Category: Reviews

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Indie/Indie Rock Reviews

Review: Beabadoobee – Fake It Flowers

Fake It Flowers the debut album by the ever so popular Gen Z icon Beabadoobee has finally dropped and it’s everything we could have wanted and then some. Bea’s transformation from indie bedroom pop artist to full on emotional grunge rocker is complete, if you’ve been watching Bea for a while now it’ll feel as if she’s finally turned super saiyan, I mean she has the blonde hair now so maybe. But I’m getting ahead of myself, this isn’t someone who’s changed randomly, the natural progression of Beabadoobee’s musical career is just her finding her true self sonically, she’s perfected her craft and the album is one hell of a bang to showcase that. 

Fake It Flowers is a river of 90s grunge majesty, but with slick modern production. I hear the term ‘bubblegrunge’ when referring to Beabadoobee’s material and it’s a pretty solid umbrella term I think we can all get down with, but 20 year old rock star goes down a treat just the same. Bea manages to gather an audience of listeners from so many different genres, from kids who adore the bedroom pop-rock sound to adults who can’t get enough of the modern grunge sound people haven’t really heard much of really since the 90s ended, but her fans come together and bathe in the tranquility of the tracks pinned down by Bea and her band. 

The album kicks off with lead single Care, a classically cutesy Beabadoobee verse that then quickly builds up to a monster of a chorus that begs you to head bang and dance around your room. A perfect opener that shows off the sombre guitars and beautiful melodies we’ve known to love, and then to turn that idea on it’s head and shove the heavier guitars and make the rocker chick really resonate with you, especially with the lyrical complexities of the track, and over the whole album. Care takes us straight into the absolute anthem that is Worth It that just makes you crave to be in a mosh pit again belting out to the bonafide deal of a Beabadoobee show. 

Dye It Red is another stomper to make you punch the air, where the sound of the album really makes itself present, the drums that bang around your brain complimenting the guitars so well, but interwoven with the glorious bass that together ground you whilst the shoegaze-like guitars wisp you away. The production is consistent and absolutely mental, the way tracks such as Worth It, Dye It Red and Together just pop out, it’s almost as if you can feel each instrument around you. Dye It Red (like most Beabadoobee songs) lyrically is on another level, magnificent melodies disguise the deeper lyrics upon first listens, and on a further inspection you hear fragments of Bea’s life. “Fuck me when I’m keen, not according to your beer”, a glimpse into the everyday objectifying of women, especially when it comes men under the influence of alcohol. “Let me cut my hair and dye it red if I want to, I haven’t felt myself so comfortable, I’m not stopping now” A poetically personal but genuine message that people, especially young girls should do what they want, for themselves that makes them feel comfortable. 

Charlie Brown confronts past struggles with self harm, the line “throw it away” in the chorus repeated is a real heart wrencher that hits in so many ways, be it referring to the struggles we deal with, or the literal tools we have to our hand. Bea stated in an interview that Charlie Brown was her first window into understanding mental health, so naturally it’s a bound link for her. Mental health in young people today has never been more crucial and if you are struggling, never be ashamed to reach out for help. No day, person or life is perfect and the sooner we as a society openly accept that, the sooner the stigma of talking about mental struggles can become normalised and more people can get the help they need. 

Emo Song talks about the effects that manipulative past relationships can have and hold onto you even far after those relationships have ended. With ambient sounds kicking off this track, with quieter dynamics compared to previous tracks on the album, it really helps hone in the vulnerability and sensitive state you can be left in after an experience like that, matched with the lyrics “I lost myself in cosmic dust”, “You’re coming back again/I don’t want you back again” and “Just the thought of you doesn’t stop, you’re not a person or a thing, just the thought of you on my limbs, it’s all your fault/It’s all your fault” really shatter your nerves in a way that can only be applauded to Beabadoobee but maybe a hug to her and whoever can relate. Sorry follows up the quieter dynamics from Emo Song but pushes it with strings that just blend every part of this track together. 

Further Away blissfully takes the quieter sounds of the previous two tracks but manages to become a sort of lullaby but again the actual nature of the song completely contradicts the sleepy sounds and melody that gently puts it’s arm over your shoulder as a masquerade for the twists of the lyrics of the song. Horen Sarrison takes what you’ve just heard but being a love song about Bea’s boyfriend and longtime creative collaborator Soren Harrison, really is the arm on your shoulder you almost need after the real rollercoaster that has been the emotional tones of Fake It Flowers, but all the same showing that vulnerable side to Bea. “Eyes so green, I don’t know what that means, but you make me feel like all this is real/But I don’t want you to feel comfortable, and I want you to know that I’m in love” patched with “You are the song that I need for my mental state, you are the bus that stayed when I thought I was late, so I’m convinced you’re from outer space”. All in all you really get a sense of the wanderlust and emotion between the potent pairing which is really quite beautiful to gauge an understanding of.

Together takes us back to the energy from the start of the album, with pretty intense Smashing Pumpkins and Pavement vibes that really come together (no pun intended) under the influence of Bea’s voice, melodies that enter the third dimension during the chorus that makes your chest tighten up and mouth grin with glee. 

