bedsit
Dead Bands EP - Forever Underdogs
Reviewed by James Fortune-Clubb
EP released 3rd Feb 23
'Dead Bands' is the latest EP from Hull's BEDSIT - their first release since 2020's debut 'Pocket Toy' EP and whilst 'Pocket Toy' was essentially a solo effort from band founder Tom Hockney, this time around it's their first with a full band.
Apparently 'Dead Bands' is all about "chaos and the uncertainty of modern times" in relation to the occasional "glimpse of the magical" - more specifically the title track celebrates live music and it's heritage.
Nothing particularly inspiring there perhaps - but don't be discouraged by the description - 'Dead Bands' is a strong collection of tracks. Whilst there's nothing here hugely original, with echoes of Nirvana, Offspring, early Green Day etc. BEDSIT do what they do extremely well, with a verve and vigour befitting of their ouvre.
What with 'Low Hummer' and the excellent 'bdrmm' - both also from Hull, perhaps 2023 might prove to be a musical renaissance for the city, not perhaps seen since the heady days of 'The Housemartins'.
All power to BEDSIT - here's to future releases and live dates, I look forward to hearing more from them on both fronts.
Links:
rolling stones
GRRR Live! - Mercury Studios
Reviewed by Chris Morley
Album released 10th Feb 23
When your subject is as long-running a rock & roll institution as the Rolling Stones, its tempting to wonder if everything that could possibly be written about them already has been- in true Mick & Keith style, though, they'll keep you coming back. Recorded live (which is, lest we forget, how they cut their teeth all those years ago), they probably knew it would always be a sizeable draw by virtue of already having set out on several such jaunts to much acclaim...
The words greatest hits tour may seem & indeed in some cases actually be rather cliché, but in such capable hands really lives up to the billing- despite some suggesting that Richards has appeared dead for some years now, put a guitar in his hands, crank up an amp & listen to the reason so many of us ached so badly to follow in his footsteps way back when. And indeed why many who got rather further along the journey from bedroom practice to actually pumping out tunes for a living were probably queuing up to appear here, even just to touch the hem of the master's robe as it were.
Among the acolytes to do the honours here are John Mayer, Gary Clark Jr & the Black Keys, which has a certain irony as it was the Stones who in effect sold the blues back to the States during their earliest years in similar thrall- Going Down & Who Do You Love the first collaborative fruits of an evening spent entertained by their satanic majesties now fifty years not out (though how they continue minus Charlie Watts behind the kit remains to be heard, his presence, though by definition more understated than those out in front of him, no less important to the overall brew).
A heady concoction indeed, to the point their basic make-up has become lazy shorthand for half decent & vaguely rocking similar set- ups, Steve Tyler & Joe Perry dealt a bit of a bum hand at least initially for both sort of looking like & sounding similar to you know who in possibly the highest profile case, though its equally hard to picture the likes of Bobby Gillespie in his Primal Scream pomp without being reminded he probably got half his stage moves from Sir Mick's playbook.
By way of consolation anyone looking to get their rocks off will hardly leave disappointed- how could you be where nearly every song lives up to its billing as a hit on some level? An opening hat trick of Get Off My Cloud, The Last Time & Its Only Rock & Roll ( But I Like It) proves quite the appetiser before a rare concession to the late Brian Jones with a suitably droning Paint It Black, Lady Gaga wheeled out for Gimme Shelter as the one merest hint that anyone connected to pop or disco might've caught a whiff of them & been suitably inspired, which feels like something of an oversight given they could bash out such when they probably weren't even trying..though Miss You does at least appear later in the set.
Otherwise its very much selections from the bluesier end of the catalogue, the more uptempo crowd pleasers mostly kept back until the end, probably to raise the mood a little & give Mick an excuse to stretch his legs a bit into the bargain- how he can still do so remains something of a mystery but what potent magic it is when those surprisingly spry limbs let fly.
A closing salvo of Brown Sugar, Sympathy For The Devil, You Can't Always Get What You Want & Jumpin' Jack Flash supplying the cake before Satisfaction kicks in to supply the icing & round off another fine lecture by Professor Richards of the Guitar Institute of Great Britain, who'll probably still be kicking around after the rest of us have long gone!
