jah wobble
A Brief History Of Now - Cleopatra Records
Reviewed by Neil Milner
Album released - 11th Aug 23
Oh, the bass. It’s all about the bass. The sacred bass broods menacingly and imperiously over this brute of a record. And that’s a compliment by the way. In some tracks, the bass moves at a pace akin to a predator sizing up its prey. Inconspicuous, yet prominent. Ready to strike.
A Brief History of Now is the latest offering from Jah Wobble and was co-written, produced and performed with fellow post-punk hero Jon Klein (Siouxsie & The Banshees).
Dub reggae rhythms, structures and basslines dominate, as you would expect, mostly with dark rock and pop melodies and sharp and incisive lyrics riding on their coattails, as demonstrated on the excellent I am, I am, I am.
The song Brief History of Now is like a lounge rap reminiscent of Ian Dury in his pomp and beyond the driving bass it has a strong funky edge. Master of Time could draw comparisons with Hawkwind with its space rock reggae atmosphere.
Blimey governor, there’s even shades of mid to late 1990s Blur on Socially Functioning Psychopath, Wrong Side of the Line and Fashion World in particular. I can imagine Damon Albarn providing vocals on this.
However, there’s enough here which is positively and distinctly Jah Wobble. This is the Love sounds like it’s been with us forever. A comfort blanket erstwhile pop song that you occasionally dust off and bring out when you need cheering up. It’s a wonderful song with an elegant melody and is beautifully paced.
Driving throws you slightly off course whilst assaulting your senses, but in a good way. This is a pure rock monster. You could be confused, but chaos like this can make perfect sense, and it does here. Opening track Last Exit is in a similar vein, but much more psychedelic new wave and has a wonderfully pounding end.
It’s a great record. There are echoes of his earlier post-punk work, but the imperious bass heavy rhythms are tempered by a variety of musical styles; some predictable, some surprising, and most of them sublime.
Track listing:
1. Last Exit
2. Wrong Side of the Line
3. Soo 135
4. I am, I am, I am
5. Fashion World
6. Brief History Of Now
7. I am the Fly
8. Driving
9. This is the Love
10. Master of Time
11. 80 Beats Per Minute
12. Socially Functioning Psychopath
Links:
bianca james
Bianca James
Reviewed by John McEvoy
Album released - 4th Aug 23
Canadian Bianca James has just released her debut album, and what a debut it is.
At first play through it immediately reminded me of Duffy (no bad thing) and album opener ‘Black and Blue’ sets the feel for this release with its soulful delivery, and the uplifting ‘Bang Bang Baby’ for me perfectly captures what Bianca James is all about. Powerful vocals, 60’s style guitars and harmonies, along with a truly exceptional horns section deliver a perfect slice of unadulterated pop that is a genuine ‘earworm’.
Elsewhere proceedings slow down a little with the gospel tinged ‘Till I Remember’ but then it’s straight back into the Motown, Supremes feel of ‘Inside Out’ which reminded me a LOT of ‘Chain Reaction’.
This is a short 7 track album although there is an added remix of ‘Bang Bang’ at the end, but this doesn’t detract from the fact that this is a remarkable debut from someone who has/is clearly influenced by Duffy, Amy Winehouse to name a few. But has managed to create a unique and damn fine release that deserves your undivided attention.
I look forward to seeing her play live as soon as possible!
Links:
public service broadcasting/bbc orchestra/jules buckley
This New Noise
Reviewed by Chris Morley
Album released - 8th Sept 23
On the surface of it this may not seem the most natural of fits- Jules Buckley picking up the baton ( see also his similar recent work with the likes of Paul Weller) & applying a few orchestral flourishes to the spaced-out samplings of Public Service Broadcasting.
But the more you think & indeed listen, the easier the fit seems- you could easily imagine this as the soundtrack to evenings with the more adventurous side of Radio Three welcoming in the small hours.
Which in itself isn't as clunky an analogy as it could have been.
This New Noise is something of a celebration of the power & spirit of radio in tandem with the BBC, in places having the feeling of a soundtrack to an audio play for the imagination with all the carefully chosen samples you'd expect from J Willgoose Esq & chums.
Seemingly being given the keys to some dusty cupboard deep within the Beeb's storied bowels, these samples have been given new life at their hands with the help of men & women perhaps more used to the Proms than providing backing to such a heritage piece.
Fans of Eno & Byrne's My Life In The Bush Of Ghosts & Paddy McAloon's I Trawl The Megahertz will find plenty to like, left of the dial as ever.
Links:
jack valero
This Is A Nightmare (EP) - Modern Sky UK
Reviewed by Neil Milner
EP released - 15th Sept 23
I’m going to be charitable; this EP shows promise. Brighton based Jack Velaro and his band deliver a competent debut and the musicianship is accomplished.
I feel this EP is aimed at a young audience. I know nothing about him or them, but I did find out his father is English singer songwriter Billy Bragg, but that is not something he broadcasts, suggesting he wants to be judged on his own merits, so that is what I will do.
Opening track Catch my Soul is pure rockabilly. It’s reminiscent of early pre-chart Beatles. Lyrically the song is about him wanting to be rescued from a hedonistic lifestyle. It should get people dancing in the aisles, and possibly your grandparents tapping their toes in respectful reverence.
Pull back the Hammer contains a tune and vocal melody I’ve heard many times. St Georges Road is reflective and to my ears borrows elements from Cast no Shadow by Oasis.
