Holy Youth Movement: This Feeling Stage, Truck Festival

Bristol’s Holy Youth Movement played This Feeling’s stacked Thursday night line-up at Truck Festival last week. Images courtesy of Alan Wells.

Images courtesy of Alan Wells.

There had been some stand-out performances from Bag of Cans and Vega Rally earlier in the day, but this was Truck Festival’s lift-off moment. ‘Tranquilizer’ unleashed the devil of Primal Scream’s ‘XTRMNTR’ and sent a packed tent into a pure state of mayhem.

‘Information Is Beautiful’ and ‘You Thought I Was Dead’ buzzed and throbbed with the warped ambition of Kasabian and the deranged melody of Radio 4. The pulsating basslines and the iconic moves of frontman Tom Newman continuously whipped up a fever that echoed long into the night and the hearts of all who witnessed.

Mentor and Producer Jagz Kooner was looking on, with what must have been immense pride. His 00s remixes have been reimagined for the modern day by Holy Youth Movement’s dynamite vision. It can’t be long until the Bristol outfit have the same respect put on their name as his.

Click the image below for tickets to their Shiiine On show this November:

Megan Wyn: This Feeling Stage, Truck Festival

Anglesey’s Megan Wyn walked on the This Feeling stage last Friday at Truck Festival mortal. She left it anything but!

Some singers have the vocal power to wow but often lack substance and vice versa. Not Wyn! She is blessed with the startling ability of Linda Ronstadt, the pop instincts of Stevie Knicks, and the lyrical fire of Laura Marling.  

Wyn went beyond just singer-songwriter talent last week. The knowing and sniping looks during ‘Better of You’, the playfulness during her next release ‘You Don’t Get It’, and the supreme confidence during the set closer ‘Polaroid’ projected the whole package to an awe-struck audience.

We’ve seen many an act via This Feeling who are destined for bigger stages. Never have we seen a dead cert for the Pyramid Stage quite like Megan Wyn. Emily, Michael, over to you.

Pre-save the new single here: https://push.fm/ps/mw-ydgi

Siracuse – All To You

Cheltenham’s Siracuse follows their fine comeback single ‘Saviour’ with ‘All To You’. Released on Friday, can it stack up to ‘Saviours’ power?

Image & artwork courtesy of the band.

Downtempo from ‘Saviour’ for the most part, Siracuse tap into the earnest power of The Enemy’s acoustic guitars on ‘We’ll Live And Die In These Towns’ and a vocal to rival Liam Gallagher’s search for the celestial.

Lyrically, it’s Siracuse’s finest work to date. Songwriter Ben Zakotti offers guidance to the young and downtrodden to keep on pushing. There’s a power to the lyrics which can only come from a place of love. Perhaps a partner or a child, something that binds you forever through thick and thin!

The gentle amble erupts into life akin to DMA’s ‘Lay Down’ and ‘Feels Like 37’ in the closing stages. A moment of chaos and melody come together to light up the love in Zakotti’s heart.

Where ‘Saviour’ spiralled with personal intent to escape for today, ‘All To You’ inspires tomorrow. Two singles into 2023, Siracuse are becoming utterly unmissable!

Click the image below for tickets to see Siracuse at this years Lakfest:

The Lilacs: The Good Mixer, London

Wigan outfit The Lilacs took to Camden’s iconic boozer The Good Mixer this past Thursday to headline an intimate This Feeling gig. Image courtesy of This Feeling.

There was an ambition to the guitars which made the intimate Mixer feel like an arena gig. The infectious and raucous guitars have never sounded so far-reaching. On their recent single ‘Sticky Dancefloors’, the jagged edges of The Courteeners St. Jude and the rumbling power of The Rifles’ drums set sail for a drunken sense of freedom which the tightly packed crowd followed with glee. 

Frontman Ollie Anglesa’s vocal was blessed with the kind of guts and glory to see the masses line up to throw pints and fists aloft. To date, his stage power has yet to really shine through on the record. However, on a sticky night in Camden, he let the world see the essence of the band and their songs, wrenching their humble beauty from his soul for rabid fans to feast on. This do-or-die spirit launched Liam Fray, Joel Stoker, and Tom Clarke in the 00s, now it’s his and The Lilacs turn!

The night climaxed with their instant classic ‘Vicarage Road’. Dave Gomersall’s drumming lent a rock ‘n’ rolls vastness to the pulsating indie-floorfiller guitar and bass licks of Matt Johnson and Sam Birchall and had the Mixer bouncing.

The Lilacs walked on stage as a promising band. They left it verging on immortal. Click on the image below to witness them steal the show at This Feeling’s By The Sea festival.