Tracklist:
CD1
- Get Off Of My Cloud
- The Last Time
- It’s Only Rock ‘n’ Roll (But I Like It)
- Paint It Black
- Gimme Shelter (with Lady Gaga)
- Wild Horses
- Going Down (with John Mayer and Gary Clark Jr)
- Dead Flowers
- Who Do You Love? (with The Black Keys)
- Doom And Gloom
- One More Shot
- Miss You
- Honky Tonk Women
- Band Introductions
CD2
- Before They Make Me Run
- Happy
- Midnight Rambler (with Mick Taylor)
- Start Me Up
- Tumbling Dice (with Bruce Springsteen)
- Brown Sugar
- Sympathy For the Devil
- You Can’t Always Get What You Want
- Jumpin’ Jack Flash
- (I Can’t Get No) Satisfaction
Links:
the velvet hands
Sucker Punch - JamX/Blood Records
Reviewed by Dave Flerin
Album released 3rd Feb 23
Sucker Punch is the sophomore record from Cornish/London(?) indie darlings, The Velvet Hands. With this album it feels like they’ve completed the first full act of their big stab at music biz success.
There are some gems in here, but one does feel that if they love themselves and want to notch it up a level to go for world domination, they need to set themselves free from The Strokes; so unabashed and obvious is their love for them.
Most of the songs on here are guitar-driven tunes built on riffs which could land them in court being sued by Albert Hammond Jnr for copyright infringement; such is the glorious similarity.
There’s lots of musical interest and dynamics throughout this album, and the production has managed to squeeze absolutely everything out of each song. The highlights are undoubtedly Anybody Out There and I Wanna Be There, which set the scene for album closer, Devil’s Tail, which is the longest track here.
The extra length gives it time for The Velvet Hands to explore musically; and a liberal sprinkling of tremelo-laden guitar sets up a nice Robbie Krieger-esque, Doors-y, laid back vibe; which then mutates into a crescendo before the album falls exhausted to the floor. Maybe it’s a pointer to the future?
This record shows everyone they’ve pretty much mastered what they do. It’s polished and capable, but looking forward, people will want more off that third album. It would be nice to see them rip up the rulebook and see what they’re really capable of. Like 99.9% of all music this album is derivative, and they proudly wear their influences on their sleeves.
They’ve given us a good album, but next time we want them to find that extra little bit of magic to lift what they do into the extraordinary, and give us something even their heroes would be envious of.
Links:
george hennessey
If You Can't Find What You're Looking For Please Ask - Massive 92
Reviewed by Martin Murray
Album released 3rd Feb 23
In his press release for his debut album, George Hennessey states he wears his influences on his sleeve. Glam-era Bowie, Nirvana, The Sex Pistols and Oasis mentioned as his main influences.
After listening to the album I can honestly only hear Oasis from this list. The album sounds so much like Oasis that I thought I had been sent the wrong link to listen. I honestly thought it was another Oasis B-Sides compilation. But as their 1998 compilation The Masterplan proved, some of their B-Sides are every bit the equal equal of their singles. Unfortunately nothing here is as good as any of the songs relegated to an Oasis B-Side.
I’m not sure who this album is aimed at and why they would need it when they could just listen to the original Oasis albums. Liam is already doing his best to keep the spirit of Oasis alive with his solo albums, and being remarkably successful too. Hennessey obviously wishes to emulate his idol but his voice is not as strong, or as distinctive as Liam’s. While his songwriting is nowhere near the level of Noel’s. Songs that, like them or loathe them, have become part of the musical landscape. It’s unlikely to imagine any of these songs being sung by a 125,000 people at Knebworth.
Opening track All Or Nothing sounds like it was aiming for Oasis’s Columbia or the waves of guitars on Star Sail that opens The Verve’s A Storm In Heaven album. The song never catches fire though. Inviting more comparisons with the ghosts of Britpop, he even has a track called Changing Man. It’s not a patch on Weller’s song of almost the same name. It’s a meandering mid tempo rocker, that ultimately goes nowhere.
Prisoner begins with lovely descending guitars that have a hint of Strawberry Fields Forever, before huge drums and layers of very loud guitars obliterate it. For most of this album it’s the overblown Be Here Now era of Oasis that he most resembles. Everything is turned up to 11, trying to cover up the lack of a decent chorus to latch onto.
She Left Me A Daydream is one of the few tracks that gives us something a bit different. His voice is reminiscent of Billy Corgan here and it sounds like one of the gentler tracks from Mellon Collie & The Infinite Sadness. But his voice is buried in the mix and the lyrics are barely intelligible.
The next track Purified aims for epic, he would love it to be Champagne Supernova, at nearly 8 minutes though , it just feels very long. Chasing Tomorrow tries to invite more Oasis comparisons, by ending the album in a Married With Children style acoustic knees up.
Hennessey is a decent musician and a very well intentioned songwriter. The lyrics deal with a lot of personal issues he has dealt with over the last couple of his years, that he wrote in a bid to connect to people. But the production on this album swathes everything in such loud guitars and drums that his voice is lost in the mix, masking his lyrics and their intent.
Lacking the knack for hooks and melodies of Noel Gallagher and Paul Weller, none of his songs are memorable enough to make a genuine impact. They only serve to remind me of much better albums, and that I should definitely revisit some of those albums again soon.
