Category: Review

Live – Japanese Television at The Green Door Store Brighton

Posted in Live Music, Review

Japanese Television and Frank & Beans at The Green Door Store, Brighton, 14th April 2022

On the eve of their debut album being released, Japanese Television demonstrated first hand what they mean by the ominous yet enticing world of ‘Space Surf’ – READERS BEWARE – it’s loud.

A Thursday evening at the iconic Green Door Store is where I was introduced to Japanese Television (JTV), but first were the supporting act of the evening, Irish act Frank & Beans.

The duo, consisting of guitar/vocals and drummer, conducted unearthly sounds from the get-go. They departed with a trudgey first song which paved the way for the remainder of their set. The guitarist produced sounds from his instrument comparable with a nuclear generator about to explode, serious ear bending stuff which has slowly been noticed in more and more live sets.

Notoriously, GDS is a nightmare of a venue to get sounding good, however in this instance I’m more inclined to say that it was the distorted fret muffling and pedal stomping which caused such a raucous sound. New single To Be Fair conquered any ambivalence though, with a slap-back lead vocal and a steady and assertive thud-thud-thud drum beat rolling through the toms on the kit, and I was swayed by the vast noise the pair were creating. With only a few seconds of breathing time between songs, Frank & Beans rattled through their set with such prominence I was left invested in such a power that the Irish duo presented – a blazing start to the evening!

During the interval, promoters Acid Box had someone tucked in the corner of the room with an unusual addition to the layout of the Green Door Store venue. An abundance of coiling cables, vintage pedals, a suitcase full of obscure cassettes and a 6 track mixer. From all this, they produced eerie and atmospheric sound pockets which reverberated around the room. The ambience was perfect, and a nice change up from your bog standard sound engineer’s Spotify playlist (not always the one). However, no one else seemed that bothered by the strange sounds from the looping tape. Saying this, I was potentially the youngest person in the room so perhaps everyone else was either oblivious to it or too cool to care – either way I was very impressed. By this time, the gaps in the room had been filled and everyone was ready to enter the void of music which JTV were about to open up.

As the looping intensified and the lights dimmed, headliners Japanese Television took to the stage. The band took off with such velocity and volume – the rhythm section and synths dominated the sound in the room leaving the surfy guitar parts adrift for the first few songs. When the bassist trod on their distortion pedal it almost tore the room in half, reminiscent of the bass outro in the Post Animal tune Gelatin Mode, only here there’s no vocals and the full instrumental force is felt. It reminded me again of how loud it can get in the Green Door Store, if you like it turned up to 11, strap on your space boots because Japanese Television are sending you intergalactic!

After a couple of space jams, the guitar parts appeared and gave the surfy melody which I had been promised after hearing their recordings. Whether it’s the more laidback 60’s influence of Mosquito Dance Routine or Ghoul Rules with the waltzer-sounding keyboard leading the pack, or the huge bass sounds from creepy number Doppleganger Disco, it was nothing short of experimental trippy brilliance! All together it was a mega blend of psych pudding ready to be devoured by its hipster spectators and dancing mums. Admittedly, not the tightest band I’ve seen but then again, they do say time bends in outer space.

More from Japanese Television here – Space Fruit Vineyard is out now on Tip Top Recordings

Words by Matisse Moretti
Header photo by Luis Kramer

20th April 2022

Live – Sparks at De La Warr Pavilion Bexhill

Posted in Gig Gallery, Live Music, Review

Sparks at De La Warr Pavilion, Bexhill, 16th April 2022

The iconic art deco De La Warr Pavilion, steeped in history and complete with a record shop housing a life-size Bowie cardboard cut-out, seems an appropriately worthy setting for Sparks’ visit to the south coast.

After decades of performing and making music that has consistently set rather than followed trends, this was always going to be something special, and as the Mael brothers arrive on stage it takes less than seconds for the crowd to erupt into a cacophony of cheers and declarations of love that will be maintained throughout the evening.

With a showcase of songs from different eras, there are classics, surprises and delights galore. Taking it right back to the start, Wonder Girl rubs shoulders with Edith Piaf and Johnny Delusional, while Russell pours his heart out to a hand mirror in I Married Myself. 

Theatrics have always been integral to the Sparks’ brand, Russell the playful protagonist while Ron’s unsettling stare has been often copied but never matched. These days he rightly allows humour to take the forefront at points in the set, taking centre stage to share vocals on Shopping Mall of Love, and treating us to the famous ‘Ron dance’, a sight to behold; an artist deserving of their keyboards bearing the name Ronald instead of Roland. Still, Russell is the conversationalist, chatting to the audience about everything from the failures of the early days to the highs and lows of lockdown, including the film releases of The Sparks Brothers documentary and Annette, for which they composed the music. His shout out to Ron’s songwriting skills is a reminder of just how accomplished their back catalogue is, their latest album A Steady Drip, Drip, Drip maintaining the standard and showcased perfectly in the articulately dramatic Stravinsky’s Only Hit. With nods to operatics, vaudeville and the purest electronic glam, it’s obvious just how many other artists have been influenced by them along the way.