JW Paris – Leave It Alone

London’s JW Paris returned at the start of June with their new single ‘Leave Me Alone’. Released via the impeccable Blagger Records it was produced by JB Pilon and mastered by Cicely Balston at Air Studios. Banner image courtesy of C24Photography

In 2022, the band delivered one of the year’s finest EPs in ‘Stuck In A Video’. ‘New Era’ and ‘Electric Candlelight (ECL)’ found ways to blur the lines between early 80s post-punk grit and the poetic swagger of early Suede and The Auteurs.

On ‘Leave It Alone’, they slot into the same lane and stick the pedal to the floor! Conjuring images of wayward souls staggering into dank 3am night skies with self-destruction still in their minds, JW Paris have found the personal touch. It enhances their lyrical pain on display to manoeuvre the subtle guitar howls to exquisite effect.

This tale of addiction and narcissism is ironically, intoxicating. Every stansa is a fume of debauchery capturing you in its haze and spewing out a different personality. It will not be long before JW Paris’ talent causes a manic stir on the UK scene.

Saloon Dion – Muckers

Bristol’s Saloon Dion released their debut EP ‘Muckers’ at the end of May via Mucker Records which they followed with a triumphant support slot with Opus Kink at London’s Village Underground. Banner image courtesy of Felix Bartlett.

Artwork courtesy of Super Cat PR

Since the mid-10s, there has been a gluttony of post-punk bands from the UK delivering good albums. Simultaneously, there has been a dearth of rock ‘n’ roll bands producing great singles but rarely getting a chance to record an album. The Ven diagram of the two has a sparse middle. A reflection of the polarising times we’ve lived through.

Bridging the gap though are Saloon Dion. ‘I Don’t Feel’ and ‘You Want More’ traipse on either side of the divide. Tom Simpkins and Taryn McDonnell deliver the showmanship flourishes of Andy Bell and the driving riffs of Peter Hayes through the desolate power of Shame.

‘Heaven Sent’ continues to splice the indie-rock ‘n’ roll greats with modern-era post-punk. The choppier elements of Johnny Marr’s ‘The Right Thing Right’ and ‘Generate Generate’ are given the raw venom of Shame and The Murder Capital. Modern post-punk is littered with spoken word moments but, here, it’s shrouded in smoky psyche riffs which amplify this tale of financial health care spiralling out of your control for a loved one.  

‘Happiness’ again taps into Marr’s scintillating solo era playing which allows frontman Dave Sturgess’ vocal to rumble. It’s a pairing that is pulling alternative music worlds together without creative compromise.

Saloon Dion haven’t nailed it, yet! However, they can claim to have the balance of chest-out confidence and fist-aloft righteousness well ahead of the pack and should be lauded for it.

Click the image below for tickets to their upcoming London show:

Mull Historical Society – Room of Masks

Scotland’s Mull Historical Society aka Colin McIntyre returned with his new single ‘Room Of Masks’. Featuring lyrics from crime writer Val McDermid, ‘Room Of Masks’ was released last Friday via Xtra Mile Recordings. Banner image courtesy of Sonic PR.

Artwork by John MacLean (Beta Band)

McIntyre, forever seeking new creative avenues for his blessed songwriting tasked McDermid to pen lyrics about a room with significant meaning. In return, McDermid reflected upon the bedroom which gave those formative years of musical discovery.

McIntyre’s sonic accompaniment is an effortless piece of magic. Dawn-lit guitars akin to Noah and Whale’s masterpiece ‘First Days of Spring’ glisten and build to hymnal euphoria. The gentle build documents McDermid’s teenage escapism from her working-class Fife backdrop.

A fine return to form a criminally underrated songwriter! McIntyre’s new album ‘In My Mind There’s A Room’ will be released 21st of July and will feature other authors such as Ian Rankin, Nick Hornby, Jacqueline Wilson, Jennifer Clement, Sebastian Barry, Alan Warner, Jason Mott, Jackie Kay, Liz Lochhead, and Stephen Kelman.

Gazelle – Lady Blue Sky

Leicester’s Gazelle are back with their new single ‘Lady Blue Sky’. Produced by Matt Cotterill, it marks the run towards their hometown gig at the OMC.

Image & artwork courtesy of the band

Post-lockdown, Gazelle have been in a transformative mood sonically. The early bombast of ‘Finger On The Trigger’ and ‘Have You Found Forever Now?’ has matured, still loitering with intent but now shrouded in nodes of Motown, northern soul, Johnny Marr licks, and flashes of Noel Gallagher’s HFB melancholic songwriting.  On ‘Lady Blue Sky’ they’ve added psyche to their ever-growing repertoire.