I would have loved Temporary Helplessness around the time I was 20 in 1987.
It would have had a welcome home on the Sarah records roster in tandem with bands like The Field Mice and Another Sunny Day, albeit the production is much better now. Like everything on this EP it’s neither great nor terrible. If you are about 20 now, and opening your mind to new types of music, then a song like this is a good enough starting point before you begin your lifelong musical journey. But repeating this style for more than a couple of years would be a waste of obvious ability.
This is a nightmare continues and concludes the EP’s upbeat, but derivative sound and feel.
So, maybe this is a nightmare? Well not quite. It feels twee and safe at times. It’s rarely bold and groundbreaking. But he and they have evident talent. An audience of pure young indie fans would love it, and avidly sing along to these songs at their gigs. And they should, and so would I and did when I was their age.
Life, personal growth and constantly discovering new things has broadened my musical palette, and mMaybe Jack Velaro will grow on me.
Time will tell.
Track listing:
1. Catch my Soul
2. Pull Back the Hammer
3. St Georges Road
4. Temporary Helplessness
5. His is a Nightmare
.jpeg/:/cr=t:0%25,l:0%25,w:100%25,h:100%25/rs=w:400,cg:true)
mae muller
Sorry I'm Late - EMI/Capitol Records UK
Reviewed by Chris Morley
Album released - 15th Sept 23
It seems that to be classified pop in today's market, you have to tread a line between confectionery sweetness & a certain edge- look, as an example, at Taylor Swift's reinvention from seemingly sweet & innocent country girl to the woman who penned Shake It Off.
The latest homegrown attempt to do similar may well be Mae Muller, whose I Wrote A Song served as Great Britain's latest attempt to climb out of the relegation places in the Eurovision table, shades of Dua Lipa & a swing from heartbreak to empowerment sadly not enough to impress the judges.
But it should be more than adequate for anyone with even half an ear on modern music.
Follow up single Better Days is considerably more upbeat, a feat in itself in these uncertain times & probably just the sort of thing the charts need to save us from drowning in Auto-Tune mediocrity.
This latest statement of what it is to be a woman in the wake of Weinstein & Luis Rubiales among other scandals feeling by turns commiseration & celebration, lessons learnt at Lily Allen's knee given a tuning up & slight tweaking just to show similar concerns are still regrettably alive & well. but as long as artists of this hue keep emerging the voices of dissent show no sign of being silenced, the message by no means lost in the beats.
Links:
jaws
If It Wasn't For My Friends (EP) - Jaws Music
Reviewed by Levi Tubman
EP released - 15th Sept 23
Exploring relationships, breakups and the feelings that come along with them, with the title referencing the help and support from vocalist, Connor Schofield’s friend after a long-term relationship ended, this first EP in 4 years from JAWS, the Birmingham indie 4 piece has a lot to live up to across its 5 tracks, and with a lot of self-recording, it’s also a bit of a risk.
Opening with Are My Friends Alright, the band really lean into the Dream-pop genre, its light and airy, with sparse guitar’s, not over processed and just enough to really give the track space. While down the centre the warm embracing vocals is quite high in the mix but it fits the bands sound perfectly, sitting back when the song gets heavier and starts to pick up, it has energy but it’s laid back and familiar.
Sweat pulls more on a 90’s indie sound with the drums and bass driving from the start with the vocals almost pained, darker and angsty against the harder more melodic music. It’s a high energy solid track that’s immediately followed by Get Up, a track that feels part of it, the opposite side of the coin to Sweat. Starting off with bass and drums driving it forwards but more restrained, framed by light melodic guitars and a much more delicate and upbeat vocal, they’re light and dark but still recognisable as the same band.
Maybe I’ll Do The Same Thing Tomorrow opens with incredibly Lo-Fi drums, you can hear all the room before kicking in for real, has a real life and energy to it, jumping from verse to chorus easily with one simple drums bass and sporadic guitar quietly playing together. The other harder fuzzy guitars filling out, with the drums and bass picking up their energy, this has single written all over it.
Finishing off the EP is Top Of My Skull, they’ve saved all the pace for the last song, speeding along with their now signature fuzzy guitar and vocal sound, it’s fantastic and then it’s gone. At only 2 minutes in length, it needs more than one run through, as the band compress everything they need to say and do into those 120 seconds, nothing else is needed, it’s a hard fast full stop.
While it doesn’t always have as much influence on a record as the writing and playing, the production has to be addressed, it’s superb, it’s tight and full, the sound only has gaps where needed, there’s no empty space. No unpleasant hi frequencies or muddy bass.
JAWS have put a lot of thought and effort into every aspect of this EP and it shows, it’s catchy and easy to listen to without being simple!
They’re going on tour at the end of September and based on these 5 tracks I’d highly recommend you check them out.
Track Listing:
1. Are My Friends Alright
2. Sweat
3. Get Up
4. Maybe I’ll Do The Same Thing Tomorrow
5. Top Of My Skull
princess goes
Come Of Age - SO In De Goot
Reviewed by James Fortune-Clubb
Album released - 15th Sept 23
Another new album scheduled for release this month on the 'SO In De Goot' label is ‘Come Of Age’ – brought to us by American dark electronic rock band ‘Princess Goes’ – unknown to me until now.