The two hour set culminates with the big hitters of The Number One Song in Heaven and This Town Ain’t Big Enough for the Both of Us – both as utterly iconic and timeless as the setting we’re in. Once the adulation from the crowd has eventually died down a little, Russell takes time out to thank the band and extol their individual talents. Of course, they’re never going to get away without an encore and return to complete an absolutely outstanding performance with Suburban Homeboy and All That.

A night to remember for sure and a privilege to witness the phenomenon that is Sparks. When do they get to sing My Way? Any time they like, any song they like, they really have earned a space in the musical elite. It’s worth a mention that everyone from security to the ticket desk and merch stand at the De La Warr was really friendly and helpful too.

Difficult to adequately sum up the experience but, to steal a line from the final song, the show was ‘all that we’ve seen, we’ve heard, we’ve dreamed, all that, all that and more…’

Sparks play tonight at The Roundhouse in London before heading across Europe.

Words / photos by Callum / Siobhan

17th April 2022

Landlubber Music Festival 2022 (Barnsley)

Posted in Festival, Gig Gallery, Live Music, Review

Landlubber Music Festival, Barnsley, 9th April 2022

A brand new grassroots festival emerged from the depths of the pandemic during April. Situated in the fantastic Birdwell Venue, just off the M1 at Barnsley, this event was Quality (with a capital ‘Q’) from start to finish. The venue, recently refurbished, has outstanding sound and lighting, with live screens throughout the venue, so you never need to miss a thing!

Looking down the programme of artists, you just knew this would be a fantastic day! Opening act, Canadians In Space, were hilarious! They would have benefitted from being further down the list for a greater audience, but they were playing more than one gig that day. Do check them out: tremendous musicians, but their songs are laden with a good old Yorkshire sense of philosophy, leaving the audience with some fantastic earworms that might get you slung out of the supermarket if you were singing them aloud!

Huddersfield Alternative Grime Rock band were also moving on to another gig, this time in Mamchester. Loud, energetic and with a conscience, these guys were in complete contrast to the previous act, a real selling point for future events: a broad selection of genres.

In contrast again came 15-year old Dan Ottewell-Naish, a young man so clearly inspired by The Levellers. What a talent he is! Great songs. Great guitar playing. Huge stage confidence! A really humble young man off stage. Lovely to see!

The wonderfully named Frank Grimes and The Disasters (a Simpsons reference) continued the diversity with their Punk/Pop/Rock set, reminiscent of bands such as Green Day, The Offspring and Smashing Pumpkins.

Warsop’s Caution Horses played a great set, even though they were a man down, followed by more Warsop talent, the very funny and entertaining Star Botherers.

The final 4 bands of the day can all be found in the same circuits. Firstly, the wonderful Celtic Punk Black Water County, filling the stage with that wonderful penny whistle sound that makes you want to swing a pint and jump up and down!

Following on, came Sheffield new favourites, Shanghai Treason, described as ‘Yorkshire Flatcap Punks.’ Their front man, vocalist Sam Christie, was largely responsible for the whole event , so he fully deserved all the accolades that day!

Penultimate performers were the raucous Roughneck Riot, from Warrington. They filled the stage with energy and angst and Punkish excitement!

The Barstool Preachers gave a phenomenal performance of Ska and Punk to close the day. Their frontman, TJ McFaull, strides the stage and delivers with passion and vehemence the band’s tirades against the injustices within society.

This was a day with a social conscience. A day full of top music, with musicians of all ages having their say and entertaining a welcoming crowd.

All credit to Sam Christie of The Gig Cartel and his team at The Birdwell for putting on one hell of a show! Bring on the next one!

Landlubber Music Festival

Words and photos © Tina Sherwood at AlltheTs Photography

16th April 2022

Live + Interview – Jack Howard at WaterBear Venue Brighton

Posted in Interview, Live Music, Review

Jack Howard at WaterBear Venue, Brighton, 5th April 2022

A night of Brighton debuts for me as it was the first time experiencing the intimacy of the WaterBear Venue, as well as London jazz artist and long time friend, Jack Howard, who returns to Brighton after a 4 year hiatus from the city.

The place was brimming with Brightonian student life. Friends and fans of both headliner Jack Howard and support, Amber Burgoyne, hustled around the bar to grab their (modestly priced) £4 beer – perks of a university run venue, ey?