The playful trips of Weller’s ‘Sonic Kicks’ hook up with the atmospheric grooves of Kasabian’s first three albums and the muscular immediacy of The Rifles. Stealing the show of this instant classic though is the array of backing vocals.

Drummer Danny Wright’s “ba ba ba’s” set the groove running before frontman Ryan Dunn calls upon Serge Pizzorno’s understated soaring melodies to take the band to another level. It is though, Dunn’s higher pitch backing vocal in the closing stages which take this single from good to great. Blessed with the mesmeric soul power of Noel’s ‘Black Star Dancing’. The only thing that could take it higher would be the dearly departed Denise Johnson.

If 2022’s run of singles wasn’t firm enough proof, ‘Lady Blue Sky’ is the confirmation that Gazelle are the real Deal!

Click the image below for tickets to their headline outdoor gig in Leicester:

The Utopiates: 100 Club, London

A week ago, The Utopiates played the final leg of their UK tour at London’s iconic 100 Club. Fresh from the critical acclaim of their debut album ‘The Sun Also Rises’, could they cement their place in the hearts and minds of the packed London crowd.

Images courtesy of Elena Torrano

Last October they headlined This Feeling’s ‘Test Transmission’ night with The Velvet Hands, Holy Youth Movement’, and The Facades. It marked the departure of a band in its infancy to one of main stage ready. A headliner had been born.

The months since have witnessed an array of fine singles championed by Steve Lamacq and John Kennedy. All that they needed now was, the people. Neither failed to disappoint at the 100 Club.

Josh Redding’s psychedelic intro to the set was nothing short of breathtaking. Regaling in the warped magic of Hendrix, his icy cold veins remained unmoved by the occasion whilst a sense of greatness became tangible all around him. The plucky upstarts from Shiiine On’s Summer party in 2021 were now in full Darth Vader mode announcing, “now I am the master”.

The Utopiates, like The Charlatans, Primal Scream, or The Stone Roses before them are a band of brothers. At any point, one of them can step into the limelight to prove their worth and, on ‘Making History’ they demonstrate this collective power. Luke Nottingham’s killer bassline signals to the audience to get moving whilst frontman Dan Popplewell brings punks fire to his message of now or never. Together they create a welcoming defiance that is made undeniable by Ed Godshaw’s Rob Collins-esque keys and the effortlessly fluid Joe Jeffreys. The funk and punk is all blown sky high once Redding steps forward with his ecstatic release of Hendrix via Squire and Prince guitars.  

Despite Redding’s prowess, The Utopiates are not just another guitar for the landfill. On ‘Illumanise’, they blend the 00s nu-rave scene with the early 90s baggy scene for a moment of groove-laden joy. Then, they do something truly special on the latest single ‘Ups and Downs’. Sounding like a rave classic from the early 90s, they set fire to the crowd who in turn scorch the 100 Club in pure hedonism. Popplewell strutted in unison with the crowd as Godshaw’s classic piano looped as per the single but, in the closing moments, a glorious descent into the post-apocalyptic world of Primal Scream’s ‘XTRMNTR’ emerged. It married so well with the darker moments of the set and pointed to an intoxicating future.

The Utopiates, like all great bands are desperate. For your attention, love, and ultimately, to survive as a creative gang. On this showing, they are on the precipice of having everything they have ever dreamed of.

You can buy their debut album ‘The Sun also Rises’ here https://merch.theutopiates.com/products/the-sun-also-rises-album-pre-sale

Colour TV – Vanilla

Cornwall’s Colour TV are back once more with their new single ‘Vanilla’. It follows the roaring success of ‘Christopher Halo’ back in February.

Last time out on ‘Christopher’s Halo’, Colour TV shifted away from the Britpop revivalist tag with their gothic Cure meets 00s indie-punk anthem. On ‘Vanilla’, they return to the early to mid-90s for inspiration but crucially, with the objective of smashing that era with a Peter Gibbons fury and reimagining it for today’s fragmented world.

Image & artwork courtesy of the band and This Feeling

The harder edges of ‘Vanilla’ shroud ‘Metal Mickey’ with snarling blasts of Nirvana and Sonic Youth alongside the deranged punk-psyche of Cabbage did so well in their early days. Consequentially, it conjures a drama drenched in flamboyance, narcissism, and angst that is intoxicating.