The three members of ‘Princess Goes’ (alternatively monikered ‘Princess Goes To The Butterfly Museum’) apparently first got together around 5 years ago when they met whilst work together on Broadway rock musical ‘Hedwig and The Angry Inch’ and are comprised of: Michael C. Hall (best known for roles in such diverse productions as TV’s ‘Dexter’ and the New York/London productions of David Bowie’s ‘Lazarus’) Peter Yanowitz (Natalie Merchant and The Wallflowers) and Matt Katz-Bohen (Blondie and Psychic TV).
‘Come Of Age’ is the band’s second album following their debut release ‘Thanks For Coming’ in 2021. This time around PG deliver 12 new synth heavy tracks (although apparently more guitar than on album 1) opening with the powerfully dark and brooding electronic fade in of track 1 ‘Offering’ – a great start to the album.
As you’d expect given his CV – there’s strong vocals from Hall throughout (very occasionally reminiscent of Bowie?) and consistently good production across the album, if sometimes a little on the safe side.
Tracks such as ‘Blur’ and title track ‘Come Of Age’ still retain that dark electronic landscape, but have more of a left field electro pop edge – the kind of songs that sound like they are already prepared to fill a stadium – only time will tell?
Sounding by turns almost like The Killers had spent a very long time indeed listening to the darker electronic works of latter-day Depeche Mode and early musings of the Human League etc. there are definite echoes of the 1980s electronic landscape throughout.
Track 9 ‘Beija’ has a surprisingly Ian Astbury-esque vocal delivery – somewhat of a departure from the rest of the album, but none the worse for that.
‘Come Of Age’ is an impressively strong, accomplished, dark yet accessible electronic pop/rock album and I’d be more than interested in hearing more from ‘Princess Goes’ and to see how their music translates to a live setting.
Margo Cilker
Valley Of Heart's Delight - Loose Music
Reviewed by Stuart Clarkson
Album released - 15th Sept 23
Margot Cilker destroys the myth of that ‘difficult’ second album with her latest long player.
Valley of Heart’s Delight is an accomplished slice of Americana dripping with lush vocals and exquisite musicianship which sounds closer to a future country classic than a fledgling second release.
Her critically acclaimed debut, ‘Pohorylle’ received many plaudits, and this follow up has improved on that sound to produce an accomplished and approachable album.
Opener Lowland Trail sets the scene with a lovely guitar twang in an urban country style. Margot’s silky vocals provide a sweet melody whilst acting as our guide taking us on a journey to gentler more innocent times. It’s only Track 1 and already we’re in a better place.
I keep it on a burner in the back of my mind is a great line which features on the album’s second offering and a sentiment with which we can all identify. A soporific horn accompaniment eases us through the song and the mood is nicely relaxed. Margot evens throws in a Creedence Clearwater Revival lyrical reference for good measure.
I remember Carolina begins with some honky-tonk piano and some great banjo providing an infectious toe tapping rhythm which is complemented by some classy guitar playing.
Margot’s voice is the perfect accompaniment to this backing and completes an opening salvo of three great tracks adding to the feeling that this would be a great accompaniment toof sinking a few easy beers in a backwater American bar.
However, amongst the finely crafted music and sweet vocal clarity Margot is telling an important story which is the homage to the place she was born and due to its transformation can never return. California’s Santa Clara Valley was once covered in fruit trees although the developers literally paved paradise and ripped up the apricots.
The area was changed forever when it was turned into Silicon Valley and Margot with a lovely turn of phrase states that she can remember a time growing up when apricot meant more to the area than Apple.
It’s a theme that resonates with many and one which Margot beautifully articulates through this collection of finely crafted songs.
The moods turns towards melancholy on Beggar For Your Love but once again the quality of the song writing and Margot’s delivery shines through. Steelhead Trout is an impossibly catchy hoe down featuring violin and honky-tonk piano to great effect. However, the song is present to highlight the plight of this migrating fish which following the introduction of hydroelectric dams to the area made it very difficult to return from the ocean and spawn in its native streams.
With The Middle poses the question of how to pass the void in the middle of the day when she asks What do I do with the middle between the coffee and the wine.
The album is a retrospective glimpse to an earlier time and all the various changes that have taken place both topographic and emotional. Viewed from afar (in this case the opposite coast of the USA) the songs avoid being overly sentimental whilst at the same time possessing real integrity.
There’s nothing new here but the constituent parts have been beautifully assembled in order to deliver an album that feels like a breath of fresh air. Margot possesses one of the definitive Americana voices and employs it to perfection over an expertly played musical accompaniment to produce a real treat of an album.
bombino
Sahel - Partisan Records
Reviewed by Dave Flerin
Album released - 15th Sept 23
Omara “Bombino” Moctar is a rising star in world music, hailing from Niger. He’s won a myriad of awards, been declared “World’s Best GuitaristTM” by someone called “Noisey”, and can list Keith Richards, Stevie Wonder and Robert Plant as fans. Not bad for starters.
“Sahel” is the follow-up to 2018’s acclaimed “Deran” and is named after the vast African region between the Atlantic and the Red Sea. The influence of his homeland is in every song here, delivered In his native Tamasheq.
Opener, “Tazidert”, puts down a marker for the rest of the album; with repetitive guitar motifs; fabulous, tinny-sounding double-tracked vocals; and beautiful syncopated rhythms. And, it has to be said, albums by guitarists are often repugnant but this one kicks off with a great song sporting a jolly melody and some hypnotic riffing. I’m immediately sold.