The album closes with Yoshimi, Forest, Magdalene, a song that manages to combine the dreamy soundscapes from the likes of Sorry and Further Away, with the noise and exclamations of Together and Worth It, all whilst starting with Bea saying the vocals sound like a fart? Absolute insanity, and the even more crazy part? It kinda works and just adds to the tonality of the entire song, and after the adventure that is the experience of Fake It Flowers, the playful intro is quite a satisfying start to the song and end of the album. Lyrically Bea talks about the love of her life and how she knows what her kids names are going to be, being Yoshimi, Forest and Magdalene. Which if you didn’t quite catch there, you’ll be pleased to know there’s quite a few reminders of that throughout the song. It’s a fun more uplifting song that still captures the softer side of Bea in the verses but manages to stay fun in the typical Beabadoobee manner. 

The level of music within this album completely outshines previous work, the production by Joseph Rodgers who’s work has been on Beabadoobee’s prior work as well as with The Kooks, Graham Coxon and Liam Gallagher. As well as Pete Robertson producer and former drummer of the incredible band The Vaccines. Together they’ve managed to help mould Bea’s sound and create something breathtaking that just makes you wanna sit back and admire in awe before the beat of the songs convince you to get up and dance. Bea’s band are also phenomenal on the album, nothing feels like filler, every instrument has a reason for being there and playing what they play. Drummer Louis Semlekan-Faith really get to flaunt his talent throughout the album, especially on tracks such as Worth It and Sorry. Lead guitarist Jacob Bugden adds some firey licks all over the record, the riffs in Care and Dye It Red, as well as playing almost countermelodies to Bea’s vocals and bringing out another dimension to the world that is Fake It Flowers. And wrapping it all together is the chick who plays Bass, Eliana Sewell. Who’s playing just completely sticks out and almost becomes a part of the percussion at times, intricate Bass lines that just go straight to your head and carry the song like the foundations of a building. And all of this is snuggly embedded within the mind of Beatrice Laus to create a wonderful band experience and listening escapade. This was an album where a lot of love and care was put into it, a lot of raw emotion and quite obviously, a lot of fun making too. 

Fake It Flowers is an LP for the young adults of today (especially young women), the intimate and internal struggles we go through, soundtracked to your favourite 90s films. It’s a record that is just so brilliantly constructed from start to finish, that explores such heavy topics, all whilst staying such a wonderfully quirky collection of songs. A stoner rock lullaby, that keeps you slow dancing till the early hours of the morning, but on loud will definitely keep up your parents and neighbours, and give you the adrenaline rush needed to boost your mentality to get you through whatever else this year has to throw at us. 

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Indie/Indie Rock Reviews

Review: Pillow Queens – In Waiting

It’s a real surprise that after the release of two impressive EPs and supporting several big-name bands from IDLES to Future Islands that Dublin based Pillow Queens haven’t had people shouting about them left, right and centre. Nevertheless, their experience with fellow artists fronting the current rock movement and a knack for turning out sonically rich songs in their own right has proven that they’re an indie force to be reckoned with. All things combined they’ve just delivered a record you didn’t realise you’d been ‘In waiting’ for but after a listen won’t be the same without.

The album encapsulates a hazy sense of hope and instantly has you hooked on all manner of components from sweeping melodies, flourishing tones and lo-fi layering. Together, the result is ten all-star tunes from the female foursome that met on a basketball court in their hometown (a fact that I had to drop to further emphasise that they’ve been cool since the get-go). There’s an almost magnetic draw in the first few twinkles of the haunting ‘Holy Show’ and you’re instantly connected as soon as Sarah Corcoran’s crooning voice pierces through. From that moment up until the last echoes of closing track ‘Donaghmede’, the band take you on a journey where you can’t help but feel all of the emotion that their songs are created and delivered with. Each track seamlessly melts into the next; ushering you into a new stream of thought before you even have the chance to realise, leaving you in a dreamlike trance-ready to become the monarch of your own pillow. 



The journey doesn’t just happen as one tune flows into the next though; you’re taken on a voyage with each individual song. Not only are they gentle and melodic but also fierce and rocking, transitioning as effortlessly as one of this era’s most iconic alt bands Wolf Alice. ‘Handsome Wife’ is a great display of how they start gracefully, then seamlessly build to raspy exclamations and when ‘A Dog’s Life’ gets going it delves into even edgier territory with grungy guitars and more punk-like chants in a prominent Irish twang. Overall, I’d compare the Queens’ arrangements to a crisp winter morning, sun piercing through the clouds and glistening on snow; bright and refreshing but not without a hint of gloom and bite.

There’s an abundance of stand-out elements besides their progression too, like the poignant folk cries repeated at the end of the self-love reminder ‘HowDoILook’ that help to provide a shining example of their flawless transitions into the emotive melody that is ‘Liffey’. Further messages of positivity can also be heard in fan favourite ‘Gay Girls’; a wake-up call to people of strict religion and those alike that there’s no need to worry when it comes to different sexualities, featuring a catchy hook and accompanied by a cracking music video. It’s exciting to hear more top tunes from such empowering female representation in the rock industry, using their talent to draw attention to causes that many listeners will care about just as much as they clearly do. I also love that they have a rock ‘n’ roll attitude with regards to their opinions and approaches, saying “feck em” to any critics of Corcoran and accompanying vocalist Pamela Connolly’s accents for example and instead embracing their roots; using them to their advantage in adding to the raw emotion to their sound.

I believe the ride that is listening to ‘In Waiting’ can best be described in the final words of ‘Harvey’ as the expansive sound truly leaves you feeling as if you’re ‘floating ten feet off the floor’. Earnest and atmospheric, claims of coming up short in the heartfelt ‘Brothers’ evidently aren’t in reference to their album as it’s an absolute beauty and I can’t wait to watch Pillow Queens flourish like their songs and take everyone by storm.