Frontman Sam Durbeen bursts with post-punk yelps and vicious snarls which blend ‘Change Giver’ era Rick Witter with Brett Anderson’s more chaotic moments (the verses of ‘Moving’ / ‘Animal Nitrate’) to counter the visceral sonic. His charm peaks with the acerbic Morrissey-esque lyric of the year:

“Still I like it when you hit me on holiday in Whitby”

As the protagonist attempts to free themselves from repression, a world of self-doubt opens up. It’s met head-on with a visceral intent to beat it into submission. Self-doubt, angst, and isolation has never sounded so great!

Durneen’s playfulness brings an Englishness to the band’s newfound grunge slant. It hasn’t reinvented the wheel but it’s undoubtedly flipped it. Whereas the likes of Sleeper, The Auteurs, and  Echobelly deftly manouvered the US scene into their UK satellite town vision in 1993/94, Colour TV is forging both scenes’ peaks in blood and guts.

Narcissistic. Ecstatic. Great!

Click the image below for tickets. On sale at 10am 2nd June

Shackites - Jekyll and Hyde

Shackites follow up the acclaimed ‘Said And Done’ with the new single ‘Jekyll and Hyde’. It was recorded at The Lounge Recording Studio and produced by Gareth Nuttall.

Having only begun life as a band in 2021, Shackites could be forgiven for still finding their sound only 4 singles in. ‘Losing My Mind’ and ‘Vintage Crewneck’ fell into this category, a litany of influences forging promise but never a truer identity. On the previous single ‘Said and Done’ however, they found a path of increased intensity which suited their ambition. The same is also true of ‘Jekyll and Hyde’!

Key to the success of both singles is Daniel Murphy’s bass playing. On ‘Jekyll and Hyde’ he has found a volatile way of playing which develops the mood swings of the protagonist expertly. Murphy’s urgency provides a fine platform for frontman Matthew Jervis to deliver his best vocal to date.

Lyrically there are no surprises as the capricious protagonist threatens to unravel at the seams throughout. Jervis lights this element up exquisitely with his fragile beginning unfurling head-on toward the unhinged “run away, run away” at the climax.

Shackites growth into a more visceral outfit continues to provide a crunching but delicate form of escapism. The kind that entices fists aloft and tears at mainstages. Long may it continue!

The Shed Project - Our Fear Is There Power

Bolton outfit The Shed Project have returned with their new single ‘Our Fear Is There Power’. Relesaed on Friday 26th May (One Love Records), it was produced by Danny Heyes and recorded Ivy Studio.

The debut album witnessed the band in an open mood as they told tales from their lives. Tinged with nostalgia, they traipsed their lysergic past from the North West to Amsterdam. On ‘If You’re Getting Busy (You’re Getting Better)’ they began to merge their diary-style storytelling with broader messages about tackling mental health. This new style of tying together the uber-personal with the universal continues on ‘Fear The Power’ as they manifest their angst about the government and press alongside a clarion call.  

Image and artwork courtesy of the band.

While the tempo may have dipped, this is their hardest sound. Like a caged tiger, they prowl with a visceral intent directed at the 6 toed pony fuckers running and ruining this country and the press that enables them.

Polemic is not something naturally associated with the rock ‘n’ roll of the North West but it’s always loitered in the hearts of Ian Brown and Noel Gallagher. Roy Fletcher’s success here proves the icons could have been more overt in with their lyrics. His line in the sand is met with haunting licks and a bassline desperate to break its leash. Together, they spiral with the baggy ease of The Charlatans towards the eruption of psychedelic guitars. It’s far less a solo and more a howling of hatred and despair wrenched from the gut. A fitting tonic to a week that witnessed more evidence of Johnson’s contempt for us all.

Trippy and tribal, The Shed Project continues to expand their sound on this offering. Rock ‘n’ roll, for so long has been about youth culture. What The Shed Project have proven is, it should be about rebel culture. Their true outsider status proves the future is always unwritten!

Rosellas - Somewhere Inbetween

Manchester’s Rosellas have released their new EP ‘Somewhere Inbetween’ via This Feeling Records. The EP was written by the whole band and produced by Oliver Shillito. Image and artwork courtesy of Fear PR>

Former singles ‘Switch Off’ and ‘Hideaway’ catapulted Rosellas to the front of the pack of The UK’s band scene in recent months. Their smooth rock ‘n’ roll pre-pandemic began to spark with a directness that didn’t demand attention, it took it. On ‘Switch Off’, they bridge that older sound to their new fire with an effortless that leaves no one behind. Frontman Drew Selby slots into a vocal groove honed on the likes of ‘Slowdance’ and ‘Common Ground’ but, now a brash, desperate sense of purpose looms lyrically and sonically.