Links:
inhaler
Cuts And Bruises
Reviewed by Hannah Claire
Album released 17th Feb 23
Inhaler’s latest release, ‘Cuts and Bruises’, does a lot to prove the Irish band didn’t get struck by second-album syndrome, and are worthy of far more recognition than the ‘nepo-baby’ critics may give them.
2023 is set to be a busy year for the group, with headline shows across the UK, Europe, and the US, as well as opener slots for the likes of Arctic Monkeys and Harry Styles. But where did they come from?
The band was initially formed back in 2012, when Elijah Hewson, Rob Keating, and Ryan McMahon met at school and started doing covers in the classroom. 3 years later, in 2015, guitarist Josh Jenkinson joined the band.
The group's debut album, ‘It Won’t Always Be Like This’ was only released in July 2021, and there are definite similarities between the two albums. However, there is a clear progression with ‘Cuts & Bruises’, as the young group take steps towards finding their sound. The band believe their sophomore album is a lot more ‘them’, putting this down to the fact a lot of work for the album was done on the road, so they were spending time together and were able to explore what they wanted to get out of it.
Track 1, ‘Just To Keep You Satisfied’, has been a long time coming- front man Hewson sent his bandmates the first demo back in late 2020. With strong guitar riffs and reverberated vocals coming together to form a rock-infused track, it’s a solid opener.
Polished single ‘Love Will Get You There’ is next up - it’s one of the more pop-influenced tunes on the album, as is ‘The Things I Do’ but they’re both solid tracks and will certainly please crowds at upcoming shows.
‘So Far So Good’ is when the album first loses its momentum. The track isn’t bad as such, but it’s nothing particularly special. But it turns back around with lead single ‘These Are The Days’- which has strong festival potential, giving off similar energy to tracks on their previous album. It’s an upbeat song, allowing Hewson's vocals to shine through the catchy instrumentals.
Fan favourite ‘Dublin in Ecstasy’ had previously been performed live, giving their audience a taste of what they could expect from the album. It’s easy to understand why the fans have been so eager for the studio version of this song, with powerful lyrics and a sound that builds on earlier tracks.
‘If You’re Gonna Break My Heart, ‘A Perfect Storm’ and ‘Valentine’ all offer a more mellow, laid-back sound, highlighting the versatility of the band. Meanwhile, ‘When I Have Her On My Mind’ is a high-energy track, and could be mistaken for a mid-2010s indie hit- however Inhaler still manage to incorporate their edge.
‘Cuts and Bruises’ closes out with ‘Now You Got Me’. It’s a bit of an underwhelming end to an otherwise impressive second album, lacking the ‘oomph’ of earlier tracks.
All in all, whilst Inhaler don’t yet have a sound as distinctive as iconic acts who’ve come before them, it’s hard to deny that they’re well on their way to carving out their space in the industry. ‘Cuts & Bruises certainly shows that Inahler are here to stay, and they’re only just getting started.
Links:
slow readers club
Knowledge Freedom Power
Reviewed by Chris Morley
Album released 24th Feb 23
Though they continue to be something of a cult secret even after following in the footsteps of several of their Mancunian brethren & spreading their reach beyond the North, on this evidence it won't be long before the Slow Readers Club finally break out entirely.
Knowledge Freedom Power might just be their New Order moment- & not merely by title alone. Hooks aplenty, as with everything they've ever committed to record, but this has a real live energy- like a motivational workout set to music.
If the Hacienda still stood they'd have been welcomed in with open arms, but of course the buzz has been around since Cavalcade & deserves to get bigger, the endearingly DIY nature of their story to date is possibly just one answer to why they've picked up so many cheerleaders in so short an existence...
And its not hard to see or indeed hear just what's got people interested, the ten songs here an artfully judged taste of burgeoning potential, Modernise getting things rolling nicely as a sign of more to come, Afterlife & Sacred Song suggesting a ravelike euphoria before the comparatively wistful Lay Your Troubles On Me & How Could You Know, a change of gear which does nothing to dampen what's gone before & sets up the title track as the midpoint & centrepiece, live energy crackling.
It's that which sticks in the mind from first listen, & should make them a considerable draw for a while yet as live music continues its crawl back from the ravages of a COVID- alert world- but if their recorded output even halfway matches that outside a recording studio, they could finally make the step up from ones to watch onto a festival stage near you.
Links:
mull historical society
Archaeology: Complete Recordings 2000-2004 - Demon Records
Reviewed by Levi Tubman
Album released 24th Feb 23
The Mull Historical Society is just one man, Scottish Musician and novelist, Colin MacIntyre, while as societies go, one man is small but he packs a lot into his music, and this anthology comprises his first 3 albums plus a collection of unreleased, live, cover and demo tracks, with 80 tracks over the 4 albums there's a lot to get your ears into.