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Pop/Indie Pop Reviews

Review: Royal Blood – Trouble’s Coming

Brighton rock duo Royal Blood have released their latest single ‘Trouble’s Coming’ and it’s a blood pumping power anthem to get you in the mood for whatever may head your way during the day. The track is taken from their upcoming third album due out in the spring of next year, with singer and bassist Mike Kerr saying it was a real turning point for the album. ‘Trouble’s Coming’ sets off with a provocative punch, that really gets straight to the point and sets the tone straight away. This is an evolved sound but not lacking the fantastic flairs we’ve grown accustom to from their last 2 albums. 

There’s no denying the talent between the two rockers behind the blood, which has been evident since the days of ‘Out of the Black’, but here we really get to see the diversity of their production and writing. A toned down straight to the beat start, not the chaotic reverb soaked drums and deeply dirty bass, but now we’re welcomed by a more rhythmic dance drumbeat, with a more precisely played and rounded bass riff, but still with the distinct growl and bite from Royal Blood songs we’ve known in the past. In fact there’s quite a lot of pop production techniques throughout the mix of the track, synths, claps and piano, perhaps inspired by fellow rock duo Death From Above 1979 or Arctic Monkeys ‘AM’ album, with the added flavour of a Justice track, whatever the story, it’s really helped to mould the new sound that’s so superbly showcased within the song, and to be quite frank, it’s something I am ecstatic about. 

You see for me, as much as I love Royal Blood’s work and admire their talents, something I felt was a little lacklustre was the sonic development between their self titled debut album and their 2017 album ‘How Did We Get So Dark?’. If I went blind into both albums, I’m not sure how often I’d be able to tell which tracks came from which album, they were more like two sides to the same coin to me. Now consistency isn’t a bad thing, but I was hoping for something a bit different, more adventurous, but here we are with the lead single for album 3 and they’ve done exactly that. 

Kerr described the track as ‘Disco meets AC/DC’ which sums up the sound quite well, explaining that each track from the upcoming album will have it’s own personality, so that alone makes me very hyped up for the music yet to come. Trouble’s Coming offers so much colour than we’re used to, the maturity and the expansion upon the bass and drums linear duo we’ve heard since their inception, it’s like everything’s got bigger, yet instead of surrounding you in sound, it’s as if the track cuts right into you, matching your heart to the beat of the track. Even Kerr’s vocals sound better than ever, the amount of groove you feel with every word is immense, you just want to bob your head and dance, it’s a really nice fresh change of pace for the Brighton bad boys, and I absolutely cannot wait till we get to hear more madness from them. 

So whether you’re a fan of Royal Blood’s already, or just in need of some new rock music to tide you by during the impossible year for music, Trouble’s Coming is something you will definitely want to check out. Keep your eyes peeled on Royal Blood’s socials, because their next album is sure to be one to give your turntables a run for the money.

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Punk/Rock Reviews

Review: IDLES – Ultra Mono

Direct, divisive and darkly humorous, if you’re looking for an album that packs all of these qualities as well as a major punch then look no further than Ultra Mono, the third studio album from Bristol rockers IDLES.

Since receiving critical acclaim upon the release of their aptly named debut album ‘Brutalism’ in 2017 the band have consistently stayed true to themselves in speaking the truth- no matter how harsh. Frontman Joe Talbot refuses to be defined by genre and continually denies claims that they fit under the ‘punk’ umbrella despite comparisons to likes of Shame and even Fontaines D.C. a band at the current forefront of the genre. One thing there’s no denying though is that they’ve truly developed their own distinct sound. A belligerent beat creates a mechanical feel that ticks along at the heart of their music; more so on this album than ever before, helping to seamlessly transition between tracks and allow Talbot to fire off his often frenzied but equally thoughtful lyrics.



Blunt political statements are a prominent driving force behind both their music and in recruiting steady support from many however, the same proclamations also result in severance from others who feel they’re too judgemental. They recognise the irony in these opinions though and in no way care that it repels, continuing to speak their mind and confronting any hate in witty lyrics with examples including “there’s nothing brave and nothing useful, you scrawling your aggro shit on the walls of the cubicle” dominating second track ‘Grounds’. There’s no shying away from other charged topics either with passion filled songs on the likes of white privilege, toxic masculinity and feminism; even bringing onboard Savages Jehnny Beth to practice what they preach by featuring some defiant female vocals on ‘Ne Touché Pas Moi’ further driving home their beliefs of equality.

Ultra Mono encapsulates a feeling of doom simmering inside most listeners given the current climate. A sense of terror looms throughout but unlike many that internalise this, they break through the surface to address the sense of urgency and need for action by exploding in exciting anger with raging riffs and aggressive vocals. This, combined with the military coherence created by their rhythm section leaves you steadily riled up throughout the record, resulting in a sense of unity against the common enemy, building the “strength in numbers” referenced again in Grounds. There’s plenty more to the record than anger though; from the surprisingly tender ‘A Hymn’- a melancholic vessel for channeling their emotions and delivering opinions in a softer way, to the comically propelled Model Village, with a sinister undertone that that feels so familiar you can’t help but laugh. All tracks combined, you’re left submerged in an oppressive atmosphere, ready and raring to escape the constraints of the everyday and confront whatever darkness is on the horizon.