This compulsion is doubled down on ‘Hideaway’. Selby’s vocal more urgent, willing to fray at the edges is partnered with the more celestial moments of The Verve’s classic ‘A Northern Soul’. With Shillito at the helm, they’ve found a space to sprinkle the psychedelic nuggets of the Byrds and Shack alongside their newfound sprawling power.

‘Bare Your Soul’ and the new single ‘Come Alive’ tread similar paths structurally, culminating in Selby’s sublime guitar parts. The former unites the more immediate moments of ‘The Second Coming’ with the melodic supremacy of ‘Urban Hymns.’ As Selby decrees “so come on, speak it easy” images of Haigh Hall, Knebworth, and Heaton Park glint in the eye. Ollie Appleby’s basslines create a tumultuous fog that allows Euan Mail and Selby’s guitars to emerge in a visceral blaze of glory.

The EP closes out with a glimpse of what is yet to come from this fine band. ‘Thunderstorming’ goes beyond the immediacy of teenage kicks and explores the world of Oasis b-side ‘Shout It Out Loud’ with hints of Neil Young’s ‘Cortez The Killer’. It witnesses the band moving into MOJO's front cover territory.

The Rosellas have begun a new chapter on this EP. Their inclination to reflect thoughtfully is now dancing with the kind of rock ‘n’ roll that the UK yearns for on big stages. It’s only a matter of time.

Senses - Little Pictures Without Sound

Coventry’s Senses have released their debut album ‘Little Pictures Without Sound’ via 42s Records. It was written by the whole band and recorded at Magic Garden Studio in Wolverhampton and produced by Gavin Monaghan (MOSES / The Twang / The Blinders).

Image & artwork courtesy of 42s Records.

Where many fail to blend their identity with their heroes Senses succeed with grace and ease. At several turns ‘Little Pictures Without Sound’ pushes the boundaries of what we know about BRMC, The Music, and New Order.

‘With Us / Against Us’ is a revolving door of Bernard Summer beauty and the beguiling leather-clad US rockers. Delicate Mary Chain riffs unite with frontman Brian Callan’s Barney-esque vocals. It is, however, his ability to strive, to reach beyond the usual that reels you in. Callan’s sense of exploration is blessed with defiance that few wouldn’t stand alongside to defend.

Former single ‘Harder Now (For Love)’ throbs with BRMC’s leather-clad rebel status. 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.

‘It Comes From Within’ and opener ‘Drifting’ however, turns to the recently reformed Leeds icons The Music. The howling guitars tap into the emotive power of ‘The Walls Get Smaller’ and the dramatic build of ‘Too High’. Meanwhile, Callan looks to his Coventry pal Reid Currie (The Institutes) for an ethereal vocal delivery from the heavens. As the tension builds a now-or-never narrative emerges through the guitar solo like a well-executed dramatic montage. ‘Drifting’ is a far more welcoming embrace with its shimmering guitars, ‘Bittersweet Symphony’ meets ‘Fight The Feeling’ production, and Ian Finnegan’s euphoric stomp on drums. Callan and Kevin Kannagh’s guitars impose themselves with the cinematic brilliance of Adam Nutter and fragile beauty of DMAs to create one of the finest album openers of the century.

On ‘Let Me In’ and ‘All Things Happen For A Reason’, Senses search for yet more meaningful connections with atmospheric down-tempo. The former lacks a point difference that makes the rest of the album so great. Whereas ‘All Things Happen For A Reason’ begins humbly low-key celestial guitars and before breaking free of its chains to become a bombastic Kasabian meets Soundtracks of our Lives number!

‘Little Pictures Without Sound’ is an album by dreamers for dreamers. Even in its most lo-fi moments it’s touched by the hands of fantasy. It breeds a vision of a better life at every turn.  

The Kairos - Price On Peace’ (P.O.P.)

Liverpool outfit The Kairos follow the critical acclaim of  ‘Thick Of It’ with their new single ‘Price On Peace’ (P.O.P). It is the second single to be taken from their upcoming EP ‘Better Late Than Never’ due out on 19th May. Image courtesy of The Songbird HQ.

Where the ‘Thick of It’ had more prolonged grooves before erupting, ‘P.O.P’ struts with jagged licks looking for a fight from the off. When it’s let off its leash, a feral display 60s r’n’b akin to their former peers The Shakes and The View explode into life.

There’s a playfulness to ‘P.O.P’ which refuses to allow The Kairos to be pigeonholed. Whether it’s adding aggression to the guitars of ‘Come Together’ or McCartney’s ‘Live and Let Die’ stomp emerging from the chorus, The Kairos keep cutting and pasting the hooks. It lends itself a playfulness only Spangled can match in today’s world.

