Megan Wyn – You Don’t Get It

Anglesey sensation Megan Wyn follows up her weekend stealing set at Truck Festival with the new single ‘You Don’t Get It’. Released today, it was written with and produced by Alex Quinn.

Images courtesy of Sam Crowston

‘You Don’t Get It’ charts Wyn’s journey from her hometown to the big lights of Manchester. Her opening gambit “City is lonely, it’s not what it seems” is tinged with the trepidation and isolation a big move comes with. Despite being just 18, she has the vocal skill to plunge the listener into a state of anxiety immediately.

Sam Fender and Andrew Cushin have been writing melancholic but euphoric singles in recent years. Wyn is threatening to eclipse them on this ode to herself that it’s ok to fall on a journey of self-discovery. The country-tinged guitars, PJ Harvey meets First Aid Kit vocal, and Quinn’s subtle production are set to become millions of teenagers' soundtracks through life’s biggest obstacles.

The self-doubt and subsequent reassurance of the chorus are beset with a tumbling melody that demands instant classic status. Each verse acts as a coming-of-age drama worthy of This Life, Skins, and Sex Education.

To possess such reflective wisdom at a young age is rare. To echo all the anguish, fear, and self-belief to overcome into a record is nothing short of astonishing, and so is Wyn!

Click the image below for tickets to Wyn’s Manchester show:

The Facades: This Feeling Stage, Truck Festival

Wigan outfit The Facades played a blustery Saturday afternoon on the This Feeling Stage at Truck Festival recently and we were there to check them out.

The beguiling single ‘That Letter’ kicked things off. The bewitching basslines of The Coral and Dead 60s set the platform for frontwoman Alannah and lead guitarist Evan to shine. A trait that echoes resoundingly through the set.

This was no more evident than on unreleased tracks ‘Silence’, ‘These Days’, ‘Muse’, and ‘Tell Me’ where they reignited Stevie Knicks and Lindsay Buckingham’s spellbinding partnership. Alannah’s vocals ranged from haunting to mesmeric and were always beset with great melody. She has a power that could fill stadiums, but she has something far greater in her armory. The knowledge of when to pull back, to soften, almost whisper to allow the drama and romance of the occasion to percolate is way beyond her years and startling to watch.

Evan’s guitar playing mirrors this wisdom. On ‘Beautiful’, his lines sauntered across horizons with the lightest of touches. On ‘Beautiful’, he races alongside the vocal feverishly pushing for the release that comes only in the final moments.

Their intuitive relationship on stage was a joy to behold. It brought back a strand of rock classicism that had seemingly been resigned to BBC4 documentaries and Mojo magazine features. Through the howling winds and driving rain, The Facades reimagined those halcyon songwriting days of the late 60s and 70s for 2023! 

Deadletter: The Market Stage, Truck Festival

Oh when there's no future
 How can there be sin
 We're the flowers
 In the dustbin
 We're the poison
 In your human machine
 We're the future
 Your future

 London’s Deadletter played the Market Stage of Truck Festival as part of So Young Magazine’s line-up and we were there to check them out.

Atrocious weather dominated proceedings on Saturday. Fields became quagmires, tent entrances like waterfalls, and knee-deep puddles at the urinals were not enough to dampen the spirit of Deadletter or their huge crowd. Their brand of funked-up post-punk psyche blasted out of the traps with ‘The Snitching Hour’. The ‘Pretty Green’-esque bassline and Ian Dury ramshackle party sonic took the good work of Warmduscher in 2022 to another level. The joyous sax coupled with Zac Lawrence’s irrepressible energy had a sodden tent grooving.

Poppy Richler’s sax style lent the set a unique insight into just how fucked the UK is. In the bleaker moments, she lit up the dysfunctional incompetence of the Tories and, on ‘Madge’s Declaration’ and ‘Binge’, she tapped into the audacity of this generation to have a good time in spite of no future.

‘Degenerate Inanimate’ combined the chaotic carnival of The Happy Mondays peak (‘Bummed’) with Lawrence’s poetic mesh of Carl Barat, Alan Donohoe (The Rakes), and Ian Curtis vocal. Together, they created something that went beyond the outsider tag of post-punk. Visions of sun-drenched technicolour main stages emerged. Diehards at the front hanging off every spoken word and families dancing at the back to the jubilant ‘oh ohhhhs’. Not since Pulp, Suede, and Sleeper stormed the charts have misfits produced alternative art this all-encompassing.