The main concern on the run-up to this third release was that the band wouldn’t channel the boldness they exude in their songs when it comes to exploring new grounds (no pun intended). To a certain point, this worry has been addressed as the band worked with producer Kenny Beats, infusing a touch of his hip hop background right into the record’s veins and also collaborated with jazz-pop pianist Jamie Cullum on ‘Kill Them With Kindness’ for a further twist. Despite this, they don’t venture too far from previous material but it’s clear to see that they’ve sustained a real direction and are more focused on upholding their own belief in what they should be, delivering something for existing fans rather than pleasing everyone and converting anyone that opposes.

As a whole, Ultra Mono is a strong follow up to their previous Mercury Prize nominated album ‘Joy as an Act of Resistance’ that couldn’t have come at a more apt time. The driving feeling evoked in their tunes looks set to continue, helping to thrust them forward and prove that when it comes to speaking up about what they believe in, Idles wont be staying idle.

Listen to Ultra Mono on Spotify now.

Categories
Pop/Indie Pop Reviews

Review: Angel Olsen – Mr. Lonely (Single)

Angel Olsen is certainly proficient in her ability to create brilliantly addictive tunes, her albums MY WOMAN and All Mirrors are, in my opinion, possibly two of the best albums of the last decade.

Two months ago, American film director Miranda July released the trailer for her forthcoming film KAJILLIONAIRE, a comedy starring Evan Rachel Wood and Richard Jenkins. In the trailer, we first heard Olsen’s eerie new cover of the 1962 classic by Bobby Vinton – Mr. Lonely.

The track, created especially for the film by Olsen and the film’s composer Emile Mosseri, is a chilling new rendition of this world-renowned classic, and certainly the most cinematic track we’ve ever heard from Olsen.

The films full soundtrack is set to be released soon on the 25th of September, but right now Olsen’s track is available to listen to in full on her Spotify.

The new film follows a family of con-artists training their daughter to pull off a heist to make them “kajillionaire” rich, and is out in cinemas on the 9th of October (UK).

Olsen spoke about how excited she was to be working with the film’s writer and director Miranda July, saying in a statement “Suddenly there she was, THE MIRANDA JULY in my text messages.”

The trailer’s use of modern covers of classic songs isn’t the first time we’ve seen this being done and seems to have become a popular trend amongst filmmakers and film composers since the release of James Mangold’s Logan trailer, starring Hugh Jackman. The trailer used a specially remastered version of Johnny Cash’s classic and deeply moving Hurt.

Warner Brothers added to this trend recently with the trailer for their upcoming film The Batman, which used a newly composed and equally haunting cover of Nirvana’s Something In The Way.

It can often feel brave of artists to cover such well-known songs, but Olsen and Mosseri have certainly pulled this one out of the bag for their new and unsettling interpretation, which they say “represents the feelings behind the film.”

Their single is available to listen to on Spotify now, as well as all of Angel Olsen brilliant solo albums.

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Indie/Indie Rock Pop/Indie Pop Reviews

Hidden Gems: Soul Punk – Patrick Stump

Next year marks the 10th anniversary of Patrick Stump’s first solo album ‘Soul Punk’, released during Fall Out Boy’s hiatus, this record is a favourite of mine and at the time, really showed off Stump’s talent in a way that no one had ever seen before. People knew he was a phenomenal singer, but this album showed off his skills in so many ways. Stump made a soulful, RnB, pop album, and played every instrument, wrote every song and produced every track. After being known as the singer from Fall Out Boy, here we got to see just how much talent was waiting to burst out of just one man. But despite generally positive reviews, the album didn’t do as well as it should have, and to this day is hardly known about unless you’re a pretty die hard Stump or Fall Out Boy fan. Stump commented on the record saying “When it comes to pop music, there’s this perception that all you have to do is press a button on your iPad, but I wanted to make it with love and put a lot into it. A lot of people asked, ‘Where did you get the drum sounds?’ I played them. ‘What synth plug-in was that?’ I played all the synths. ‘How’d you get that bass tone?’ It’s a bass. I really wanted to put in the effort, even if people might not notice.” to the extent of the album art as well, making a point of using real materials and not just photoshopping shapes onto the artwork. The record as a whole talks about greed and paranoia and the effects of which and how they influence each other, as well as dealing with innocence and even death. So on that cheery note, join me as I go through the hidden gem that is Patrick Stump’s Soul Punk. 

A complete U-turn from the pop punk roots of Fall Out Boy, now on hiatus, Stump sought out to make an album with a sound he wanted to make, with nothing out of bounds. Citing icons such as Michael Jackson, Prince, David Bowie and Bobby Brown as lifelong inspiration, Soul Punk delves into the thick sounds of the ’80s. After having the album finished, two version of a lead single released, and the album ready for a February release, Stump wrote ‘This City’, which made him decide to completely redo the record, releasing the equally brilliant EP ‘Truant Wave’ in it’s place and leaving the album to be released later on in the year. With this, Stump really outdid himself just with the quality of music we were yet to be teased with. We were teased with a version of ‘This City’ featuring Lupe Fiasco, a love letter to the city of Chicago, where Stump was born and raised. A catchy soulful pop song that talks about the ups and downs of your hometown, but how no matter how hard you try, “you can never take my city away”, giving off similar thematic vibes to the previously released ‘Spotlight’. Although these tracks talk about being yourself and who you are, Stump stated the album was written a lot in character rather than self retrospectives, which is rather a thankful sign when the likes of ‘The “I” in Lie’ is on the album, a song about being unfaithful to your partner, but tracked to a sugary suggestive sounding instrumental. 