On this showing, ‘Better Late Than Never’ is becoming one of the most anticipated Ep’s of 2023.

Click the image below for tickets to their hometown gig:

Sircacuse - Saviour

Cheltenham-based Siracuse have returned after three years to release their new single ‘Saviour’ via Vibrant Sky Records. In 2020, they forged life-long devotion on the underground circuit with their volatile debut album ‘Forever’. Can ’Saviour’ stack up to its power?

Where ‘Forever’ was hell-bent on destruction, ‘Saviour’ is on the precipice of the looking glass but not yet through it. A vastness worthy of Soundtracks Of Our Lives has infiltrated their penchant for psychedelia and created a joyous realm to reside in.

Image and artwork courtesy of Lloyd Jefferies

Frontman Ben Zakotti’s vocal taps into the solo era vocal of Liam Gallagher. Searching for that great melodic hook to bind us once more. Tinged with attitude and love equally alongside the looping guitars also brings the early indie meanderings of Tim Burgess into view.

Two minutes in, ‘Saviour’ could blissfully fade out to be a fine single. Siracuse however have other ambitions. The trip they’ve sauntered on hits the release valve with ecstatic results. Spiralling guitars chime alongside their cinematic vision. The groove of Charlatan’s ‘Then’ is given the lysergic beauty of John Squire to move Siracuse from also-rans to title contenders.

With DMA’s cementing their place at the top of the UK’s beloved bands, 2023 could be the moment others break through as a new generation discover the joys of freeing rock ‘n’ roll music. Siracuse could and should be making their way to the hearts and minds of young and old record collectors alike on this showing.

Marseille – Freedom EP

Derby’s Marseille made huge inroads into the hearts and minds of British music lovers on their recent sold-out tour. To cap it all off, they release their debut EP on the 5th May. Banner image courtesy of Paul Dixon.

Artwork courtesy of Mr. Shaw

The title track ‘Freedom’ is lit up by drummer Tom Spray’s drumming. What begins as a glorious nod to Tony McCaroll’s spiky drumming cascades into something far more flamboyant that Reni would rejoice in. It allows frontman Will Brown to slide into the limelight with his angelic rock ‘n’ roll star vocal. Brown gives the record a soaring sense of destiny but, through his beauty and fragility, lets the masses into the world of Marseille, which is becoming untouchable talent-wise.

On the latest single ‘Thinker’, the love of Oasis turns to Noel’s ‘Masterplan’. Rock ‘n’ roll isn’t here to reinvent the wheel, it is, however, a great tool to reignite old flames as Oasis did so well with Slade and T-Rex on ‘Definitely Maybe’. Blessed with sumptuous guitars and big key changes, they tap into Gallagher’s penchant to unite big crowds with even bigger universal sonic.

Former single ‘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 with harmonies enhancing what was, already a rich sound. 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 which breed hope and togetherness.

EP closer ‘Lost and Found’ finds a sweet spot between DMAs and Oasis. It allows for their sun-kissed instincts to connect with the raw pop-rock power of ‘What’s The Story…’. Lennon Hall’s power chords give this an urgent, almost desperate quality that Owen Morris’ reckless soul would surely smile through studio glass at. Hall’s rhythm is met by Labrum’s innate ability to stand on the shoulders of guitar giants. As carefree as The View’s debut he unleashes a sprawling melody that Lee Mavers and John Squires will marvel at.  

Indebted too much to the past? Possibly. There is so much joy and emotion emanating from this EP it’s near impossible not to be enamoured with it. Always pastiche, never parody, Marseille can fly the flag of their heroes with pride.

The Utopiates - The Sun Also Rises

London-based outfit The Utopiates are set to release their debut album ‘The Sun Also Rises’ on the 5th May via V2 Records.

Image and artwork courtesy of V2 Records.

Over recent years, the band’s live shows have been mesmeric, but their desire really grabbed audiences’ attention. A sheer will to succeed was omnipresent, a sense that their time is now was always at the forefront of everything.

Where many bands fail to translate their live power in the studio The Utopiates have succeeded on  ‘Seekers’, ‘Making History’, and ‘It’s Coming For You’ as the band serves up their destiny with serious mass appeal. ‘Seekers’ spirals heavenly with the vastness of ‘Second Coming’ but the anticipation generated is all firmly 1989’s. The military-esque drums and melodic keys create the sense of “coming up” that the album rarely pivots far from. Lead guitarist Josh Redding’s Hendrix and Squire licks forge breathtaking sunsets that unite the classes of ’88, ’92, and the current DMAs generation can unite behind. Political change may loiter in 2024, but culturally, The Utopiates are defining the epoch shift right here, right now!