Alternating between electric and acoustic tracks, there is a real 1967-1969 feel to a lot of “Sahel”. It’s a bit like Ravi Shankar passed his skills onto Omara, who ditched the sitar for the guitar and came up with this. It’s certainly a departure from your standard contemporary “Western” music, but an open mind can latch you onto the joyful musical mysteries lying within.
I just wish I could access the lyrics, but admin password shenanigans unfortunately have me beat (sorry, readers!). It sounds swanky throughout though; and the vocals (especially on the acoustic numbers) give off a spiffing Simon and Garfunkel vibe.
“Si Chilan” is lighter fare compared to the preceding tunes, like a casual stroll down a sunny street. The electric ones are also rich in texture, and “Darfuq”, in particular, has a pummelling syncopated rhythm, and what sounds like a million guitars following their own peculiar paths only to finally end up at the same place. Omara’s guitar playing is cleverly layered throughout, building up a dense and complex blend of little sounds, flitting in and out of each song. It’s like he’s also been programmed with every furious psychedelic guitar solo made in the late 60s. These guitar riffs often have an almost backwards Beatles-y sound, even though they’ve not been reversed in the studio. Blissful and genius.
“Sahel” is most definitely an African record, and it inhabits a peaceful, folky, other-worldly plane which may or may not also owe a little something to the time of the Monterey Pop Festival and Woodstock. So: Nigerien, late 60s San Fransican, and, to these ears, a bit of Asian influence in the mix; and “Ayes Sachen” and “Nik Sant Awanha” are curiously almost within touching distance of reggae.
Closing track, Mes Amis concerns itself with unrequited love; and, let’s face it, every album should have at least one song on that subject. It’s a fitting way to finish this particular chapter of Bombino’s musical story. No fence-sitting, I love it.
Vinny Peculiar
How I Learned To Love The Freaks - Shadrack & Duxbury Records
Reviewed by Liam McEvoy
Album released - 15th Sept 23
Alan Wilkes AKA Vinny Peculiar returns just over one year on from the release of the critically acclaimed Artists Only with the fantastic How I Learned to Love the Freaks. An album that crackles with energy and shows yet again just how lyrically gifted he is.
Album opener Death of the Counterculture sets out the themes of the album. From the outset it’s clear that the counterculture movement of the 1960’s was a heavy influence on this album. From the very first line “take me back to the summer of love” this is the inspiration of the record. Set to a thumping drum beat and wailing guitar riffs, Wilkes tells an intricate story of The Death of the Counterculture.
The inspiration for the album is apparent throughout. Going to San Francisco tells the story of making the pilgrimage to San Francisco the birthplace of the Counterculture movement Peace and Love tells the story of core philosophy of the time set dreamy echoing guitars that give a fantastic americana feel.
Whilst Wilkes is known to be a great lyricist, he is also a phenomenal musician who is able to mix the dreamy americana feel of Peace and love with the altogether heavier rock of Hippie Kids seamlessly ensuring that nothing feels out of place despite the clear disparity of the styles.
The Closing track on the album Flower Power is an unapologetic celebration of the 1960’s and its culture. The track feels as though it sums up the rest of the album and act as a brilliant full stop to an album that is so influenced by this era.
Wilkes has a clear gift for storytelling and at times the album feels like poetry and music have combined to create a wonderful experience for the listener. With How I Learned to Love the Freaks Wilkes and his alter ego Vinny Peculiar have delivered a glorious album that tells an incredible story and is one that definitely should be heard.
Track List
1. Death of The Counterculture
2. Going to San Francisco
3. Headshop
4. Peace And Love
5. Hippie Kids
6. How I Learned To Love The Freaks
7. Peter and The Rainbow
8. Flower Power
roberto fonseca
A Gran Diversión - Wargram
Reviewed by Chris Morley
Album released - 22nd Sept 23
Listening to this effort, & having the task of describing to the uninitiated, offers something of a challenge.
It's perhaps unlikely that anyone reading this has much if any grasp of the music of Cuba in the Twenties, but on this evidence you might want to pour yourself a drink & have a cigar, for what better is there to do when any lounge is given its chance to swing?
And of course, Roberto Fonseca has proven his chops, initially among the ranks of the Buena Vista Social Club,so who better to act as a guide. Even his latest tour destinations oozes a sort of long forgotten cool, spending most of La Gran Diversion's time on the road in France- tres bon. There'll be dancing in the streets going by first single Mani Mambo, & it rarely if ever lets up across the course of what remains.
By way of a crash course in the roots of what gets South America's blood pumping, you won't find many better- versed students, so soak in the sonic equivalent of Havana sunshine & treat yourself as the nights draw in- its the antidote you may not have even known you'd need.
Links:
devendra banhart
Flying Wig - Mexican Summer
Reviewed by Andi Bridges
Album released - 22nd Sept 23
Devendra Banhart’s forthcoming album, Flying Wig, is set for release on September 22nd 2023 via Mexican Summer.
They say music soundtracks our live and if you are looking for a record to psyche you up before a big night out or to pump you up before taking to the sports arena, this disc isn’t for you. However, for a post rave-up comedown or a chilled Sunday morning this is an ideal soundtrack.
Despite this release being Banhart’s11th studio album, it marks a couple of firsts for him. It is his first release with Mexican Summerand.it is also the first time the acclaimed singer/songwriter has collaborated with Welsh musician and producer Cate Le Bon.
