Pet Needs

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Reviewed by Andi Bridges

Album released 24th Jan 25

For a band to release an acoustic album as their fourth offering is either very brave or tremendously foolish. Having reviewed their sophomore release for this esteemed website back in 2022. I remarked at the time “that there was much to admire here and album number three should be a corker”. I must admit their third effort passed me by. 

So why go with an acoustic album now? 

Pet Needs frontman Johnny Marriott says: “We wanted to create something warm, raw and organic. Something acoustic. Something that felt like the most true take as opposed to the most perfect. Presenting the songs in this way has given them space to breathe. We've never recorded like this before. Mike West was amazing at the helm, guiding us through playing by feeling and having a conversation with our instruments as opposed to just hammering the tunes out. We've chosen what we thought would be best presented as acoustic songs and together have created something we're really proud of.” What you get is 12 songs, four from each release and as you would expect, consisting of reworked singles, fan favourites and band picks. 

Outline kicks things off, just as it did on the debut album. Johnny still, at times, sounding like the Toy Dolls frontman, spits lyrics, almost hip-hop style over plucked acoustic guitar (which works really well) and melodic bass riff. Drums come in and the snare drum has a lovely warm sound. Short and sweet, blink and you’ll miss it. 

Another debut album track follows, Scratchcard, this is a rollocking tune in this format, it rumbles along in a folk punk way with what sounds like a banjo taking the lead. The same can be said of, Lost Again I saw them perform Ibiza In Winter, along with most of these songs, at Beautiful Days festival last August. Live the songs are a frenetic whirlwind but in this format there is more attention to detail, especially true of this cut, in this arrangement.

For tunes from the last album, Fingernails, The Burning Building, Self-Restraint and my personal favourite, The Age That You Were are strong songs, and the frontman is starting to sound like himself. There are indie bands out there who would have loved to have written these songs in this set-up, and Pet Needs are re-recording them just months after the originals came out. 

Elsewhere, Get On The Roof, motors along, propelled by bass and drums. It’s very pop-punk, and is very close to the original source material, despite being and acoustic rendition. Punk Isn’t Dead, not on any album but on their debut EP. This is as catchy as a cold on a crowded train. Gang vocals lead into the chorus, Punk isn’t dead, it’s just up for sale. And whisper it, is that an electric guitar solo outro? Fear For The Whole Damn World, gets the piano treatment and is lent an air of pathos which isn’t as obvious in the original.

So is Johnny right? 

Yes, I think he is on the evidence presented here the songs do seem to be alive and breathing. The album is released on the 24th January and as you would expect, the band head out on a short tour starting on the 25th in support of the release.

Sonic PR

Reviewed by James Fortune-Clubb

Album released 24th Jan 25

'Essex, Drugs & Rock N Roll' - is the new album out this week from rock trio Bilk, hailing (as the album title might suggest) from Chelmsford in Essex.

This is Bilk's second album following eponymous debut in 2023 which does and sounds pretty much what it says on the tin. Thirteen songs this time out, subject matter all pretty much encompassed by that listed in the album title.

Despite hailing more or less from the hinterland of Blur's Essex - there's far more evidence of erstwhile britpop rivals Oasis in a number of Bilk songs here. Serendipitous timing perhaps considering the allegedly biblical comeback of Oasis unfolding later this year.

The songs are mostly short and snappy, there's humour in the lyrics, but we're not talking Pulp or early Artic Monkeys level humour - still it's a good attempt.

As well as the Oasis influence, I can also hear The Kooks in and amongst (quite possibly not what Bilk were aiming for?) So, whilst 'Essex, Drugs & Rock N Roll' chugs along inoffensively throughout, it's well enough played and sung, but there's sadly little here to excite and ultimately it's rather two dimensional and derivative.

I suspect Bilk and their new collection of songs would fare better and be a lot more fun in a live setting.

Tracklisting for 'Essex Drugs & Rock N Roll':

 1. RnR

 2. Slag

 3. On It

 4. Summer Days

 5. Go

 6. Skidmark

 7. F Up

 8. Very Nice Life

 9. Tommy

10.⁠ ⁠Beatriz

11.⁠ ⁠This Room Is Caving In On  Me

12.⁠ ⁠Turning Pages

13.⁠ ⁠Band Life Blues

Out this week on Scruff of the Neck Records and if you're quick, it's available online on nice florid red vinyl.

Fear PR

Reviewed by Stuart Clarkson

Album released 24th Jan 25

Τhe North London duo Blue Violet release their second album following on from 2022’s Late Night Calls. The beautifully crafted introspection and ethereal qualities displayed on their debut have now embraced a harder electro sound reminiscent of Goldfrapp in places and showcase their newly found love of synths.

The metamorphosis really suits the band and singer Sarah McGrigor’s voice which was always a thing of great beauty has now acquired a confident sassy quality which compliments the dreamy lush vocals she previously exhibited.

Opener Sweet Success sets the mood perfectly, a catchy slice of electronica that would provide a fitting accompaniment to a Milan catwalk show. The song describes the never ending search for achievement in a commercial cut throat world.

Imagine Me is a deliciously sensuous slice of dark electro rock which exudes decadence in its description of a clandestine hotel encounter which ends prematurely.

A solitary drum introduction to Talking to You evokes memories of Ultravox’s Vienna and is one of several nods to 80’s dark electronica on display.

The glam inspired chorus on the album’s first single Boogie Shoes provides a real highlight.

Teeth Out is a lush ballad which harks back to their love of Americana and the duo slip back  effortlessly into this style. Barefoot On The Seine is a song which appears to be revisiting their first album territory although a gritty rock chorus blows away any such notion and adds a new dimension.

The band are fresh from an extensive UK tour in support of Echobelly and it would be remiss of me not to mention that they recently shared the stage with The Gaslight Anthem at the Camden Roundhouse. The duet on Here’s Looking At You Kid was made all the more poignant by the fact that there’s a 7 year old recording on You Tube of the band in a previous incarnation covering the song.

Sometimes it must be great to meet your heroes.

Overall I enjoyed the band’s new direction which adds a grittier edge to their sound whilst retaining everything that made them instantly likeable previously. The guitars and synths gel together aided by the fine production on display. The vocals are a joy throughout and the duo are proven live performers. 

I look forward to following their continued progress.