As they decree “there’s something in the air, there's a storm coming” only one thought lingers, Deadletter. Their time is coming, sooner rather than later preferably.

LOCK-IN: This Feeling Stage, Truck Festival

The Essex via London band of brothers continued their meteoric rise recently with a headline set on the This Feeling Stage at Truck Festival.

In frontman Benjy Leak, Lock-In don’t only have Essex’ alternative scene answer to John Travolta, they have one of indie’s good guys! From the campsite to backstage, to the front barrier of stages, Leak is there, affable, hungry for success but always supporting others.

It’s presumably this which pulls in the crowd which is 10 deep out of the tent which erupts into feverish dancing at every opportunity. ‘Vandross’ is snapped out with a punkier sonic than on record, a trait that rings true throughout. ‘Get Over It’, the finest homage to the mid-00s ever written is played harder and faster for the most part, only dropping the tempo to allow Leak to impart his heartfelt romantic anguish.

With their raw passion threatening to spill over, they temper the fire with the groove-laden ‘Do You Like Good Music?’ which is succeeded by their mashup section of Modjo’s ‘Lady’, Stardust’s ‘Music Sounds Better With You’, and Jamiroquai’s ‘Space Cowboy’.

Across the weekend, there are acts with great songs but, no emotional presence, no fire! Lock-In however have a raging inner desire and they can make good indie songs a great moment on stage. Stage décor, vocal nuance, and fashion give the audience everything possible and the audience reciprocated.

The Velvet Hands: This Feeling Stage, Truck Festival

Cornish outfit The Velvet Hands have been lighting up stages all year promoting their fine new album ‘Sucker Punch’ as well as supporting The Rifles and Trampolene. The hard graft resulted in a headline slot for This Feeling at Truck Festival.  

The latest single ‘Emotion’ has clearly gained traction as the packed tent came alive to their decadent basslines and playful take on The Strokes. As had former single ‘Telephone Love’ took themes of excess to the mayhem of The Hives and guitar majesty of The Ramones.

Images courtesy of Alan Wells.

With every song they play, the crowd becomes more intoxicated with the songwriting duo of Toby Mitchell and Dan Able. Mitchell’s anarchic persona and powerhouse vocal intertwined with Able’s CBGB’s coolness to produce back-and-forth vocal magic not seen since Pete and Carl.

Closing out the set is their classic ‘The Party’s Over’. A slacker anthem worthy of bringing the curtain down on any set on any stage. It made the halcyon sunset of the Oxford skies feel like a beer garden with the world’s greatest jukebox blaring. The crowd swayed, staggered, and drank its way to heaven with the Cornish gang greeting them leather-clad at the gates.

The Velvet Hands were and are the real deal. Their party is just getting started!

Pynch: The Market Stage, Truck Festival

Opening the Market Stage early at 11:30 to a very damp Truck Festival were London four-piece Pynch. Having released their debut album ‘Howling At Concrete Moon’ via Chillburn Records back in April, Pynch were looking to kickstart So Young magazines hosting with a bang.

Their set was awash with motoric styles. From Kraftwerk to Jonathan Richman, their tales of being left behind in the modern world eased a sodden crowd into Saturday’s bleak skies. ‘Karaoke’ twisted and turned effortlessly, withstanding its lyrical isolation. They trod a similar path on the anti-greed polemic of ‘London’. Harsher synths and lyrics of despair combined with the pop instincts of Golden Silvers on this satirical reflection of modern city life.

Perhaps the weekend's crowning moment came via their set closer ‘Somebody Else’. Dan Le Sac vs Scroobious Pip beats injected vibrancy and technicolour into their motoric guitars which set about a groove in the huge tent. It was though, through Spencer Enock’s lyrics and guitars that the magic took place.  For so long, an unwritten social contract was present for younger generations. Toil and struggle early on, reap the rewards later. In recent times, no such carrot has been dangled. In fact, a closed sign is almost permanently on display. Mortgages, record deals, travelling, you name it, the boomers had it and took it back. Pynch, like no other, got this across via their melancholic poetry this past Saturday. No matter how hard you try or even succeed, life is just about survival at present (“'Cause this is not what I'm supposed to do / And no one cares where I went to school / It doesn't matter how you get paid / As long as you can make it through the days”). Yet, the Market Stage filled up, it danced, it through fists aloft. It was a tear-inducing moment. The sheer defiance of it all. To be kicked when you when you’re down and still find beauty in the world, in people, and in music, generated enough energy to solve any crisis.