These albums are at their youngest 2 decades old, and I’m not sure I’ve listened to them much since they came out, so with any preconceptions long gone from my mind I put on the first album Loss for a listen through and before I knew it, it had finished! I had to listen through again I'd made no notes let alone start a review it just played through, and I let it wash over me enjoying track by track.
This continued for all 4 albums, every song is easy to listen to you don’t have to skip because something's too loud or out of place, no song sticks unpleasantly out of place, they’re all very different but all remain solidly crafted in his recognisable style.
Colin has been described as multi-instrumentalist, I think he’s tried to fit as many instruments into his albums as possible, sure some stick to the traditional drums, bass guitar piano, but then you’ll get bursts of brass from nowhere, perfectly moulded around his vocals.
Vocals that he uses as an instrument to its full extent, it’s not there to get words across its there as a medium to help frame them and fill in gaps between instruments, and I swear I heard a glockenspiel in there too, an instrument most people don’t touch after leaving school, but its sound fits so it’s used.
It’s hard to pick out tracks across 80 tracks, but tracks like Live Like The Automatics off the album US is a straight up rock number, with a classic 2000’s driving song feel, it could easily be used on a road trip movie, but that’s followed by Don’t Take Your Love Away From Me a quieter introspective song that could have been release by Radiohead which is then followed by something that could be The Polyphonic Spree, while I can see bands he’s been influenced by I can hear where he’s influenced bands that have come after him.
While the music is quite distinctive, so is his voice, it stands out proudly on every song, easily switching from powerful, in front leading the charge, to dropping back using its fragility to bring real emotion and meaning to the piece, all the while managing to keep its strength.
I recognise songs all throughout the albums, not always recognising specific tracks and titles, but I’ve heard so many before, on the radio or on TV, he’s an artist that deserves much more recognition than he has, he has such raw talent, I’m as guilty as many others of not giving them the listen or attention the first time round, instead they seem to fall into the weird category of everyone's favourite band they’ve never heard! I’m going to keep listening to these tracks and everything else they’ve done, and I strongly recommend you do the same, ok not every track might be quite to your taste, but I guarantee there will be lots of others that do!
Links:
erase theory
Erase Theory EP
Reviewed by Stuart Clarkson
EP released 24th Feb 23
Their self-titled 5 track debut EP is released on 24 February through Icons Creating Evil Art. The sound has been compared favourably to The Weeknd and Nine Inch Nails and I would also throw Fall Out Boy into that mix.
The stand out track Lost It combines forceful alt rock guitars with lyrics that hint at the strife that Sahyoun has overcome to get to this point. When he declares ‘I’m not broken anymore’ it’s clear that the renaissance has started and demons are being cast out.
Stay is rock mixed with electronica and charts the final stages of a relationship break up. Closure starts with an electronic backdrop and blends it with industrial rock guitar, and
20xx develops an electronic soundscape backed up by an insistent forceful beat before an ambient fade out.
This EP marks a solid start with an interesting mix of alt-rock and synth electronica on display.
Several more tracks have already been written and it will be worth keeping an eye on Erase Therapy’s next move.
Links:
unknown mortal orhestra
V - Jagjaguwar
Reviewed by Dave Flerin
Album released 17th March 23
Offbeat, ethereal, trippy; like a voyage down a slow-moving river with a beautiful new vista around every bend, "V" by UMO is a tale of the whole being greater than the sum of its parts.
Opening track, “The Garden” is typical of the understated genius of this album. The dusty, opening piano lulls you into a false calm which is quickly ragged senseless by a fuzzy guitar and unpredictable psychedelic thrusts of vocal melody appearing here, there and everywhere; topped off by a mad extended guitar solo which seems oddly out of place, and not, at the same time.
You just never know where a song is going next, where it will end up, or what is going to follow it. “Guilty Pleasures” continues to flout convention; sounding like a young Paul McCartney from 1968 being transported to 2023, and let loose to do his thing in the studio.
“The Widow” exudes mellow keyboard jazz vibes punctuated with shape-shifting melodies; followed by “In The Rear View” with its gently panning, tremolo oscillation shenanigans; proper ear candy for lovers of modern psychedelia. “That Life” brings a gorgeously carefree chorus to the party, whilst there are moments of real beauty scattered throughout the instrumental, “Shin Ramyun”.
There’s also shades of Vangelis’ Blade Runner score here, and twiddly guitar chops there, to remind us they can really play; and behind everything, a collective surrender to a vision for the whole album.