Prior to his set I managed to nab Howard for a quick 10 minute chat where he opened up about past releases, musician FOMO, and some poignant decisions that he has chosen to take to benefit him with his songwriting and his authenticity as a musician. With seven releases to date we began by chatting about Howard’s debut Yesterday. “I was as green as they come when I wrote Yesterday” explains Howard earnestly.

Honourably, Howard has made a conscious decision to take more time in his artistry and worry less about being a big name in lights at this point in his career. “Before I just thought I’d write all these pop songs and become famous but the more I ended up writing, the more the idea of being famous wore off and the better my writing became”.

He mentions that just before lockdown he sold out Colours, a 300 cap venue in London and was taken aback on how he’d managed to sell out a venue without any management or industry backing. However, Howard picks up that he wasn’t entirely happy with the music he was making and his own development. He describes what I like to call ‘musician FOMO’.

Around me I kept seeing other [artists] doing something…”. Ambiguous as it sounds, I believe that that something is Howard observing other musicians being proactive with their career. “I felt like ‘fuck, I need to do something’, when that should never be the motivation behind true creation”. In Howard’s words, he is the self proclaimed “laziest person he knows in terms of creation” but, I have to disagree with my friend Jack here and give him some credit. An artist cannot move themselves to London, grow a social media following on Instagram and TikTok, be an unsigned and unmanaged solo artist that can sell out venues and call themselves lazy – not to mention the gig I was about to witness which was self-promoted.

As we ended the interview the support, Amber Burgoyne, played her final song, a well rehearsed and tight band backing Burgoyne’s strong stage presence. The room was now prepped and ready for the headliner to play his first show back in Brighton after 4 years, as the underground venue was packed out.

The set kicked off with a funky instrumental that really set the tone. From the word go it was clear the headliner was much more in his own using jazz and funk melodies with a pop tinge and raspy vocals – thoughts of Paulo Nutini spring to mind, a self-confessed inspiration of Howard’s.

Highlights from the set included when Howard cheekily dismissed the band and performed a spine tingling stripped back version of his latest release How to be a Man. As the crowd hushed any mutters from potential hecklers, the room fell silent… Here I see how Jack’s vocals can’t be faulted, despite some minor technical errors which are brushed off with a harmless smile and giggle from both musicians and the crowd, altogether it made for a terrific performance from the whole band. Further moments on was the fan favourite Sublime and unrelated tune Meteor, a song said to be about a man rating his car, from the perspective of Howard – a non-driver. Special mention to the saxophone/backing vocalist Molly, whose shy character juxtaposed her every time she jumped from sax to microphone, really adding some additional authenticity to the live performance.

It continues to be a refreshing thing to hear yet another artist using the pandemic as a time of reflection and integral pondering, signalling that many artists actually used the halt on humanities day-to-day life to study themselves rather than be bitter about it. Jack Howard’s return to Brighton did truly feel like a homecoming. A homecoming filled with appreciation, care and authenticity. I walked out onto the very breezy Brighton seafront having discovered a new venue and what felt like a new artist certain on his path and ready to write that song that gives him the recognition as an artist that he deserves.

Jack Howard – FFO: Tom Misch, Paolo Nutini, Isaac Waddington

Words and photo from WaterBear by Matisse Moretti

12th April 2022

Live – Warmduscher | CLT DRP at Concorde 2 Brighton

Posted in Gig Gallery, Live Music, Review

Warmduscher & CLT DRP at Concorde 2, Brighton, 9th April 2022

When Warmduscher came together, made up from fragments of other bands, it felt like a great experiment that might or might not last. Happily, the band has done nothing but go from strength to strength – a hybrid of genres meshed and held together by sheer talent and an occasional disco ball.

On Saturday, Brighton had the pleasure of their company on a seaside trip to Concorde 2. Starting strongly with the heady trio of Big Wilma, Midnight Dipper and The Salamander, it was an early reminder that they have accumulated a huge heap of accomplished tracks to choose from and, despite providing matinee and evening performances, there was no let up in energy, the sold out crowd loving every second. There’s no doubting that Warmduscher are rated, but every possibility that they’re still hugely underrated – if the chance to see them live comes along, grab it with both hands.

Solid support on the night came from local punk favourites CLT DRP; a good choice to kick things off, photos from both sets below.

Hosted by JOY.

CLT DRP

Warmduscher

Words and photos by Siobhan

11th April 2022

New Music – ELLiS D

Posted in New Music, Review

New Music – ELLiS D – Drifting

A powerful and ambitious single, Drifting boasts a no-fear attitude to the psych-pop world. The bass introduces the track and becomes the status quo for the 7 minute piece. Yes… people are still allowed to write 7 minute songs!

This shouldn’t deter anyone from lending their time to ELLiS D. D’s whiney and very contemporary vocals cry for honesty and confinement in the repetition of “ I am living in the comfort of my shadow”.

