are back with their new single ‘Changing Trends’. Released last month, it was produced by the legendary Gavin Monaghan (Moses, The Twang, Editors) at Magic Garden Studios in Wolverhampton.

Image and artwork are courtesy of Songbird PR.

Lyerr have beautifully lit up the UK seaside towns we all know and love so well. Nudging the 2p arcade machines when no one is looking and dodging thuggish seagulls with a bag of nuclear hot chips is a rite of passage for us all. Through Ryan Johnson and Sam Greene’s angelic and anthemic guitars, they recreate the carefree spirit a promenade can whip up in the British soul

Not the most astute of social observations a band has ever made but, it’s the heart the song emits where its talent truly lies. The key change in the guitars is ‘Don’t Look Back Into Sun’ written by Noel Gallagher it sounds so all-encompassing.

The track culminates in a moment of indie-rock brilliance as Johnson decrees his time has passed, tinged with melancholy but only momentarily. It passes as he conjures images of new faces massing on shores to repeat the ritual. It’s a sense of giving, passing the cultural baton songwriters just don’t possess. So often it’s about their time in the sun, which briefly this is but, as it skips on to the future generations dancing and drinking in the cultural mainstay of a Southend, Whitby, or Barry the poignancy is tear-inducing.

It's easy to see why Andy Bell dubbed them ‘Manchester’s best new band’ back in 2019.

Marseille – Thinker

Derby’s Marseille release ‘Thinker’ on 17th March. It is the third single from their upcoming debut EP ‘Freedom’.

Artwork by Karl Shaw

‘Thinker’ was originally written by frontman Will Brown when he was 13 and then discarded but, guitarist Joe Labram fell in love with it and brought it back into the fold. Despite Brown’s age at the time of conception, the song is constructed around the things we say to ourselves after loved ones have passed.

Musically, the track is heavily indebted to Oasis B-side classic ‘Masterplan’ in the early stages. Through the pain and anguish Brown delivers vocally, those thoughts of Oasis yesteryear do begin to fade slightly. It’s an astonishing level of skill for an 18-year-old to deposit vocally, backed by Labrams sublime guitars, you’d be forgiven this was men in their 40s reflecting upon a life lived, not just starting out.

The key changes and strings illuminate Brown’s heartfelt ode to those lost. Similar to Noel, Marseille are unafraid to enhance big key changes with spine-tingling strings; a skill that will inevitably carry them to big stages sooner rather than later.

The naysayers will inevitably come at this record. “it’s just Oasis”. The same bores wrote off Oasis in 1994 for emulating the Beatles and T-Rex didn’t get it then, and they won’t get it now. Marseille writes rock ‘n’ roll classics with poetry that drags the ordinary person from a state of existence to one of living!

*banner image courtesy of Paul Dixon

Click the image below for tickets to their current tour:

Vida – Different Storm

After a run of near-perfect singles in the 10’s, Vida looked set for a big breakthrough. Then, in 2019 Jamie Pollack (guitar/vocals) and Cragi Scobbie (bass) left the band leaving a legion of fans heartbroken.

The flame never burnt out for original members Nathan Evans (lead guitar/backing vocals), Jamie Piggott (drums), and Greg Ballantyne (keys) though. They’ve now recruited Colin Davidson (lead vocals/guitar) Jacob Franklyn (guitar/vocals) and Evan Cameron (bass guitar) and release ‘Different Storm’ tomorrow via their label Ward Street Sound. Can they pick up where they left off?

Much like their classics ‘A Place Where We Can Forget’ and Where We Came From’, they open with acoustic and rich West Coast jangling guitars. Only this time, with the band themselves at the mixing desk, conjure a vaster landscape with which to land their dreamy sonic.

Davidson and Evans’ guitars are blessed with the laid-back pop-psyche of DMA’s and the enriching warmth of Andy Miller (Dodgy). They have an innate ability to sound in control of their destiny but feel beautifully directionless. It lends the guitar parts an innocence these testing times is crying out for.

Davidson finds himself in the unfortunate position of having to follow the fine Pollack as the frontman. Where Pollack had edge, Davidson has musicality. At times he has the melodic glow of Nigel Clark and could easily slot into the harmonies of early Teenage Fanclub. Only time will tell if it pays off but the results are here sumptuous.

*banner image courtesy of the band (and made by them).

Vida’s next live show is Easter Sunday. Click the image below for tickets to witness their ascension.

The Boo Radleys - The Unconscious

Liverpool pioneers The Boo Radleys are back with a new single ‘The Unconscious. It follows ‘Seekers’ from January of this year and their fine comeback album ‘Keep On With Falling’ from 2022.

The Radleys last album was lit up with great alt-pop songs like ‘Keep On With Falling’ and ‘A Full Syringe and Memories of You’. The disco licks and orchestral majesty took their archetypal sonic to new pastures whilst lyrically, Sice was dealing with some tumultuous personal issues.

The Unconscious follows this path as Sice lays bear his two years spent in psychoanalysis, a venture that would ultimately go wrong for the frontman. This tale on the couch dealing with deep-seated pain should be set to endless layers of guitars howling into the ether to recreate that guttural feeling. Not for the Radleys. Ska riffs and bombastic soul via brass burst into the best party you have attended in years.

Two singles into 2023 and their next album ‘Eight’ is shaping up to be one of the best of the year already. Click the image below for tickets to their tour with Cud and the tour of the classic album ‘Giant Steps’:

The Shed Project – If You’re Getting Busy (You’re Getting Better)

Bolton outfit The Shed Project released their latest single ‘If You’re Getting Busy (You’re Getting Better)’ last week. It’s the debut single from their forthcoming second album, which is due for release on August 23rd.  The single has been made in conjunction with the mental health charity Whysup.

Last time out on ‘If You Know You Know’, they were in a riotous mood. Here, the ‘Love Spreads’ and ‘Begging You’ licks subside, allowing their debut album's indie soul to re-emerge better than ever on this tale of mental health and addiction issues.

Frontman Roy Fletcher’s vocal slots into the delicate psychedelia made prominent by Northside’s Dermo in the early 90s. Fletcher’s angelic delivery lends this personal tale an extra layer of integrity. As he decrees the song’s title, his soft, almost fragile vocal carries a personal wait of experience that demands attention.

Coupled with it are the band’s finest guitars to date. With hints of the ‘Mighty Quinn’, ‘Walk On The Wild Side’ and the country soul of ‘Urban Hymns’, the band have touched upon a more universal sonic to light up this deeply personal narrative.

The run-up to their second album will have fans drooling in anticipation after this offering.

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.