In recent years, rock ‘n’ roll has fallen by the wayside. Plenty of promise, but a failure to deliver a generation-unifying album. The fashion, the sound, and the polemic felt too indebted to yesteryear. The Utopiates’ however, have found the path which links the broad brushstrokes of New Order’s ‘love’ and Oasis’ swagger with defiant punk and coming-of-age lyrics. Bullish and oozing togetherness and unwavering confidence, ‘Making History’ binds the bucket hats and Doc Martens types with their Oasis-tinged rhetoric:

“One day you’ll see, yeah they’ll look at me, I’m not up here making tunes, I’m making history!”

Ed Godshaw’s keys look to the Inspiral Carpets’ ‘Life’ and Black Grape’s debut, Redding has the showmanship of Prince, whilst Popplewell’s vocal nods to Dave Gahan. Collectively, the destiny they illuminate feels ginormous, but always within their grasp. Meanwhile, on ‘It’s Coming For You’, the hedonism of the Roses’ ‘Tightrope’, ‘Tears’, and ‘How Do You Sleep’ is taken into the mire by Popplewell’s steel and Redding’s heavy guitars. They encapsulate their struggle to escape the lives most of us lead and hate. As Redding’s guitars take flight, Cream’s ‘Disraeli Gears’ dances into view- but with the financial and social burden of the 20s hanging around its neck, rather than the hallucinogenic freedom of the 60s.

Most fledgling bands wear their influences on their sleeves; The Utopiates wear them on a trip. ‘Sick Love’ slips into the post-MDMA rush, with its free-flowing easy-riding soul of Morcheeba and Richard Hawley and Duane Eddy guitars. Whereas ‘Ups and Downs’ takes you right to the heart of a rush, with its nod to Asha JJ’s ‘Tribute’. It’s the acid house-infused anthem Serge Pizzorno has dreamt of making for a decade. ‘Midas Touch’ delves gloriously into the wonk of Happy Mondays’ ‘Wrote For Luck’ on a comedown. Spaced out and expansive, they conjure a blissful sonic for eyes to roll back to.

The album culminates in two places. ‘Only Human’ and ‘Best and Worst Days’, both former singles, light up an already fine album for very different reasons. ‘Only Human’ is the stop-everything moment! Like ‘Live Forever’, ‘Last Night’, and ‘Lay Down’, it pulls from the greats and spits out something new for the world to clutch to its hearts. Depeche Mode’s darkness; Marr’s expressiveness; EMF’s soul; New Fast Automatic Daffodils groove and Prince’s star power are forged into something near perfect, as The Utopiates propel themselves towards greatness.

‘Best and Worst Days’ is a different animal. More universal and polished, it’s classic songwriting that should straddle indie and corporate radio stations alike. 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. Popplewell’s ability to bring influences into his indie-soul vocal continue. He softens his snarl to allow Bernard Sumner and Danny Wilson nodes 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 the latter 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 of its despair and with ecstasy and New Order.

Whether you’re coming of age or finding a new lease on life, The Utopiates are the band to soundtrack it. From ‘Devolution’ to ‘It’s Coming To You’ they clutch onto hope with their fingernails as their sonic tumbles towards the darkness. Like all great bands before them, they find a way to lead the mortals out of their doldrums. During the introspection of ‘The Sun Also Rises’ the fog begins to lift allowing the rhapsodic ‘Ups and Downs’ conjures a moment of unrivalled happiness. The journey to their promised land is completed on the angelic reflective come-down piece ‘Simple Minds’.

Undeterred by Spotify’s influences, they take their time on intros and solos alike. They’ve allowed rock ‘n’ roll to breathe once more. The results are nothing short of a perfect debut album.

‘The Sun Also Rises’ is available for pre-order here: https://merch.theutopiates.com/products/the-sun-also-rises-album-pre-sale. Click the image below for tickets to their upcoming tour:

The Kynd - Timelines

The long-awaited second album from 90s stalwarts The Kynd has finally been released. The album was produced by Brian O'Shaughnessy (Primal Scream/My Bloody Valentine/Denim) at Bark Studios, London, and mastered by legendary engineer Barry Grint (Oasis/REM/The Beatles) at AIR Studios.