Musically, when it comes to Psych Art Punk – to which D describes himself, I think this song is it. It is fine orchestration of guitar focused melody which is subtle enough to hypnotise while remaining poppy and highly-listenable. The guitar line blesses me with nods to early Sunflower Bean or Candy Moore’s 2018 Under the Weather album.

With all this energy and drive in the chorus towards a certain crescendo the mood shifts… all of a sudden we are being gracefully walked down a psychedelic garden path to what feels like the end of the song. And then the bass returns. The drums kick back in. And we’re back to square one again to an early U2 style instrumentation, love it!

It’s worth pointing out, and although I may be wrong, what felt like programmed drums at the beginning really add to the robotic stop-start elements of the first two minutes of punky attitude before switching to a live performer – something I accepted on the second listen.

I see ELLiS D build greater understanding of himself personally and musically moving away from those around him through his music, “some fuckers say, they’ll sleep when they’re dead” stood out as a strong social critique of what D has been perceiving as a young man.

Take the time to listen to the track and be shot through a 7 minute vacuum that will pull you through the other side only to want to experience it all over again.

ELLiS D

Words by Matisse Moretti
Photo by Hector O’Donnell

8th April 2022

New Music – Cage Park | Ostrich

Posted in New Music, Review

New releases – Cage Park | Ostrich 

Cage Park – Holding On To Hand Me Downs EP

It’s official: Cage Park’s newest 6 song EP Holding On To Hand Me Downs scores their hat-trick of EPs, with a project that races through genre, creating a pulsing energy that makes each track fresh, but part of a full ‘Cage Park-y’ atmosphere that is better felt than described.

The EP begins with mind-melter Sofa Bed’, a track that pulls like an eager dog between a soft indie verse and a sonically brimming chorus, that almost revives the vitality of 2000s brit indie albums like Silent Alarm and especially I Had the Blues but I Shook Them Loose – tones that are ready to blaze eternally. Guitarist Leo Marks shines in the latter half, bringing that tense sound that always plays perfectly alongside each singers’ resonance. If looking to get a taste of the band’s potential, Sofa Bed will give you that, but I can’t promise you won’t want the full meal after hearing this three minutes. 

We then jump right into MUD – part one of the two singles of this EP that fall into the distinction of three letter, one word, all caps anthems that bring a slice of British life in song form (think English Weather by FEET, but even more niche and weaving). Both MUD and BUS bring the gig audience into the headphones, with shout-along choruses that beg for a crowd to sing along. While the number 50 bus in Birmingham might not be a universally known phenomenon, BUS certainly pulls for anyone to sing as if they too were in the seats of our narrators.


One personal highlight of the EP is the distinct personalities of each singer. Not only are each given the chance to express their clear talent, but their styles give each voice purpose throughout. For vocalist Edie Mist, this comes in the brilliant Split Ends, which emphasises the rock of the band, building from Mist’s intimate storytelling (like the peculiar ‘you take off my make-up, you cut my split ends’) into an abrasive, increasingly dynamic fight of words (‘sorry, you’re not good enough for my friends’ being another entrancing piece of the puzzle of this song). This is backed superbly by the band’s quick-paced builds, especially with drummer Reuben Saunder’s control over the rhythm of the track. If words weren’t enough to express the feelings towards this track, the amount it’s taken to express those feelings probably gets you to understand the quality of Split Ends.

In Ninety-Nine, Arthur Belben gets his highlight, giving a stellar vocal performance that laments over the fears of the future, including £7.80/hour jobs and the dread of becoming a daily mail reader in his eighties – existentialism doesn’t even begin to cover it. Holding thematic similarities to Hand Me Downs, Ninety-Nine holds focus in the future, with lyrics that will be taking me weeks to emotionally decipher. 

Ending strong in sorrow with previously covered track Hand Me Downs, Cage Park fulfil the promise of their singles, by creating an EP that rolls as a rollercoaster of emotion, never holding the brakes through joy, fear and gloom. 

Cage Park

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Ostrich – Perfect Family

It’s hard to believe there’s anything cooler than Ostrich’s newest single, Perfect Family. The band weave round the idealisation of the title, creating a tune that creates a spookily funky atmosphere.

The tune is backed heavily by a heavy hitting bass line, one that kicks a strong rhythm right into the ears, aided by funky little musical additions from time to time. Singer Will Mctaggart weaves a Dick and Jane-esque tale of happy families – at least, until the chorus’ “They have chestnuts in their yard”; a strange display of perfection that opens the gate to the most ethereal elements of the band’s capabilities. Saxophones and synths keep the aforementioned funk flowing throughout, as the band maintain a pumping song whilst never feeling stale. 