‘Explode’, the albums opening track goes off with a bang unsurprisingly, an upbeat banger with Stump singing the oh so addictive hook “Clap if you’ve got a ticket to the end of the world”, a song that hints at the issues and pressure of commitment, something no doubt everyone has felt at some point, singing “If I’m never your hero I can never let you down”, metaphors about cutting the red wire to defuse a bomb. A song that definitely speaks volumes about being the lead singer of a band that just went on an indefinite hiatus. But the album is filled with wonderful moments such as ‘Run Dry (X Heart X Fingers)’, a song about drinking, with lyrics being slightly concerning talking about how you know that it’s unhealthy, drinking to forget, making mistakes and by taking “one more shot then I’m quitting forever – cross my heart, cross my fingers”. There’s some, kind of deep stuff sung over beautiful funk songs all across this album, it’s really quite something. 

The track ‘Dance Miserable’ is a really solid pop song with a filthy sounding synth-bass riff. Lyrically it’s wonderfully relevant about feeling hard done by, fed up and angry with the world, talking about the issues of climate change, unemployment, depression, government and politics. “The right side’s in the wrong – And what’s left’s just holding on – And the public has been privatised – But I believe in something here on earth” talking about the power of people, despite wanting to “Dance like you’re disappointed in the world” Later in the album we get the bittersweetly uplifting song ‘Coast (It’s Gonna Get Better)’, a brilliant song with the message of not giving up, how things get bad, but no matter how bleak things get, that things will get better. 

Track 9 on the album and we’re given the sexy hunk of a song that is ‘Allie’, a funky pop song with a powerful pop punk style riff and killer guitar solo in the later half of the song. In fact this album shows some of Stump’s brilliant guitar work that wasn’t so obvious during the earlier days of Fall Out Boy. Tracks such as previously mentioned ‘Run Dry’ and deluxe bonus track ‘Bad Side Of 25’ shows some stellar solos, something generally missing from mainstream pop songs, especially of the era, yet Soul Punk combines so many genres so fluently, nothing clashes or doesn’t work, it’s ridiculous how well put together this album is from start to finish. The song ‘Everybody Wants Somebody’ showcases some bombastic trumpets, a singalong anthem for anyone going through the motions of liking someone that doesn’t feel the same way. Altogether this album is just an hour of feel good crescendos, almost laughing at the shitty parts of life in defiance whilst you sing along to scenarios from how awful people can be to searching for animals you’re unsure whether they even exist.

‘Run Dry’ encapsulates the hidden/bonus song ‘Cryptozoology’, an interesting song thematically, exclaiming “I don’t have to prove myself to you”, begging the question of is Stump singing from the perspective of the animals whom existence is being examined? There’s a lot of metaphors spilled throughout the record, some even I haven’t figured out yet. This album is a little bit mad but it makes for a very interesting, but mainly fun listening experience. There’s just some things in life that can’t be explained all that well and are better off letting the work speak for itself and sometimes I feel that way about Soul Punk. 

I will briefly touch upon ‘Truant Wave’ as well as it’s almost the foreword to Soul Punk, it’s other half if you will. And if you like what you hear across Soul Punk then you should definitely go and check out that EP too because no doubt it’ll quench your thirst for more Stump funk. As stated earlier, before Soul Punk was completed, Stump wrote two versions of his song ‘Spotlight’, and subsequently, one version ended up on the album, with the other on the EP and both songs are brilliant but the slower pace of Truant Wave’s version of the song ‘Spotlight (Oh Nostalgia)’ just really melts you to the bone, it’s a really sincere song about how you don’t need something or someone else to prove your worth, and that “You can be your own spotlight”, a message that I think is still relevant today that far too many people don’t think about. 

The Soul Punk era may have only lasted about 2 years in it’s entirety, with Fall Out Boy starting to write music together again just a year after the release of Stump’s solo outing, and for that it’s too bad because it’s a fantastic record with a groovy sound that may have been ahead of it’s time. But in retrospect, it’s wonderful to see and listen to as a gateway to the past, and the one good thing in hindsight of it not being particularly well known is that there’s a whole album (and Extended Play) of music that people can discover and enjoy even 10 years after it’s release. 

I shall leave you with the video that started it all, the sneak preview at Stump’s solo work from 2010, that later became ‘As Long As I Know I’m Getting Paid’ from ‘Truant Wave’, which is essentially the genesis to Soul Punk, which features the original version of ‘Spotlight (Oh Nostalgia)’ mentioned above. But please make sure you check out this wonderful record that really should have seen the success of it’s emo band cousins. Top tracks here are ‘Explode’, ‘Dance Miserable’, ‘Run Dry X Heart X Fingers’, ‘Greed’, ‘Everybody Wants Somebody’, ‘Allie’ and ‘Spotlight (Oh Nostalgia)’. Soulful songs you absolutely cannot go wrong with. Get in touch and be a part of the conversation. What did you think of Soul Punk? Any hidden gems that you think we should know about? Any artists you think we’d love? Let us know. 