Banhart explains, “My whole life has been filled with sadness. Everything I do in life is to help cope with that sadness. This entirerecord was inspired by Kobayashi Issa’s poem:
This dewdrop world-
Is a dewdrop world,
And yet,
And yet…
I’ve never read a more concise and clear illustration of hope… it just sweeps me away by the breadth of its scope…. as lonely as we might feel at our saddest, angriest, most desperate, most frustrated, most hopeless, most heartbroken moments, we have all felt that, everyone on earth, our ancestors before us, and those that will come after, have or will feel that…. The “and yet , and yet” is our ability to face despair with hope, to keep on failing and loving ….”
“It’s about transmuting despair into gratitude, wounds into forgiveness, grief into praise.”
Turning his back on Los Angeles’ wailing sirens, he packed the bones that would become Flying Wig’s songs into a bag and took to the secluded woodland of a Topanga canyon. The album is the actualization of a precious friendship with the acclaimed solo artist, multi-instrumentalist, Mexican Summer stablemate and producer of Flying Wig, Cate Le Bon. Banhart admits, “She’s the only person I wanted to make this record with. We set out to make a record sonically unlike anything I have made before – with a new creative partner at the helm. We definitely wanted a new sound, electronic yet organic and warm…we wanted to draw out and emphasise the emotional aspect of a synthesiser.”
On opening track Feeling, the first sounds you hear are synths emulating crashing waves, over a picked guitar, with a percussive beat reminiscent of a heartbeat. When the vocals come in they are breathy, soothing and melancholic. Fireflies with it’s sweeping, swooping synths delivers more of the same. Third track Nun ups the tempo with a crisp electronic beat which wouldn’t be out of place on an 80s dance track.
Charger starts with the lyrics – Well it looks like I’ve lost my charger, my charge has gone away. It looks like you’ve lost your hunger, your hungers gone away – then a female voice, which I assume is Cate, harmonises with Devendra singing – Gone away, gone away. Title track Flying Wig brings to mind the Twin Peaks soundtrack, with its haunting guitar. Twin surprises with its Bowiesque intro.
There is a melancholy that runs right across the album however, I believe he has achieved his ambition of giving the synthesiser an emotional aspect. This isn’t your sterile 80s synthpop there is a warmth balancing out the sadness. Ying and Yang.
Banhart plays a lone UK date at The Troxy in London on November 15, in support of this release.
tv's daniel
Never Change - Wild Honey Records
Reviewed by Dave Flerin
Album released - 22nd Sept 23
Never Change by TV’s Daniel is described by their PR as “punk-induced pop” and an “MTV-inspired juggernaut”, and that’s pretty much bang on the money.
Throw in a dash of Pulp and a sliver of The Strokes, and you have a dish that typifies modern indie guitar pop. All these songs thunder along and radiate a lot of energy as they pummel their way to the finishing line.
And, thankfully, there’s enough variety and creativity in here to sustain interest right through to the very end. There’s nods to lots of indie bands like Pulp, The Strokes and The Vines throughout; and it’s proving impossible to dislike any song on here.
“Long Way From the Top” kicks off this long player with the controls set to the heart of the sun; pounding drums, lo-fi electronic squelches and distorted guitars spew out an alternative punk noise with Thurston Moore-esque vocal vibes in a vigorous opening salvo of noise.
Watching You is a sleazy, drawl of a tune with a rather magnifique saxophone solo which shouldn’t work on paper, but it does, beautifully.
Never thought I’d hear the Casio drum pattern from Trio’s “Da Da Da” used in something else, but here it is in “Another Place Another Time”, and it’s used to good effect. This is a great indie-tinged pop tune which gallops along to its conclusion sooner than I’d hoped.
“No Escape” has a Strokes-like sound, and also throws in some dual harmonising guitars which dance around each other; sounding not unlike a kind of Big Country from Austin, Texas.
The next song sees Daniel seriously declare that “Clothes Make the Man”, whilst gloriously fuzzy guitars fizz and splutter around him in a wonderfully messy concoction.
The album finishes with the band really going for it on the opus-like “Human Air”, coming in at just under eight prog-rock-territory minutes. This is one of those songs that keeps chugging along, and could conceivably go on for much longer, but they decide to throw in the towel just at the right moment, to leave us crying for more.
Never Change is an impressive record which deserves to be heard in sweaty indie discos everywhere. There’s no big intellectual statement here, just the sound of six people fully on the same page, and into what they’re doing. Its great big, gonzo, infectious energy deserves to be enjoyed with friends and danced to, with wild abandon.
Recommended!
the brand new heavies
Never Stop (The Best Of) - London Records
Reviewed by John McEvoy
Album released - 29th Sept 23
Back in the mists of time, unbelievably almost 40 years ago, The Brand New Heavies opened for business, and let’s be honest, whilst they’ve never quite achieved stadium status, they were, and still are one of the finest exponents of the Acid Jazz/Funk & Soul style around.
And this two disc ‘Best Of’ is a perfect example of just how good they are.
CD1 is essentially made up of all their biggest singles over the years and CD2 feature remixes and reworks of the same tracks.
I love a remix and CD2 has been on heavy rotation at Wall of Sound towers over the last few days!
CD1 opens with their classic ‘Never Stop’ with it’s choppy guitar intro and instantly danceable groove there’s simply no looking back as we take a trip through the 21 tracks. Check out their version of ‘Midnight at the Oasis’ for example which still sounds as fresh as ever and for me at least is actually better than the original.