It’ll be a wonder to explore the worlds that Ostrich create in the future, as this Perfect Family seems to only further demonstrate their creative potential.

Ostrich

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Words by Jacob Rose

8th April 2022

New Music – Keston Cobblers Club

Posted in New Music, Review

Keston Cobblers Club – Lullaby for the Wide Awake

Any of us who’ve suffered with insomnia will understand the toll it can take. However, instead of hopelessly watching the minutes turn to hours or checking out bargain jewellery on late night shopping channels, Julia Lowe turned the moment towards creativity, writing the band’s new single Lullaby for the Wide Awake in the early hours of just one such morning.

Folk-filled vocals backed with an almost orchestral undertone, the track is haunting, compelling and uncomplicated in its delivery but far from simply constructed. Less is more as the saying goes, and the understated quality in the production is what takes things to a new level for the band here.

Things bode well for pending album Alchemy, due for release on 22nd April, and you catch them on UK tour dates throughout April and May. In the meantime sit back and enjoy the music – sweet dreams…

Keston Cobblers Club

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Words by Siobhan

6th April 2022

 

New Music – Black Doldrums

Posted in New Music, Review

Black Doldrums – Dreamcatcher

Black Doldrums return with their dreamy and driven moody aesthetic with their new music video for the track Dreamcatcher. After releasing their debut LP, Dead Awake, in early March, we are brought up to date with a new music video from the album. The newly formed trio (formally a duo consisting of drummer Sophie Landers and guitarist/vocalist Kevin Gibbard) are now joined by Matt Holt on bass.

The imagery that accompanies the track is haunting yet well paced. The dreamy visual compliments the pounding drums and the use of black and white only exposes the contrasts of sea and sky, all fabricated by returning Director Lauras Conlon. As the wall-of-sound guitar line rings out, Landers and Gibbard prowl a desolate beach, all the while an eerie and angelic figure observes them. This gothic aesthetic is certainly not a novelty however, it’s impressive to see a distinctive lack of charisma define such a strong personality for the band.

The band say, “The moody psychedelic post-punk of Dreamcatcher is a song about defiance against a sense of being held down, an idea which occurs constantly throughout the album”.

The single’s new video is the third in a trilogy by film-maker Laura Conlon that also includes lead single Sad Paradise and Into Blue.

I thoroughly enjoy it when I find a new shoegaze band and it’s great to hear the trio are becoming a staple for the underground dreamy rockers of the UK. Long Live Shoegaze! This band have tones of The New Division, Ride and The Jesus and Mary Chain.

If you’re wanting to catch Black Doldrums live you can find their pending UK tour dates below.

DEAD AWAKE TOUR-DATES

22/04 Manchester – Night and Day Cafe
23/04 Huddersfield – Venn Street Social
24/04 Leeds – Oporto
26/04 Leicester – Firebug
28/04 Hull – The New Adelphi Club
29/04 Todmorden – Golden Lion
30/04 Liverpool – Smithdown Road Festival, Black Cat Stage
01/05 Glasgow – Stag and Dagger venue TBC
08/06 Nottingham – The Bodega
09/06 Winchester – The Railway Inn
10/06 Exeter – Exeter Cavern
11/06 Penzance – The Acorn
15/06 London – The Grace
16/06 St Albans – The Horn
17/06 Northampton – The Black Prince
18/06 Bedford – Bedford Esquires
30/06 London – 229 (supporting The Primitives)

Black Doldrums

Words by Matisse Moretti

5th April 2022

 

New Music – Ellie James | English Teacher

Posted in New Music, Review

New releases – Ellie James | English Teacher

Ellie James – Uncomfortable

In shifting from previous persona Little Rêd, Ellie James returns with single Uncomfortable, a reflective track that bursts with poignancy and individual hope.

Beginning with tones that draw out her lyrics further into thought, it isn’t long before James’ track picks up the pace: added drums and a new guitar rhythm both give a heartbeat to the track, before dissolving into their own journeys, unfolding the aural landscape. It’s not unlike the music video (one that, like Divorce’s, comes from Clump Collective) which sees James near-motionless in a lift, as various and increasingly disruptive people take up her space.

While certainly provoking the title of Uncomfortable in the video, the song’s instrumentation is anything but, adding extra flavours of emotion to her simmering thoughts.

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English Teacher – Mental Maths

English Teacher’s last drop before debut EP Polyawkward,  Mental Maths once again shows the band’s hefty unpredictability, broadening the scope of their music into old school rock/metal and a cheeky bit of math rock for good measure.

Lily Fontaine’s lyrics, as usual, help deliver their own tales that provoke the need to pause and just take in: like, who am I, when I’m outside (outside)? Simply aided at first by the band’s post-punk waltz, the chorus shows the separation into one of their signature charms of instrumentation that washes ears with waves on waves of shifting rhythms, that somehow keep the band synced but separately unique.