Their creativity is completely beguiling, right down to the final track which is literally, a single riff repeated for six minutes, which shouldn’t work, but does. That they can easily get away with this album closer proves that they must now finally, absolutely own whatever art it is that they set out to master. "V" is a bona fide triumph to these ears.
Links:
ryan hamilton
Haunted By The Holy Ghost - Wicked Cool Records
Reviewed by Levi Tubman
Album released 10th March 23
Haunted by the Holy Ghost, is the third solo album by Texan singer-songwriter Ryan Hamilton, who has been hailed by Spin magazine as one of the ‘35 Best Lesser Known Artists of The Last 35 years’ and championed by the likes of Adam Duritz (Counting Crows), Clem Burke (Blondie) and Mike Peters (The Alarm), it’s hoped 2023 will be the breakthrough year for Hamilton’s unique brand of power-pop-meets-Americana, is this the album to do it?
The opening track Ryan describes as his gift to radio, but the single Asshole, might not quite make the cut for most commercial stations! While it is a positive message about not being one, after bleeping out lyrics and not being able to read the title on air it might fall by the way side, which is a shame because after a short electronic drum intro, his voice is joined by twin guitars with instantly catchy riffs and harmonies ranging on falsetto, complimenting his voice and rounding of a full sound all the way down to the low base, it would kill on radio, shame I don’t think it will get the chance though!
Haunted By The Holy Ghost, to me, is a perfectly written song, chords and melodies that while quieter, wouldn’t musically feel out of place in classic punk bands, with running bass lines, a chorus you won’t get out of your head for days. Trust me I’ve tried, his lyrics energy and passion really come through from start to finish, drawing from his conservative religious upbringing, it’s a flawless 3 minutes that keeps delaying my review because, I’ll put it on, just one more time….
I’d love to know how he works and writes because his lyrics feel so purposeful, I couldn’t imagine anyone writing them to fit around a completed track, while his vocals and music really complement each other, the words take the lead, with titles reflecting the songs and not just placeholders because a song needs a title.
The album ranges from melancholy to joy, light to dark and loud to quiet, no two tracks are the same and its all the better for it, no chance of getting stale with the variety.
I like to spend time listening to an album over a few days before reviewing it, but I could have reviewed this live on the first listen, it’s so easy to listen to, everything’s exposed and presented to the listener. Also it’s so uncomplicated, not simple by any means, but if something needs just bass drums and guitar that’s all it gets, time and effort has been put into this to make sure everything has a reason and a place, and not filled out just for the sake of it.
This is where I found myself in 2 minds, to either end the review there, or mention the last track surprise?
Sad Bastard Song, a country infused personal reflective track is a solemn end the album but it’s one of the best, and hammers home his skills as a storyteller. Now whether he didn’t want to finish on a down note or just fancied something different, the last track which comes in at 10 minutes is a song that strangely has been on my mind the past few weeks, and one I truly love. A surprise Texas staple played as a fast high energy cover proving covers can be better than originals.
I can’t fault Haunted By The Holy Ghost, and I can’t stop listening to it. For me it has to be an early contender for album of the year, hopefully Ryan will be playing some dates over here very soon,
I must check out the rest of his material and you really should take time to listen to this album!
Track Listing:
01 - Asshole
02 - Haunted By The Holy Ghost
03 - Overdose
04 - Paper Planes
05 - On The Edge (W Jessie Wagner)
06 - Broke My Heart, Fixed My Vision
07 - Absence of Love
09 - Strange Situation
08 - Yeah, Whatever
010 - Sad Bastard Song
Links:
eric bibb
Ridin' - Repute Records
Reviewed by Chris Morley
Album released 24th March 23
Just when you might have given up & concluded that the only noteworthy Eric in the blues idiom was Clapton, proof positive that there is another has finally belatedly arrived in the person of Eric Bibb.
A mean guitarist with a voice so soaked in the stuff you may wonder if he gargles whiskey neat before shows, & here he positively freewheels with the help of a few choice friends.
Lead single Family a neat preview for much of whats to follow, the title track & Blues Funky Like Dat with Taj Mahal probably the early highlights.
Probably the true centrepiece though is the playing, his technique suggesting a desire to genuinely do something different with a form which has probably at times been flogged to within an inch of its long life.
However by the time you reach Onwards you may be glad it's but a mere interlude before more of the same arrives, even if the songs do mine somewhat familiar tropes.
But most likely therein lies a degree of (Southern) comfort which will keep you coming back for repeated sips, which is perhaps the point.
Take in liberally, swill it around the ears & join Bibb in the saddle for quite the trip through the dusty popular perception of rural American life & you may just find enough to be surprised by this album.