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New Wave Pop/Indie Pop Reviews

Review: New Order – Be A Rebel

New Order in more recent years are a bit like Marmite. You either love them or you can’t stand them. Once the pioneers of ’80s dance and club music, now seen more an icon in British music as to what was. But despite members leaving and 2 breakups, the band are still making music, playing to audiences and showing continued success. After 2015’s ‘Music Complete’ with the odd live album released here and there, fans were wondering whether breakup number 3 could be on the way, curious as to whether the ’80s electronica power group would have any sort of real presence in the 2020’s. But here we are with the new single ‘Be A Rebel’.

‘Be A Rebel’, if you’ve been listening to New Order for the last 10 years wont come as any sort of surprise in terms of the sound, in fact I think it sounds like a B-Side to ‘Music Complete’, perhaps the 2015 album wasn’t as complete as we once thought, with Bernard Sumners saying the new single was a “leftover” that “didn’t make the cut” for 2015’s ‘Music Complete’ which you can tell just by listening. This isn’t inherently a bad thing though, I really liked the thematic sounds of the last album, and so hearing ‘Be A Rebel’ after 5 years of radio silence from New Order sparked some joy in my eye. If you liked the sound of the last album then you’ll probably love the new tune just as well. For me? I can appreciate using older work that never saw the light of release for future music, plenty of bands have done that, and done it marvellously well. But here, I don’t know how well it holds up. 

Now I’m not suggesting the song should have stayed a leftover, but it’s not the typical boom you get from New Order singles of the past. Tracks like ‘Krafty’, ‘Restless’ and ‘Regret’, they stick out, there’s a real sense of motion within those tracks, whereas here, ‘Be A Rebel’ is more of a quiet, dreamy, foot tapper than what we’ve heard from the band before. And I’m not comparing to the likes of ‘Blue Monday’ because that would be unfair, the band released that almost 40 years ago, and have gone through many musical changes since then, but one consistency I feel is missing here, is the power behind the track. It doesn’t sound too unlike the sounds from their last album and it doesn’t go off with a bang, which after 5 years, you would expect a bit of a rework when it comes to older music that never saw the light of day being released half a decade later. 

I’ve heard the comparison to the likes of Sumner and Johnny Marr’s supergroup duo ‘Electronic’ which you could argue the similarities sure, but there were already similarities to New Order back in Electronic’s heyday, so it all comes full circle, so of course work that heavily involves Bernard Sumner, will have sounds that Bernard Sumner is known for using. Perhaps I’m expecting too much from a band with such a high legacy. Perhaps the track is a grower not a shower. All I can say, is that if you’re expecting the next big wave of sound from New Order, then prepare to be disappointed. That being said, if you loved Music Complete, then you’ll probably really enjoy this. It’s by no means a bad single, but definitely feels a tad lacklustre. Opinions can change though, quite drastically, let’s not forget the certain “punch-your-TV-obnoxious” band that a particular music magazine once hated and now absolutely cherish. So in terms of changing tone on something you like or you don’t, I’m not going to be rash here. But I do think if we’re to expect a new record from the Mancunian monsters, I wouldn’t bet any money on ‘Be A Rebel’ being a part of a new and evolved sound. 

Lyrically the song comes across as pretty relevant, perhaps the recent Black Lives Matter protests are what sparked Bernard and company to revisit the track. The song talks about how the world can be a “dangerous place” but it’s “all we’ve got”, referring to people being “different” and that being okay. “Be a rebel, not a devil”. Clearly there’s a key element to rebelling against what we know is wrong, but doing so peacefully. Echoing terms we’re all grown up with like ‘two wrongs don’t make a right’. It’s a clear outlook on the world from Sumner’s eyes, and from that regard is a very welcome conversation. Allies and Rebels are what the world needs right now to really make a change, so it’s a particularly prevalent topic that we should all take on board.  

If you want to hear a modern and more evolved take on the alternative dance, techno and club sound, I highly recommend listening to artists such as fellow Manchester band ‘Everything, Everything’, the Scottish trio ‘Chvrches’, London’s own ‘Georgia’ or simply go back and listen to New Order’s older material. Music has no expiry date, and it’s never the wrong time to stick on a classic, or discover a band that you don’t know much of the deeper cuts of their discography. 

The good news to take away from ‘Be A Rebel’ is that New Order have not slithered away into nothingness, and there’s hope for more music still to come. You can see New Order on tour in 2021 across the pond with the Pet Shop Boys, and a special one off UK show at London’s 02 Arena in November next year. Until then, let’s hope our Monday’s aren’t so blue. 

 

 

Categories
Indie/Indie Rock Reviews

Review: Oscar Lang – Hand Over Your Head

Who the f*ck is Oscar Lang? Well someone you’re bound to wanna know by the end of this. The twenty year old Londoner has been making music since he was eleven, but properly started writing under the alias ‘Pig’ in 2016, and since then has been making quality compositions that you may already know of. Lang met fellow artist Beabadoobee through a mutual friend and started working on tracks together, so far as producing her work up until her second EP, all whilst recording and producing his own work, so rest assured, the guy seems to know what he’s doing, in and out of the studio. 