One for the crowds (especially with a chaotic pumping 5/4 bridge), English Teacher are somehow amping up even further hype for both their EP and first headline tour.

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Words by Jacob Rose

4th April 2022

New Music – Lizzie Reid

Posted in New Music, Review

Lizzie Reid – Bible

Just over a year since the release of her debut EP Cubicle, Lizzie Reid returns with Bible: a beautifully poignant journey that shows Reid’s strength to develop, whilst keeping the entrancing sound of her previous work.

In her words, Bible ‘forces me to look at myself through someone else’s eyes’ in the anxiety that arises in the return to love. As the title suggests, religion blends in with intimacy, with the heart-achingly personal devotion of lines like ‘I’ll show you my childhood’ / ‘I promise to feel yours like you do’ blossoming later into the forlorn desperation of ‘I feel the gods have got it wrong’, weaving one faith against another.

In reflecting this personal struggle, Reid’s performance angelically captures personal anguish, both capturing the warmth of verses alongside the comforting guitar and soft percussive accompaniment, before reaching the peaks of previous tracks like Cubicle with harmonious, emotionally piercing choruses.

Delivering even more excitement for her performances at The Glad Café and Sonic Wave, it’ll be hard to not keep ears open for this more-than-promising artist.

Words by Jacob Rose
Photo by Matilda Hill-Jenkins

23rd March 2022

Live – White Lies | VLURE at Chalk Brighton

Posted in Gig Gallery, Live Music, Review

White Lies & VLURE at Chalk, Brighton, 18th March 2022

The return of White Lies with new album As I Try Not To Fall Apart has cemented their ability to create powerful songs that, despite the perceived sadness in their titles, have the ability to make people very happy. Out on tour around the UK, theirs is an impressive show on many levels.

An interesting pairing taking VLURE along as support – though both bands are with Red Light Management – the Glasgow five-piece have made a huge dent in the music scene captivating smaller venues, but how would this transfer to a bigger stage further from the crowd, many of whom potentially hadn’t heard or seen them before? In a genius move I’ve not witnessed previously, the simple answer was for vocalist Hamish Hutcheson to perform the whole set from the raised ledge in the photo pit – apart from the jump over to wander through and sing up close to the audience (props to security for ensuring the mic lead didn’t claim any victims on its ever extending journey). It’s hard to do the VLURE experience justice in a few words – intense, emotional, and just the right side of chaotic, they’re without doubt one of the best new bands around and clearly give the same maximum effort wherever they play.

And so to White Lies – it’s always a bold move to start with one of your most successful songs and the opening notes of Farewell to the Fairground set the pace for a show full of formidable tracks. By this stage Chalk was absolutely rammed with fans old and new enjoying what it has to be said was a faultless showcase. The band sounded great, the music was beautiful, the lighting was spot on, there was a lovely atmosphere, and really you can’t ask for much more than that.

The new songs are strong and along with the title track from As I Try Not To Fall Apart, other stand-outs came in the shape of Am I Really Going To Die and There Is No Cure For It. The old favourites were very much on hand as well, displaying the quality of their songwriting from early on in To Lose My Life, Unfinished Business and with only a tiny hint of amusement that the crowd was actively cheering for Death.

The tour continues tonight in Dublin, then heads for Liverpool, Norwich, Oxford and London through the week. Go to see White Lies and discover VLURE – or go to see VLURE and marvel at the long-standing talent of White Lies. Either way, this was a mighty return and an excellent night’s entertainment.

(White Lies European dates follow until the beginning of May).

White Lies | VLURE

Event hosted by Lout Promotions

Words / photos by Morgan / Siobhan

21st March 2022

New Music – Honeyglaze

Posted in New Music, Review

Honeyglaze – Female Lead

Released on International Women’s Day, Honeyglaze’s Female Lead finds time to tell a light tale of hair dye, that underlyingly holds both lyrical reflection and a display of the band’s talent.

The key feature of Female Lead seemingly lies in vocalist Anouska Sokolow, delivering some stellar lines including the rhyme of ‘Madonna’ with ‘80’s Horror’ – a work of absolute genius. Her performance was influenced by the Shangri-Las and ‘narrative heavy pop songs that were coming out of the Brill building during the 60s’: a feature that adds a transcendental quality to the track, as it blends a deliberate vocal and temporal energy of that era with the sombre indie of both guitarists’ nicely attributing melodies (itself influenced by the same time, but usually without the appreciation that Honeyglaze openly show).

With only roughly a month to go before the release of their debut album, and with stellar tracks like Female Lead and Shadows behind them, Honeyglaze are clearly gearing for greatness.