Pynch professed “I wanna die doing what I love / I wanna feel like I'm doing enough” last Saturday. They needn’t worry, they have and they will. A genuine triumphant of the human spirit!

Bag Of Cans: This Feeling Stage, Truck Festival

Norwich five-piece Bag of Cans strode on stage a cornflake, a patient, a sailor, another sailor, and a drummer. What followed next was nothing short of brilliantly bizarre. Images courtesy of Alan Wells.

Images courtesy of Alan Wells.

Not since Les Incompetents threw themselves around the 100 Club in 2006 with such comical recklessness has indie-punk been so engaging. Bag of Cans tapped into the indie-punk licks of Good Shoes on the former single ‘Spin Cycle’. This tale of a spin cycle was coupled with rousing brass and the carefree indie warbling of cult indie outfits Cajun Dance Party and Larrikin Love. Inch by inch, the This Feeling crowd creeps forward with intrigue.

Despite the intent to induce laughter, there were some serious musical chops on display. The harmonies on ‘Milk and More’, a tale of a coked-up milkman making ill-advised advances, sounded like Graham Coxon had joined Super Furry Animals for a Beatles jam.

‘Hostage at the Dinner Table’ brought to life the mayhem of Fred MacPherson and Billy Leeson In those innocent Les Incompetents days. Riotous like the Libertines but, always with a wry sense of humour.

What began as an unexpecting crowd most definitely finished as one of future curiosity. Who was that? What was that? With their debut album already out, thousands will be about to find out more.

The Utopiates: This Feeling Stage, Truck Festival

It’s been quite the year for The Utopiates. A sold-out tour, debut album release, and now headliners of the ‘This Feeling’ stage at Truck Festival. Our paths last crossed at their homecoming show at London’s iconic 100 Club. Would their condensed headline set live up to that famous night?

With the shorter set-in-place, it allowed The Utopiates to mirror the emotional ebb and flow of their debut album ‘The Sun Also Rises’ with greater impact. The immediate uplift generated from Josh Redding’s guitar playing, so often emulating the Greats is now entering a realm of its own. The spirals of Hendrix and Squire on ‘Only Human’ drag the audience into their despairing, yet illuminating world. Redding is beginning to develop a funk and soul swagger to his rock ‘n’ roll on stage, increasing his magnetism to that of the mesmerising frontman, Dan Popplewell.

At the 100 Club, with time on their side, ‘Ups and Downs’ thrilled with its piano loops but descended into an apocalyptic ‘XTRMNTR’ meets Jagz Kooner tear-up. At Truck, it stays it’s in lane but, to no less effect as the rammed tent grooves towards the heavens like it was 1991. Its effortless flow into album closer ‘Simple Minds’ was masterful, the kind that begs for sunsets on mainstages.

Frontman Dan Popplewell’s vocal was on point all night but, at this juncture, went from indie also ran to a magician toying with its artform. His soul power flashed its teeth but, with the essence of the song about drifting off poetically into the sun, he softens his snarl, allowing his vocal to transcend music and become a vocal breeze kissing the cheeks of onlookers.

There is such confidence, such exceptional precision to everything they do now, 2024 simply must see The Utopiates pack out big top tents and open main stages to the more casual music fan. Their melody, intensity, and ability will them over with ease. It’s inevitable.

Vega Rally: This Feeling Stage, Truck Festival

Singer, songwriter, producer, one man band extraordinaire Vega Rally played This Feeling’s stage at Truck Festival last Thursday and we were there to check him out. Images courtesy of Alan Wells.

The sight of one man, a laptop, and a green-striped Adidas guitar seemed to perplex a few initially but, once the booming beats and ‘Waterfall-esque’ guitars of ‘Infinity 93’ chime, his charm and self-belief infect the room. ‘This Moment’ took it to yet another level. The heartfelt melody began to soar across the Oxfordshire skies as Rally really began to cut loose.

To date, part of Rally’s appeal has been his remixes. Pastel’s ‘Deeper Than Holy’ and Marseille’s ‘Jungle’ have added extra dimensions to two of the UK’s hottest prospects. On set closer ‘Feel Alive’, the dynamism and swagger he’s shared with his peers come together for himself via the heart of Wilkinson and subtle nods to the early 90s rave scene.

Click the image below to see Vega Rally headline for this year's Humber Street Sesh:

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!