Previously calling his music the product of rolling “Mac DeMarco, John Lennon and the Wii shop channel music into a ball and putting it inside Kevin Parker’s butthole.” Which is a fair summary really. His earlier work definitely gives off the indie vibes of Mac DeMarco, the almost gruffness and brutality of some of his lyrics, but fine tuned to sparkly guitars and thick synths, all drenched in halls of reverb that make you almost transcend into a different reality. The psychedelic influence of Kevin Parker has definitely been noticeable throughout his discography. But today comes the release of his new EP, Hand Over Your Head and is the biggest change to his sound since he started releasing music 4 years ago. We were treated to the rougher sounding Apple Juice back in July, and it was the perfect way to introduce a shift in sound to his audience. Not a complete change in atmosphere by any means, but enough of a change to feel like you’ve travelled someplace else when looking back to his earlier work. There sounds like there’s a bit more anger and a lack of patience amongst this record, there’s no waiting around, Lang wants to get moving, and having to spend most of your year quarantined it’s really not the most outrageous feeling to have when everything seems to be crumbling around you. 

Next we got the similarly more rocky racket Get Out, a very obvious commentary on the effects of being trapped indoors for so long, and the extent of the heavy toll it takes on your mental health. But equally it’s something relatable to introverts anywhere, not just a lockdown lullaby. Most of us go through anxious phases where we don’t go out and it feeds into a never ending spiral of worry, so Lang really knows how to nail a tune down to some relatable lyrics that’s for sure. The soundscape was slightly more Oscar Lang than the likes of Apple Juice but still showcasing the newer and dirtier vibe we were delighted with Apple Juice.

But with the release of the entire EP we can really get down and appreciate the nitty gritty of the new sound. Imagine Sgt. Pepper’s Lonely Hearts Club Band, but a more polished sound with the prevalent issues that our generation faces written all over it. It kicks off with Wake Up, a ticking clock, birds tweeting and strange noises all leading to the climax of an alarm going off transitioning smoothly into Apple Juice. Already you get a vibe for the sensory overload that is yet to treat your ears, similarly to the feeling of waking up and struggling to keep your eyes open. After being greeted by tracks 2 and 3 which are the singles we’ve already heard, we get Drinking Wine, a fast boom, that starts off with a more traditional intro to an Oscar Lang song, almost sounding like a the type of track you’d hear on Overthunk, but resurrected with the angstier production of Hand Over Your Head. Three tracks in and already the new vibe is something you can almost taste, the basslines with so much more tone, the drums that pop out so much more, Lang manages to create this feeling of adrenaline that zooms by, you almost forget where you are as so much happens.

We’re then greeted by I Feel Good, which starts off slow almost like after a morning of chaos where you finally manage to catch a break to take a deep breath, before nipping back into the second half of the song, where the rockier side of Lang overflows, like a Miles Kane or Oasis song, definitely one that’ll start a few mosh pits when we can all get back to gigging. It’s like the busyness from the start of your morning is no longer out of hand, and you’re starting to take control. The depth of the distorted guitars, with a brit-pop sounding solo that just makes you want to kick the air, it’s truly something wonderful here. 

Any longtime fans will be delighted to hear Velvet Dreams, originally released only on Lang’s Soundcloud a couple years ago, which has been produced and shaped up to be a stoner’s serenade. Being an older song, it’s definitely more of a traditional Oscar Lang sound, which makes you start to question the reality you’re in, because the psychedelic soundscape is absolutely breathtaking, it’s definitely one to gaze up at the stars whilst you listen. Being the EP’s ‘slow song’ it completely sticks out, but not like a sore thumb, but more like when you spot that someone in the crowd that makes your whole world stop spinning, as everything but them becomes meaningless. After that extraordinary experience, we come to the EP’s end with Outro, the outro of the record. A short descent back to reality that’s almost a punishment really, just as the high of Velvet Dreams starts to fade away, we’re at the end and you just desire so much more, but thankfully there is much more where that came from. 

From the adrenaline filled Apple Juice to the ethereal polyphonic textures of Velvet Dreams, Lang creates a euphoric atmosphere that’s easy to love, yet hard to get over. Some of his best work yet, and I absolutely can’t wait to hear more from the loveable lad. I’d give you the top tracks but that’d be unfair, they’re all beautiful. Just go listen to the whole EP and see for yourself, it deserves a listen all the way through, it’s the best way to experience it. 

I highly recommend you work your way through Lang’s entire discography on your favourite streaming service, and when you’re done check out his Soundcloud, because there’s loads more of his work that feels like you’ve discovered an Easter Egg in one of your favourite games. It seriously shows off the guy’s talent, and from working on music from such a young age. At only twenty years old, he’s not only a fantastic songwriter, but also a profound producer that I genuinely think will blow up and go down in history. 

Categories
Indie/Indie Rock Reviews

Review: Declan McKenna – Zeros

The long awaited album Zeros from Declan McKenna has finally arrived and it packs a punch. And when I say long awaited I’m not kidding, with McKenna saying back in December 2019 that the album was mixed and mastered ready for release, and here we are in September 2020, after 2 release delays, finally with the album in our hands, and ready to stream.

We were treated with the gloriously Bowie inspired Beautiful Faces back in late January, a glam rock stomper that absolutely goes off, and shows a definite progression from the likes of his earlier work such as 2015s Brazil, but still pumping that distinctive McKenna sound. In fact one key element to the more matured sound McKenna’s pulling off with this one is the fact that previous work would have been recorded by himself track by track with his producer, whereas this time round, McKenna set foot to get a band together in a room and play the songs, so with a full band in mind throughout the entire recording and writing process, you can see how the sounds have gone from big to gigantic, and feel a lot more scratchier and raw, which compliments the soundscape of Zeros very well.