Honeyglaze – self-titled debut album due for release on 29th April 2022
via Speedy Wunderground

Words by Jacob Rose
Photo by Holly Whitaker

21st March 2022

 

Live – Lynks | Jessica Winter at The Green Door Store Brighton

Posted in Gig Gallery, Live Music, Review

Lynks & Jessica Winter at The Green Door Store, Brighton, 17th March 2022

From their Brighton debut at the tiny Rossi Bar two years ago, the Lynks message has clearly spread. After stealing the show at Mutations Festival in November, tickets for the Green Door gig started flying out and those who were lucky enough to grab one were not disappointed.

First though, proof if it were needed that you should always catch the support slot. Stunning vocals from Jessica Winter and the stage presence of a film noir starlet captivated the room. The perfect way to kick things off.

To the strains of The Wedding March and clad in a psychedelic bodysuit, Lynks walked down the aisle through the crowd and jumped on stage, catapulting straight into live favourites This is the Hit and Everyone’s Hot (And I’m Not). New track Hey Joe (Relax) was just as well received, with sing backs from the heaving crowd continuing throughout the set.

Ably backed by the Lynks Shower Gel trio, a Lynks show is an immersive experience that never fails to lift the spirits. Finishing with the ever popular Str8 Acting, the crowd response was as loud as I’ve heard at the venue and justifiably so. The tour continues tonight at London hotspot Heaven, then moves through Bristol, Birmingham, Nottingham, Leeds, Birkenhead, Glasgow, Newcastle, Manchester, Southampton and Margate – catch it if you can.

Lynks | Jessica Winter

Words and photos by Siobhan 

18th March 2022

Album Review – The Ninth Wave

Posted in Albums, New Music, Review

The Ninth Wave – Heavy Like a Headache

As The Ninth Wave announce a hiatus to pursue other projects, they leave us with second album Heavy Like a Headache. Mixed emotions for fans as the anticipation of new music is coupled with the knowledge that those intense, intimate performances that the band have been bringing over the last few years are no longer on the cards. Nonetheless, the album still has stories to tell.

Vocal heavy Maybe You Didn’t Know holds elements of traditional Scottish songs of the past, segueing into more familiar ground on the 80s’ fashioned electro-pop of Heron on the Water. There are many dilemmas posed throughout. Recent single Hard Not to Hold You questions, ‘Should I change myself enough so you stop wanting to know me?‘ while closing track Song for Leaving ponders what might happen ‘if we break apart’.

As a whole piece of work, the album is impassioned and heartfelt, befitting of the circumstance in which it arrives. If this is to be their swansong, then at least we have a soaring momento of everything that’s gone before. Heavy Like a Headache, released tomorrow via Distiller Records, is an accomplished reminder of why The Ninth Wave will be very much missed.

Watch the video for What Makes You a Man below.

Vinyl, CD, cassette and download versions of the album available here

Words by Siobhan
Photo by Yaël Temminck

17th March 2022

Live – The Cribs | The Blinders at Chalk Brighton

Posted in Gig Gallery, Live Music, Review

The Cribs & The Blinders at Chalk, Brighton, 12th March 2022

With a back catalogue spanning eighteen years and every album full of fan favourites, it’s difficult to imagine how The Cribs pick their setlist and still leave everyone happy with their choices. I guess if you don’t have a bad song in there you can’t really go wrong.

Their release of latest album Night Network was a welcome return that lifted the shadows of lockdown, and the anticipation of the accompanying tour proved utterly justified as they hit the stage at Chalk in Brighton on Saturday.

First up with a lot of support in the crowd, The Blinders treated us to a mix of older tracks and others taken from this year’s Electric Kool-Aid EP. Their advancement from a trio to a five-piece adds extra layers to their performance, though the dark undertone is undeniably still present.

By the time The Cribs walk out to the heady hat-trick of Running into You, I’m a Realist and Our Bovine Public, Chalk is heaving with the unmistakable atmosphere that comes with each and every one of their gigs. You won’t find a better crowd and, no matter the size of the venue, it always feels like it’s just a big group of friends out to see that band they love – the group of friends has extended majorly over the years but the love for the band never dips. Whatever the circumstance, when  you meet another Cribs fan you just know they’re alright.

The energy continues on and off stage alike, word perfect singalongs from the crowd to everything from an unexpected rendition of I’m Alright Me to an acoustic Shoot the Poets and later set stalwarts Be Safe and Pink Snow, the band, mosh pit and surfers barely pausing for breath.

After the show ends, the surrounding streets of Brighton are filled with reasonably in key variants of the opening chords of Another Number. Whatever else is going on in the world one thing remains dependable, you’ll never leave a Cribs gig without a smile on your face – here’s to many more.