Central to the BNH are the vocals, which over the years have been delivered by Carleen Anderson, N’Dea Davenport and Siedah Garrett to name a few. Whilst singers have come and gone, the driving force of Simon Bartholomew and Andrew Levy have been ever present since the mid 80’s and it’s their distinctive style which really give the BNH their unique style.
Switching to CD2, it becomes full on party mode and here you will find a positive treasure trove and high quality remixes from Roger Sanchez, Masters at Work and the mighty Bob Sinclair which you will want to play VERY LOUD to give the bass bins a good workout!!
Whilst the BNH may still be regarded by many as a bit of a niche band, for me they continue to be one of the best exponents of the Acid Jazz/ Funk Soul crossover genre and long may they continue.
Out this Friday 29th Sept, and you really should get yourselves a copy.
Links:
girl scout
Granny Music (EP) - Via Made Music
Reviewed by James Fortune-Clubb
EP released - 29th Sept 23
New release this month on Made Music is the latest EP from Girl Scout, a four-piece from Stockholm, who play accessibly joyful indie rock.
'Granny Music' is Girl Scout's second, apparently highly anticipated, new EP. Opening up with the guitar heavy 'Monster' with definite hints of 90s indie darlings and fellow Swedes, the mighty Wannadies at their effervescent best.
The more reflective second track 'Millionaire' provides an unexpected change in pace and mood, followed by 'Boy in Blue' - full of pop hooks such as it is.
Whilst there's nothing new or out of the ordinary here on the new Girl Scout EP, it's just good quality indie pop and initially all the more enjoyable for that. After a promising start to the EP though, there's increasingly less of interest as the song collection progresses - including the lead track 'Bruised'.
Refreshing then that Girl Scout aren't too self consciously 'try hard' - maybe it is perhaps a combination of the fact that they're still perfecting their song writing craft and maybe, just maybe that the boundaries could have been pushed just a little bit further? If not lazy, possibly a little more effort and ambition might not have gone amiss?
Nevertheless, Girl Scout are a new band and one definitely one to keep an eye on as they grow up in public.
Links:
mckowski
Notes From a Boneyard - Deltasonic Records
Reviewed by Chris Morley
Album released 6th Oct 23
As the nights begin to draw in, perhaps its time to savour what at first glance sounds like a low- rent dark Western, Sergio Leone with added five o' clock shadow.
Mark McCausland dispenses with words entirely, preferring to allow his brooding instrumentals to set the tone & guide you scene by scene through a grizzled Old West of the imagination- see also Danger Mouse's Rome for similar if less eerie Morricone vibes, sparse suggestiveness the order of the day where the man born Brian Burton seemingly called in an orchestra, not to mention a few famous friends & collaborators.
You can almost hear the dusty porch swing in the wind, such is the ambience here, half of the Lost Brothers seemingly almost losing himself completely in what is volume one of a musical True Grit.
Such a move is hardly surprising given his day job- best sampled while pondering whether the glass is half full or half empty.
Links:
maple glider
I Get Into Trouble - Partisan Records
Reviewed by Neil Milner
Album released 13th Oct 23
‘I Get Into Trouble’ is the second record from Maple Glider, the professional name for Australian folk-pop singer songwriter Toni Zietsch.
It’s an intense listen, and you get the impression hearing it that you are part-voyeur into the gradual unburdening of past powerful experiences and her impacted, slightly wounded soul. I suspect that journey is not yet complete.
I struggled to connect with the record, partly because of some of the record’s themes and subject matter. I don’t share those experiences, but I understand and appreciate that many will connect with the record for these reasons, especially younger audiences.
Zietsch had a restrictive religious upbringing which she escaped from in childhood before quickly learning to play acoustic guitar. She’s also escaped draining relationships. All are themes she exposes and explores quite deeply on this record.
There are echoes of Lana Del Rey and Dido, especially on album highlights ‘Do You’, ‘Two Years’, and ‘You’re Gonna Be A Daddy’, which all have infectious cinematic qualities, duelling with emotional tragedy, melancholia, and requisite time signatures, capturing the spirit of doomed romance / youth zeitgeist.
‘Dinah’ is more optimistic, but only in that it’s sugary and more upbeat. Lyrically it’s bleakly stark and direct, complete with sinister edges, ‘So I’ve been in the church making sure no one’s looking up my skirt / Do you thrive knowing that our God favours you over me dear daddy?’ That blunt directness continues on ‘FOMO’ when she confesses, ‘My bank account’s not healthy and neither’s my sex life’.
The album is mostly acoustic with occasional subtle percussion. Song arrangements are traditional and straightforward. That on its own won’t make it stand out in a genre whose market is saturated. I feel its strength is her exceptional vocal delivery which drives the melodies and is powerful. The melodrama it provides is intermittently enhanced by echoey, double-tracked vocal, particularly on ‘Surprises’.
Whatever my reservations or ambivalence, I think this record will be well received by her audience and may be a popular slow burner.
Track listing:
1. Do You
2. Dinah
3. Two Years
4. FOMO
5. Don’t Kiss Me
6. You At The Top Of The Driveway
7. You’re Gonna Be A Daddy
8. For You And All The Songs We Loved
9. Surprises
10. Scream
the menzingers
Some Of It Was True - Epitaph Records
Reviewed by Dave Flerin
Digital release 13th Oct 23
Physical media will follow in January 2024.
This is a proper “blind listen” of The Menzingers’ latest long player, and the first minute of Hope Is a Dangerous Little Thing tells you everything you need to know about this record.