The album’s sound feels like it was pulled straight out of a 70s glam rock band, it’s authentic without shying away from modern craftsmanship. This ranges from the glittery candy rock of the likes of Rapture, to the phenomenal ballad Be An Astronaut, almost bleeding the inspiration of songs like The Beatles’ Hey Jude and Queen’s Don’t Stop Me Now, feeling as if it’d fit in on David Bowie’s Hunky Dory, but comparisons don’t do it justice, you can hear the influences sure, but this is NOT Declan singing over a song that sounds like it’s made for someone else, this is jam packed of McKenna’s very identity, an organic young adult’s exclamation about the world they’re encapsulated by, with issues of social media stigma to self retrospectives. One thing that is inherently Declan is his voice which has always been iconic. Let’s not beat around the bush here, the voice cracks that add to the depth of the messages he wants to get across to the pretty incredible range he has. But this album shows his growth and maturity, the once heralded voice cracks, now raspy broken screams throughout the likes of Be An Astronaut and Rapture. Declan also really flaunts his falsetto on this album, and it’s the perfect remedy for pop-rock hooks and is just an absolute delight to listen to.

There are definitely elements of folk thrown into the mix of the album too, sounds that aren’t too far fetched from the likes of Bob Dylan or Father John Misty. And I say thrown because as brilliant as this album is, it definitely feels like a 40 minute explosion. A coherent one, but an explosion none-the-less. The themes and the sounds scream disorder, in fact a word that could sum up this album is ‘Chaos’, it’s something that feels like it goes straight into your bloodstream, but the production wraps up Zeros and makes it all feel like a home for the tracks, or perhaps an intergalactic cruise ship chasing after the likes of Ziggy Stardust to escape the dystopian present we’re all subtly sinking into. One of the big messages embedded within the record is that of impending doom, lusciously soundtracked to upbeat melodies. Declan’s never been one to shy away from making political statements through his music, and Zeros is no exception. The opening track – You Better Believe!!! Greeting the listener with the wonderful opening line “You’re gonna get yourself killed” which in the current climate, has never been more true.

Zeros is a social commentary with a vibrant disguise, where upon first listen you’ll melt into Declan’s band’s 70s serenade, and where a deeper look takes a breath to show you the state of what’s around you and how the epidemic doesn’t just stop with the likes of COVID-19, but with the far greater things at stake that strike fear into every young person in the 21st Century. It’s a chaotically wonderful listening experience and you just HAVE to hear it for yourself. Album highlights are ‘You Better Believe!!!’, ‘Be An Astronaut’, ‘Beautiful Faces’, ‘Daniel You’re Still A Child’, ‘Twice Your Size’ and ‘Rapture’. So, if you’re not familiar with Declan McKenna, then get familiar. Trust me when I say you’re missing out otherwise. It’s glam, indie perfection, and was born to be dialled up to 11.

Categories
Indie/Indie Rock Reviews

Review: Nothing But Thieves – Unperson

Nothing But Thieves have without a doubt been making their mark on the indie and rock scene since their self titled debut album in 2015, with Moral Panic their follow up to the bands 2017 album Broken Machine due for release in October this year. With the lead single Is Everybody Going Crazy? Being a fabulous alt rock anthem that really felt it was written with the worldwide pandemic in mind, and the indie ballad that was Real Love Song, showing again the new sounds to expect from the upcoming album, with tighter production, brilliant riffs and catchy hooks to obsess over. The band dropped the third single, and opening track of the upcoming album, Unperson at midnight and really shows the talent this band has to offer.

An absolute stomper that’s sure to end up in your playlists and be the soundtrack to your Autumn, something that wouldn’t feel out of place in a Hacienda type venue, but all the same fit right in with the hardcore scene of the last half decade. The boys behind the bangers are known for their quirky craftsmanship, with comparisons to Muse and Radiohead thrown around, and heavy hip hop inspiration within the rhythm sides of things. But Unperson shows the band expanding upon their well established sounds, with heavier hard rock guitars, electronic soundscapes, psychedelic undertones and RnB style vocals, when combined give an unmistakable Nothing But Thieves sound, but with a chaotic vibrant dystopian twist, harking more to the music embedded within a Sonic The Hedgehog game. But don’t let that fool you, this is not ‘background’ music, this is punchy, in your face rock, which makes you want to headbang and dance around your room like a young punkish Morrissey but minus the modern statements that make you question your parents record collection.

The statements written within the song see Conor Mason cry out about the abundance of people, in a modern world where demand beats supply not only with material goods, but with living, breathing people, making him question a godlike figure, convinced he’s an ‘unperson’, someone not fit for ‘public consumption’. With the internet and the millennial ‘woke’ culture, this feels like it reaches out for the kids lost in the mix, the people with desperate dissatisfaction with the world they live in, where good morals and right or wrong is too often brushed under the carpet, leaving you a whimper in a crowd, referencing being ‘another clone of a clone’ and how they ‘didn’t sign up for this’ The song reeks of the frustration of the young voices being drowned out by regressive ideology, and it’s fantastic, making it so much more impactful that way. It’s a statement begging to be heard and it definitely leaves its mark.

The song may have just dropped, but it passive aggressively invites you to come in, and really listen to what it has to say, ‘This is not what you think it is, it’s worse’, alluding to the change that is inevitable to come, which may even hint towards the changes within the bands sound too, not just it’s social commentary. Another absolutely menacing track, that leaves you grinning in suspense for the release of the album on October 23rd.