The Cribs | The Blinders

Words and photos by Siobhan

15th March 2022

 

New Music – Francis of Delirium | Car Boot Sale

Posted in New Music, Review

New releases – Francis of Delirium, Car Boot Sale

Francis of Delirium – The Funhouse

Building up a hefty amount of anticipation as their debut US venture kicks in, Francis of Delirium’s The Funhouse kicks the chair, dropping us into a soundscape of chaos that keeps its listeners (willingly) captive.

The energy of the track can be felt from the first five seconds – a searing guitar splitting in two between the stereo, keeping pace but creating immediate seeds of sonic disorder. Despite these tonal singes appearing throughout, they never feel like the ‘most’ that the track can do. Instead, throughout Jana surrounds you, the track knits enticement and gloom, flowing despairing lyrics in ever-changing rhythms that keep the track engaging until its end. Bahrich’s elusive delivery of lyrics centred on “attempting to remain unphased by the mayhem” drastically transforms between rhythms.

Supported by a video that iconises the chaos of the track, it’ll be hard to stop the carousel that is The Funhouse from being repeated over and over.

Francis of Delirium

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Car Boot Sale – Headhouse

Headhouse is the latest single from Car Boot Sale, that brings dreamy indie pop right back into its prime.

The tune is primed for its soft yet bouncy atmosphere with its initial collaboration of tones, with the band keeping a sync, allowing each member their time as the tune unfolds – each six-string guitar laterally owning their space while the bass expands rhythmically into some fun styles throughout. Key standouts are drummer Ciaran Forth and vocalist Jacques: the former keeps the track solid, but in a jelly-like state, where variation never dulls the track down; the latter’s twisting vocal energy lifting listeners between tranquility and shout-out-loud lines, done with “ain’t that a lot of love?”.

It’s hard to see what’s not to like about Headhouse, stirring up even more love for the band and the future ahead of them.

Car Boot Sale

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Words by Jacob Rose

15th March 2022

Live – Franz Ferdinand at Concorde 2 Brighton

Posted in Gig Gallery, Live Music, Review

Franz Ferdinand at Concorde 2, Brighton, 11th March 2022

Launching their 20-track greatest hits collection Hits to the Head, Franz Ferdinand dropped into Brighton last night to play an intimate outstore performance for local record shop Resident. Back at Concorde 2 for the first time since April 2004, it was a fantastic opportunity to see them in a smaller venue and marvel at the extent of their back catalogue.

Dark of the Matinee, Walk Away, Michael, Always Ascending, the hits just kept coming and the newest formation of the band, including Audrey Tait on drums, sounded absolutely on point. What a fabulous night – captured in pictures here by Mike Burnell.

Franz Ferdinand
Hosted by Resident and One Inch Badge

Photos © Mike Burnell (iso400.com)
Words by Siobhan

12th March 2022

 

 

New Music – Fräulein

Posted in New Music, Review

Fräulein – Drag Behind

Fräulein’s new single Drag Behind continues the duo’s streak of creating small fires with which to burn emotions on. 

The tune starts with an infectiously drab riff, one which as the track progresses, begins searing with the energy to go further, energy stopped perfectly by the bleak atmosphere of the tones created. This seems to go hand in hand with Joni Samuels’ lyrics, conveying the search to reach potential, until “your constant comparisons drag you down”.

Samuels’ voice brings an intricacy to the classic styles of post-punk singing, seen in the likes of influence PJ Harvey and equally Bristol-stemming contemporaries wych elm, with each lyric seemingly hiding a hidden emotion to decode, from playfulness to despair. Van der Tol’s drumming, too, can’t go unmentioned: capturing the perfect rhythm with which the track casts equal measures of fever and underlying gloom. 

With their style freshly evolving through the band’s London/lockdown era, it’ll be a despondent delight to see where they next take our ears. 

Fräulein

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Words by Jacob Rose
Photo by Hannah Mason

4th March 2022

New Music – cheerbleederz

Posted in New Music, Review

cheerbleederz – cute as hell

cute as hell is the latest from London punks cheerbleederz, a blast of nostalgic rock sprinkled with just the right amount to add a modern twist.

This dissonant spin is felt in the first few seconds of the track, as a guitar gently sears over a bass line that jumps right near the edges of easy listening. In the verse, the band come together in an image of desire dangled just above danger – the hell is definitely not to be left unseen, or even in jest, when it is followed with “I’m going to bash your brains out your skull”.

The track, as hinted with the music, always feels on the edge of chaos, on the edge of destruction, which keeps its pop-punk vibe immaculate, and it’s dips into the styx of aural and lyrical aesthetic.

Released on Valentine’s day, cheerbleederz have given the first of their lovely gifts, one of many to come in the build up to their album’s release in the summer.

cheerbleederz

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Words by Jacob Rose

25th February 2022