Links:
inspiral carpets
The Complete Singles - Mute/BMG
Reviewed by Dave Flerin
Album released 17th March 23
Strangely enough, a few days before this album landed on my to-do list I’d had a mini tip-toe through a few Inspirals singles, completely by coincidence.
As the quirkiest of Madchester’s big three, their cheap organ sound was the force behind a seemingly never-ending conveyor belt of bouncy, indie dancefloor-fillers. Far more dayglo-carefree than the serious Roses and the always up-for-it Mondays, you’d have put your money on their records sounding very dated, very quickly in comparison. Well, you’d be (partially) wrong.
These songs absolutely capture a moment in time, but sound completely of that time; and still manage to sound joyous, triumphant, and, crucially, different enough from their peers who collectively made Manchester the centre of the musical universe as the 80s turned into the 90s.
An Inspiral Carpets greatest hits should be brilliant; and so this is. Okay, it’s not got the “greatest hits” label on the front, but we all know it is; and it deserves to be in every indie-lover’s record box. Inevitably, with a collection like this even the die-hards are going to have a few they don’t like, but there’s so much to love on here it’d be disingenuous to focus on those couple you’re not too keen on.
It’s the perfect keepsake for people who want to revisit the Inspiral Carpets singles they bounced around to in those beautifully grubby indie nightclubs of yesteryear. It’s also a great way of seeing where their music went after 1992 when they valiantly continued to make great singles which struggled to make a dent on the charts. Damn those pesky shifting musical tides, leaving them behind for shoegaze and grunge!
Has the 2023 remastering made them any better? Who bladdy knows!?
They do sound completely dazzling... So, do you need the remixes on the CD format? The completists out there are probably buying this release just for those.
For me, they’re interesting, but a bit hit and miss. I’m not a massive remix fan, but I do really like some of these. The Go! Team’s cartoon trippy remix of “This is How…” particularly had me smiling, with Ian Parton’s stamp of genius firmly all over every inch of it. Magical!
Well, I’ve quite happily sat through the thirty-eight tracks on here with no signs of fatigue. If that’s not an endorsement, I don’t know what is. Thank God for crap organs, and the Inspirals.
Out now on double black vinyl and 3CD including the disc of remixes.
Links:
dma's
How Many Dreams
Reviewed by Chris Morley
Album released 31st March 23
You might not think such glacial, malleable music is even capable of coming out of Australia, but the DMA's appear to have cracked the formula, How Many Dreams?at least adding a note of optimism. Single I Don't Need To Hide proves itself a decent outlier, with its subject matter of finally finding that one person who'll love you simply for being yourself, surely at least near the top of anyone's dream fodder.
Then comes friendship, handily covered on second single Everybody's Saying Thursday's The Weekend, the simple question of going for a crafty pint with a friend turned into a salute to friendship itself informed by those first nervous tentative steps back out into the world post- lockdown, the beer no doubt no small consolation. And it is genuinely a feelgood moment in an album surprisingly full of them- no mean feat.
But in capturing the new feel of Friday night into Saturday morning they do pull off some of its more subtle nuances, the gratitude for simply being able to experience the moment the one that jumps out at you even if there are notes of caution- Fading Like A Picture perhaps the starkest to complete a hat- trick of singles so far.
Of course we've heard similar before, but this fits nicely into a sort of mini- resurgence for the baggier end of the indie scale- seems only fitting that Liam Gallagher has had them along as a support act & comparisons to the Stone Roses don't feel too far wide of the mark in this context, the urgency that informed much of their best work bubbling away under the surface however sunny the surface outlook after a few listens.
Links:
david kitt
Idiot Check - Warm records
Reviewed by James Fortune-Clubb
Album released 31st March 23
Another new name to me - Irish singer songwriter David Kitt releases his latest album ‘Idiot Check’ this month on RE:WARM.
Kitt released his debut album more than two decades ago and 'Idiot Check' (great title and good album cover picture) will be his 9th. 'Idiot Check' includes ten offerings of what could best perhaps be described as whimsical indie folk with elements of electronica intertwined.
The album has engaging production throughout and the electronic experimentation is great, both of which provide perhaps more interest than the actual songs themselves - all recorded by Kitt on his own mobile studio. As far as lo-fi indie folk goes, 'Idiot Check' is comprised of 10 fairly solid songs if somewhat meandering and similar in nature and style.
A few guest vocals including Dylan Lynch (of Soda Blonde) who brightens up proceedings on 'Wave of Peace' and apparently reclusive Margaret Mary O'Hara who seems hugely underused on 'All Folly'.
Great production, competent and pleasantly inoffensive songs, but unfortunately not enough here to keep me engaged - sounds great, but lacking passion or substance.