The singer has a Feargal Sharkey-style quivering voice and that’s mixed with some jolly guitars which definitely hint at a 1979 punk vibe. However, the fare they’re serving up is quickly unmasked as indie-lite and far too polite to be alternative. It sadly falls rather short of the credibility mark, and ends up occupying some sort of halfway house between Busted and The Undertones.
That’s not to say there’s no energy or passion here, as everything is performed with lots of enthusiasm; but unfortunately, there’s nothing satisfying at the end of it all to get your teeth into.
You need some humour in music, but as song after song trundles by, there’s absolutely no sign of humour or clever wordplay, which is heartbreaking, as this sounds like a young band trying to make it with their first album. Just when all seems lost, up pops “Try,” with a not unpleasant oasis of calm right in the middle where everything chills the hell out and calms the f*** down, and it’s definitely the favourite so far.
“Come On, Heartache” follows with some guitaring that sounds curiously like “My Favourite Things”. “Ultraviolet” is next, and the joint favourite, with a bit of melody which goes well with the singer’s Fearghal quiver. Weirdly, for all the guitaring on here, there hasn’t really been anything which stands out musically; it’s all very magnolia, when it could have been black, dayglo or deep purple.
“Love at the End” wins me over a bit. I think turning your nose up at naïve youthful exuberance is hard to do for a whole album; and I’m ending up feeling jealous of their youth – damn them!
With “I Didn't Miss You (Until You Were Gone)” I’m feeling that putting any more of this record down is like moaning about a puppy being too playful. For longevity’s sake, their next album needs some memorable musical moments, surprises, and additional doses of attitude. “Runnin’” finally signals the end of this vehicle for their young hopes and dreams.
Now, I’ve held off looking at their biog and videos until I’ve got all the way through their album a few times, and I’ve got a firm vision of them as the love interest’s band from “Angus, Thongs and Perfect Snogging”, and they’re probably from the Irish Republic. So, imagine my surprise when I see that they’re not all 19, but more like 35, and they’re from Philadelphia. I’m SO confused now. I’m going to have to lie down for a bit and think it all through again…
Links:
the dollyrots
Night Owls - Wicked Cool Records
Reviewed by Levi Tubman
Digital release 13th Oct 23
The Dollyrots, Pop punks hardest working band are back with their latest album Night Owls, I should say their long-awaited new album, 4 years since 2019’s Daydream Explosion. It’s been a while but this is a band that’s never still or quiet, constantly putting out songs in between albums, this does nothing to dull the anticipation for the new release!
Opening the album with 5+5, drums quickly followed by a pick scrape down the guitar and it’s the familiar energy the band always bring along, with their own take on the classic love song, with lyrics like “I love when you’re not so perfect”. It’s love with real edges on show, backed with running basslines, tom heavy drums and ringing out guitars, it’s everything you want from the band.
Night Owl, how do you tour from city to city if you’re not a night owl? with lines like “Baby it’s half past 4 I’m not a bore” are they saying having a family makes it a little harder to be a night owl? And if it makes it a little harder, they still manage it and keep on through the night. It feels a little more polished in the production than some of the others but you can definitely see why it’s the title track of the album.
Hot Mom With The Skinny Pants On, is this a cheeky nod to singer and bassist Kelly? Or maybe them both as band members with kids? With lyrics “Smokes green and goes to PTA, can’t wait to roller Derby and bake a cake”. Sure you might get older and have kids, but you don’t have to grow up as everyone wants you to, and if you ever think you need to, here’s a pop punk message telling you, you can be a hot mom with skinny pants on, and you can dance to it too!
When Were Sober opens with a cute electronic riff before opening into the song, slow and laid back at first, before the drums build, giving way to chopped guitars. The band describe the song as “acknowledging how easy it is to lose control of something when you aren’t aware of your own tendencies” and with the lyrics singing about headaches, living on hard mode and when were sober we’ll make up, that really comes through, bringing the listener through a story with a light melodic backing tinged with a few words of caution.
The Vow, may be looking back on the 2 permanent band members marriage, opening with an organ this is no typical wedding song, despite singing about Romeo and Juliet. The bass is dialled up, tinged with distortion, drums and guitar more frantic. It’s got an edge to it, asking if the rosy glow can last? And I love you in sickness and in fun, a far more fitting vow for a couple who write play and tour together, it’s a song of love and life no matter what comes along, and a personal favourite on the album.
Trees Sway, acoustic guitar and vocals with light strings as it starts to build, it’s beautifully stripped back, the music and lyrics have nowhere to hide, and why would you want them to, it’s full of emotion and reflection, talking of meeting again and that trees do sway and bend long before they break.
They have shown their music works acoustically performing streamed live shows during covid, it’s great to have an acoustic number to stand out on the album and make the listener pause for a while, even if it’s just 3 minutes and 22 seconds
In case you start to get too soppy it’s quickly followed up with Tonight With You, a song that’s pure Dollyrots, bass and guitar alternating lead of the song. It’s straight up pop punk fun, it doesn’t mess about, turns up full volume, does everything it needs to and is gone in just over two and a half minutes, quality over quantity!
I cant be the only person expecting the Dropkick Murphys when Irish Goodbye started can I?
It’s a frantic call back to the party life, building until breaking back down to a few more Celtic bars then back to the classic Dollyrots sound. The Irish Goodbye, leaving without saying anything while others might want you to stay longer, you’ve had enough and it’s your time to go, a great way to finish an album.