The Kynd released their debut album ‘Shakedown’ back in 1999. An unfortunate year for them in many ways. The ebullient spirit of 1995/96 had dissipated. The bands left were either making comedown records or multi-layered masterpieces. Whereas, ‘Shakedown’s merits lay within its mid-90s joy and 60s pastiche which was the centre ground just two years previous. This brief moment where style had substance was swallowed either by plastic pop or toxic masculinity from the US. It simply wasn’t to be.

Undeterred by their previous unfortunate timing, ‘Timelines’ in many ways picks up where ‘Shakedown’ left off. It’s blessed with great mod revival instincts in the former single ‘Whisper & Tones’ and opener ‘Workshy’. The former, resplendent with Mclagan-esque organs and the jagged guitars of The Prisoners are given a melodic polish as the backing vocals give a knowing wink to ‘Sympathy For The Devil’.  ‘Workshy’ however, has a driving relentlessness that breeds a death or glory vigour. Wave upon wave guitars builds a la Len Price 3 with brooding intensity to revel in before they lift everything with a slice of the psyche from The La’s and early Pink Floyd.

On ‘Effervescent’ frontman Paul King pulls from Michael Stipe whilst Danny Tipping’s guitars hazily meander between the Floyd and Beatles. The lysergic licks gently intoxicate the soul to wash away the soul’s ills. The slightly withdrawn and stoned sonic feels like the home turf they should always be playing. Confidence and swagger brood effortlessly throughout.

Similarly on ‘Older’, they lazily sojourn to the looping splendour of Ride’s ‘Vapour Trail’ and the baggy-mod paradise of the early Charlatans albums. It makes them a far superior outfit to be reckoned with. King’s voice is divine, tugging at the heartstrings with a strong sense of nostalgia that carts you back to the summer. The ones that last a lifetime, break hearts and forge friendships you’d die for.

The timing might have been everything the first time around for The Kynd but in 2023 they have proved to be timeless.

DMA’s: Wembley Arena, London

“I find it sad that there’s a whole generation of kids, working-class kids who have got nothing of their own to buy into and they’re projecting all that onto a couple of 50-year-old fellas. Where’s the new Oasis? Where’s that? Where is that, where are those guys?”

(Noel Gallagher taking on Jonathan Ross 2021)

DMA’s. DMA’s are those guys and on Friday night at Wembley Arena, they crossed the threshold from academy venue-filling indie band to generation-defining stars they’ve been threatening to do since 2016’s ‘Hills End’.

The unlikely Australian heroes walk on stage with the intro to ‘How Many Dreams?’ already pulsating through the huge crowd. The electricity in the room is tangible. The sudden realisation that the Sydney trio were about to transcend to immortality.

All bands have die-hard fans. They’ll jump to prove their love no matter what. Front and centre, every gig, they are there. The signifier of a band crossing over to that moment of gigantic glory is when it filters further and further back. As Tommy O’Dell’s angelic vocal decrees “how many dreams?”, the raptures are found a way beyond the sound desk and up in the seats. It’s bedlam. Only England winning knockout football breeds this loved-up debauchery. Togetherness is love, and DMA’s have it in abundance.

The set openers mirror the new album’s tracklisting with ‘Olympia‘ following. Matthew Mason’s rippling guitars send a feverish crowd into utter delirium. Two tracks in and best friends and lovers are hugging in disbelief. Their band was doing it. Their band was the style and the substance! Their band are it!

With every passing track their power grew culminating in previous albums ‘The Glow’ and ‘Silver’. ‘Live Forever’ and ‘Don’t Look Back In Anger’ at some point in British history ceased to be Oasis songs and became folklore handed on to future generations as beacons of hope. ‘The Glow’ and ‘Silver’ are rapidly approaching this territory.

‘The Glow’, with that crowd, became the archetypal two fingers up work and government. This was the people’s moment in the spotlight, and no-one missed their opportunity to rid themselves of the day-today. On the flipside ‘Silver’ felt more like a hymn than an indie-anthem. O’Dell’s presence was barely required as the crowd unified around the tracks uncertain and searching lyrics.

Four albums in, DMA’s power should really be fading. New songs should be becoming piss breaks not set closers. Oasis always failed to integrate the good work of ‘Heathen Chemistry’ onwards into a set alongside the power of ‘Definitely Maybe’ or the hysteria of ‘Morning Glory’. The DMA’s however, albeit to smaller crowds, are marrying the raw power of ‘Timeless’ and ‘Lay Down’ alongside the pop majesty of ‘Olympia’ and ‘Everybody’s Saying Thursday’s The Weekend’ effortlessly.

It was supposed to be Brixton Academy, a venue half the size. Through tragedy and corruption (at Brixton), DMAs were forced to move to Wembley. They rose to the occasion and delivered a gig that will echo down the ages.