Links:
billie marten
Drop Cherries - Virgin Records
Reviewed by Chris Morley
Album released 7th April 23
An old soul returns as Billie Marten issues her fourth album- Drop Cherries, a sweetly naturalistic metaphor for letting go of all else to give yourself fully over to expressing love for someone else.
“Dropping cherries,is such a strong, visceral image that I tried to channel throughout recording in Somerset and Wales, to capture the vibrancy, unpredictability, and occasional chaos one experiences within a relationship.”
So, both personal & universal. Fittingly then that at least the first half captures the giddy thrill before ( if you're unlucky) the veil is lifted & what's underneath isn't half as sweet.
New Idea, God Above & Just Us suggest revelation through such intimacy, I Can't Get My Head Around Youa clever subversion of Kylie Minogue's own inability to get her beau ( at least for her own hit's purposes) out of hers.
Perhaps a better point of comparison might be to a sparser Brian Wilson, whose mix of optimism & frailty is what drove Pet Sounds- probably the benchmark for such recorded confessions of emotional conflict?
If up to now its been simmering, the double hander of I Bend To Him & Nothing But Mine offers a little positive reinforcement in doubt over who wears the trousers.
Arrows & Tongue side by side then offer something of an insight into the power of words to either help or hinder us in affairs of the heart, This Is How We Move coming to terms with how things are before the title track closes things off & the songstress decides she's shared enough.
This is a perfectly valid judgement having spent her time baring what feels like almost everything, like a phone call to a friend you've been concerned about for a while.
Definitely one to watch, with a wisdom belying her 23 years.
Links:
foxhaunt
Division Culture EP - Self Release
Reviewed by John McEvoy
EP released 7th April 23
York, the home of Roman ruins, a Minster, a wall, oh and Foxhaunt!
This 4 piece band made up of Ollie Swift (Vocals), Thom Clayton (Guitar), Nick Dawson (Bass) and Jamie Scott (Drums) are back with their new excellent 4 track EP ‘Division Culture’.
This is a storming 14 minutes or so of huge alt rock power chords, and the very first thing that sprang to mind when playing this through was just how good they must be live.
Opening track ‘Division Culture’ immediately sets the tone with a blistering guitar soundscape overlaid with a quality vocal from Ollie Swift.
Tracks 2 & 3 follow suit in terms of style and just when you think you’ve got this band sussed out, along comes the 4th track ‘Room to Grow’ which is an altogether mellower sound.
We all like comparisons, and the highest compliment that I can pay this band is by saying that throughout this quality EP they reminded me of The Pixies with a dash of Sonic Youth and Foo Fighters.
This EP is out now and you can check it out here: https://open.spotify.com/album/202lW2GwuEvUxhpkGcSceR?si=jI-yqYg8S0-IxEuUvLoZZA
Links:
blue orchid reaction
Atmosphere
Reviewed by John McEvoy
Single released 8th April 23
Leeds based band Blue Orchid Reaction are back with their new single ‘Atmosphere’ and as you now, here at Wall of Sound we always like to support home grown talent, and this band who have been around since around 2019 are getting better and better.
Produced by Mike Heaton from Embrace, ‘Atmosphere’ is reminiscent of 90’s indie with it’s catchy and danceable bouncy feel, all overlaid with distinctive vocals.
The appropriate description for this single would be ‘earworm’.
Is it enough to stand out in what is a busy market? Who knows, but this is a band in the ascendency and is well worth checking out.
Single is out now and you can listen to it here:
Band links:
st paul & the broken bones
Angels In Science Fiction - ATO Records
Reviewed by Neil Milner
Album released 21st April 23
Angels in Science Fiction is the fifth record by Birmingham, Alabama based eight-piece St. Pauls & the Broken Bones. It was recorded at Sam Phillips Recording Studio in Memphis, Tennessee and was produced by Matt Ross-Spang, (the Mountain Goats, Drive-by Truckers).
The album was written by lead vocalist Paul Janeway as a series of letters to his then unborn daughter.
It offers a kaleidoscope of music styles, but with soul at its centre. Or should that be soul psychedelia? At times it’s sonically fascinating, with some song arrangements that Nick Cave and Warren Ellis would be pleased with.
There are moments when they go acoustic, minimalist and rootsy, (Lonely Love Song). There are even occasional echoes of Simply Red, (Magnolia Trees), but thankfully for me, not too many.
The record has subtly beautiful melodies and occasional swirling orchestration, not least the album’s closing song, Marigold, the name of Janeway’s daughter.
Lyrically there are interesting moments. There’s a strong sense of the band’s own America – Chelsea, (Janeway’s birthplace), South Dakota, Wolf in Rabbit’s Clothes, (referencing New York), and Oporto-Madrid Blvd, (referencing Birmingham).