I say finish but there’s one more song to go, a band that has really mastered the art of the cover, bring us their version of A New England. While more famously known for the Kirsty MacColl cover, I’ve always preferred the original Billy Bragg version, and now this one sits nicely in the middle. Slightly more refined and filled out, but still retaining Braggs working class punk rock roots, with the vocals almost shouted out at one point, it’s a fantastic piece and their best cover to date.
This album has everything fans have come to expect and more from the band. Filled with stories about life, music and relationships. It’s not resting on previous albums successes and stands tall in its own right.
When Wall Of Sound caught up with them earlier in the year they were visibly excited about it, having just listened to the final mix on the drive to Leeds, with Kelly almost having to keep Luis contained about it because no spoilers!
Having seen the band so excited for the album, it’s fantastic to see it live up to their hype. I heartily encourage you to go out and get a copy, and having just this minute opened my own that’s arrived this morning, you really need to get it in the neon vinyl, it’s very fitting for the album and band.
Yes I am a fan, but if anything it makes me more critical. I’ve heard a lot of what they’ve played and recorded so I know what heights they can reach and for me this is up there!
Stand out tracks:
Night Owl - simply a fantastic song, it pulls you in it gets your feet tapping and gets in your ears where you’ll struggle to get it out!
The Vow - it really pulls you in, musically and lyrically its catchy and memorable, and everything I want from the band.
Trees Sway -I always love to see a band exposed showing you they don’t need a lot to show off what they can do, and with the sounds of fingers sliding on the guitar work wonderfully. It doesn’t need to be over produced.
Track Listing
1. 5+5
2. I Just Wanna Play Dead
3. Night Owl
4. Hot Mom With The Skinny Pants On
5. When We’re Sober
6. Hey Girl
7. The Vow
8. Trees Sway
9. Tonight With You
10. Can’t Tell You Why
11. Alligator
12. Irish Goodbye
13. A New England
the rolling stones
Hackney Diamonds - Polydor Records
Reviewed by John McEvoy
Album released 20th Oct 23
Look who’s back!!!
Their first album of original material since the 2005 release of ‘A Bigger Bang’ is about to be released on an increasingly chaotic world, and it seems that The Rolling Stones may have just gone and created one of their best albums to date.
From the refrain of ‘Angry’ through to the closing bars of ‘Rolling Stone Blues’, this is a 50 minute travel through the finest that this band has to offer.
Many bands of their vintage would by now have retired or simply continued to churn out the increasingly tedious and well worn ‘Greatest Hits’ route, so it’s a genuine and pleasant surprise to see them still very capable of releasing great tunes.
Looking at the notes supplied by the label for this release, it’s clear that they had been writing new material for quite a while, and it’s nice to see that the much-missed Charlie Watts featured on drums for ‘Mess It Up’ and ‘Live By The Sword’ with his distinctive metronomic style.
Elsewhere throughout the album, the drums are supplied by Steve Jordan’ who quite rightly doesn’t try to imitate Charlies style, but instead delivers in his own style which perfectly complements the rest of the band.
It’s already been well documented that there are also a galaxy of stars appearing on this album including Paul McCartney, Elton John and Lady Gaga, but most interestingly for me, it was good to see that Bill Wyman also puts in an appearance on ‘Live By The Sword’ so for this of you out there who like this kind of thing. This is the track featuring Jagger, Richards, Wood, Watts and Wyman!!
Jaggers vocals are, well Jaggers vocals! That distinctive American bluesy drawl style sound as good as ever and of course Ronnie Wood and Keith Richards guitar harmonies sound as crisp as ever.
‘Tell Me Straight’ vocals are delivered by Keith Richards, and this is genuinely one of his best vocals deliveries in a long time.
‘Sweet Sounds Of Heaven’ is an epic 7:22 blues gospel workout, which will undoubtedly be a highlight of their expected series of gigs in 2024. Lady Gaga duets with Jagger, and with Stevie Wonder on keyboards, this will undoubtedly become a huge tune.
‘Bite My Head Off’ sees Jagger snarling over an almost punk like guitar thrash which was one of my personal favourites and yes it is Paul McCartney playing bass on that one.
Album closer ‘Rolling Stone Blues’ written by Muddy Waters see the band stripped right back to basics with Jagger and Richards doing what they do best. Vocals, raucous blues guitar and harmonica. It also seems somewhat appropriate that is the album closer and if ‘Hackney Diamonds’ really is going to be their last release of new material, then this final sign off is a perfect way for the curtain to fall.
So… is this album simply another release from a band that really should have called it a day many years ago?
Having now listened to this album several times, it’s an emphatic no!!
I’ll admit that personally I never been the greatest Stones fan, but it’s clear that with ‘Hackney Diamonds’ the muse is clearly still very much within Jagger/Richards.
So in closing, if this really is going to be their last album of new material, it’s a hell of a high they’re signing out on, as this undoubtedly one of their finest releases to date.
I know it’s only Rock ‘n’ Roll, but I like it!!
Tracklist:
Angry
Get Close
Depending On You
Bite My Head Off
Whole Wide World
Dreamy Skies
Mess It Up
Live By The Sword
Driving Me Too Hard
Tell Me Straight
Sweet Sounds of Heaven
Rolling Stone Blues
Footnote:
Hackney Diamonds is old east London slang phrase for broken glass. Specifically, it refers to shards of glass left over from broken car windows and shop windows because of robbery. East Londoners also use the phrase Dalston Diamonds, which references a specific area of Hackney.