The title track, Angels in Science Fiction questions God and faith. City Federal Building is a plea to Janeway’s daughter to find meaning in her life. Sea Start is a plea to us all to try and make a difference.
An interesting contrast to this wholesale, wholesome sugary mushiness comes with Heat Lightning, which asks the question, what if his daughter turns out to be evil? Although you wouldn’t know that from the vocal delivery if you weren’t paying attention.
Which brings me to my main issue with this record. The experimental nature of the music warrants a more brooding, malevolent vocal which Janeway doesn’t provide. He’s a fine enough singer, and I’m sure his falsetto style vocal works well with old school soul.
If there was a gruffer counterbalance to his vocal on this record, providing it with a bit more edge, then I think it would have made it a better and richer experience.
Track Listing:
1. Chelsea
2. City Federal Building
3. Magnolia Trees
4. Sea Star
5. Heat Lightning
6. Angels In Science Fiction
7. Wolf In Rabbit Clothes
8. South Dakota
9. Oporto-Madrid Blvd
10. Lonely Love Song
11. Easter Bunny
12. Marigold
Links:
everything but the girl
Fuse - Buzzin' Fly/Virgin
Reviewed by John McEvoy
Album released 21st April 23
It’s been a while, but not only are the warmer finally days here, there’s a brand new EBTG album to enjoy, and believe me you most certainly will!
It’s been 24 years since their last album ‘Temperamental’ was released, and a lot has happened during that time.
Ben and Tracey have had a family who are now all grown up, both have released solo albums, Ben Watt has had to deal with a serious illness, but this hasn’t stopped him from also being a DJ, creating his own record label (Buzzin Fly) though which he has released several Deep House compilation albums featuring the work of many up-and-coming DJ’s and producers.
Cut to 2023 and EBTG are back with ‘Fuse’ a 10 track album, written and produced by Ben Watt/Tracey Thorn, and the good news is that they have lost nothing of their distinctive electronic soul with many of the tracks underpinned with a hint of the sophisticated deep house sound they are so adept at creating.
Tracey Thorn has always had a distinctive vocal style, and while there’s no doubt it has deepened slightly, this certainly doesn’t detract at all, and her uniquely melancholic sound is still very much front and centre throughout this album.
Opening tracks ‘Nothing Left To Lose’ and ‘Caution To The Wind’ electro up-tempo tracks,and it’s easy to see why they have both already been release as singles. Instantly recognisable as EBTG they are genuine ear worms. As expected, there are now several remix versions kicking around of these tracks which are always worth checking out for yourselves.
Back in 84 when they released their first album ‘Eden’ this was a predominantly piano led release and these are still very much present throughout ‘Fuse’ and ‘When You Mess Up’ is a great example of early EBTG but with a satisfying sub sonic bass to give a modern touch along with thankfully a sparing use of vocoder.
Elsewhere within this album you will find gem after gem, and I was particularly impressed with the way that managed to get Fiat Cinquecento into a verse on upbeat ‘No One Knows We’re Dancing’ This surely must be released as a single.
And that dear reader is the overwhelming impression I get after several run throughs of this album. EBTG really have manage to produce something that is that very rare things these days. ‘All Killers, no fillers.’ listens of this album, it would be no exaggeration to say that virtually every track is strong enough to stand alone as a single.
After being away for so long EBTG really have manged to produce an album that is immediately recognisable, and yet manages to still sound fresh original, and doubtless will have you coming back time and again to revisit a release that for me at least is the album of the year.
Now let’s all keep our fingers crossed and hope that they decide to go out on tour!!
Tracklist:
Nothing Left to Lose
Run A Red Light
Caution To The Wind
When You Mess Up
Time & Time Again
No One Knows We’re Dancin’
Lost
Forever
Interior Space
Karaoke
Links:
robbing millions
Rêve - Capitane Records
Reviewed by James Fortune-Clubb
Album released 28th April 23
'Rêve Party' is the latest album to be released by 'Robbing Millions' - the concept and name under which Belgian musician Lucien Fraiport records.
This is Fraiport's third album under the name of 'Robbing Millions' - a collection of 12 songs apparently drawing on the influence of French pop (Air) American psychedelic rock (Arthur Lee) and jazz (Weather Report) - would that it were.
I say "apparently" because having waded through all 12 songs - all perfectly competent, contemporary, slightly leftfield electropop, it's hard to see 'Rêve Party' as anything other than sub 'Air' (electropop duo Nicolas Godin and Jean-Benoît Dunckel and Fraiport's French neighbours) but without the charm, pop sensibility or melodic inventiveness.
So, unfortunately not a great album for me - 'Rêve Party' is a perfectly pleasant and well constructed listen, but overwhelmingly it's unoriginal and ultimately unsatisfying.
Links:
