The Soft Bulletin

On their seventh album the band take us on a journey though industrial-led rock. Yes seriously...

I’ve always admired bands who don’t stand still, who change their style as their musical ears and tastes evolve. Some artists can get away with treading the same path and good for them if that’s their bag, but for me I’ll always admire those that switch it up and go for something different.

Editors have never been afraid to make that change from album to album. Whilst their first two records (debut The Back Room and sophomore LP An End Has A Start) their third (In This Light And On This Evening) saw them lean on electro-pop and a complete switch. The changes may have lost them some listeners in the UK but across Europe they get it. And they will absolutely get EBM 

A band who have never stood still creatively, EBM is a breathlessly heavy step up and Editors’ most leftfield material yet – a thrilling, unrelenting thrust of full-bodied electro-industrial rock. The album title is an acronym of Editors and Blanck Mass but also a knowing reference to Electronic Body Music, the potent sound that originated in the 1980s and which has hugely influenced Editors’ new material, where the synths of bands like Nitzer Ebb, Front 242 and DAF hammer darkly amongst smoke machines, strobe lights and the smell of leather.

Adding Benjamin John Power, aka Blanck Mass as a full time member to the band is a genius move. If you know his work you’ll get why they asked the Ivor Novello Award-winning composer to join them, if you don’t then be prepared for some serious heart stomping, electro beats behind the wide range of lead singer Tom Smith’s vocals. 

Unrelenting, hedonistic, wildly oscillating and at times feverish, EBM connects with both the physical and the emotional. Karma Climb begins with a brooding Joy Division intro that leaps into dancehall atmospherics. Kiss is just under eight minutes long and runs through a wide range of emotions and influences, it is like Depeche Mode and Pet Shop Boys are meeting up with New Order in an Uber. The highlight of the record for me, it is a stadium built anthem and is an incredible piece of work. 

We still get the heartfelt version that we’ve become accustomed to on tracks like Silence (the guitar hasn’t been dropped completely thanks to this song) and Strawberry Lemonade which discusses turbulent times  “Can you feel the broken nation?” sings Tom over another 80′d led, The Cure like hook. 

EBM plays tribute to both industrial rock and electronic dance music, it also has hints at their previous work. It is a record that consumes you and takes you on a proper journey if you let it. Editors have moved on (whilst dragging 80′s industrial pop along for the ride) and you should move on with them.

EBM is released on 23/09 via Play It Again Sam

9/10 

Post-Hardcore from Florida takes flight at the ‘Front.....

Sleeping With Sirens arrive into our fine city riding a crest of a wave. Their live shows are receiving rave reviews and their latest album (2022′s Complete Collapse) has been heralded as their most complete work today. With this being said I was highly looking forward to what was in store and it has to be said so were the 699 others that packed out the room, especially when we have ABBA Gold playing before the band take the stage. 

Not a single person could have left the room disappointed (aside from the fella that lost a near on full pint as the band took the stage) as the Sirens put on an incredible 80 minute show. Opening with ‘Break Me Down’ drummer Matty Best lead the charge with a dramatic intro, filling the room with almighty thuds. The rest of the band then piled onto the stage to a cacophony of feedback and audience appreciation, it was truly game on. 

There was no time to catch our breath, the band ripped into ‘Kick Me’ the younger members of the audience clearly enjoying their moment to scream obscenities without the gaze of their parents shone upon them. We were then treated to a hat-trick of tracks from the ‘How To Be Lost’ album, the highlight for me being ‘Leave It All Behind’ the chorus absolutely took off, I’m convinced every single person was singing along, even those stood on the merch stand were joining in. The song is a statement of intent, it is driven, passionate and yet still incredibly melodical, a true highlight. ‘Never Enough’ and ‘Talking To Myself’ completed the trio. I think it is fair to say that ...Lost is the band’s most popular record and these songs were greeted like a hero returning from the destruction of a Death Star. 

We powered on with a range of songs taken from various albums (the band have seven studio albums in their locker) we then had for me the standout moment, before playing ‘Better Off Dead’ lead singer Kellin Quinn gave an impassioned plea to remind us all that we, as people, really do matter and to make sure we stick around. I have to say I found Quinn a truly wonderful lead singer. There’s zero arrogance about him, he comes across as someone who truly cares, his stage presence is one that is earnt by his sincerity. 

Slowing things down we have a couple of acoustic moments, a cover of the Goo Goo Dolls classic ‘Iris’ goes down a storm, the joy of singing along with Kellin and everyone I’m surrounded by isn’t broken by the moment I think that quite a few members of this audience might not have been born when the original was released! Still, this is beautiful. Hopefully they will return to Norwich and I’m pretty certain they could easily fill the UEA, they have the talent and support to be playing bigger venues, that said though the intensity of playing a smaller room always wins for me. 

Dancing through their career for a couple of songs, back to 2010 for ‘If I’m James Sean, you’re Audrey Hepburn’ and then to the present with ‘Bloody Knuckles’ the musicianship remains tight and yet free flowing, you can see the band have honed their craft, they know how to work a crowd and are having an immense amount of fun with it. 

American Glam Rock, Goth Metal Icons open their UK tour in style right at the heart of our fine city. 

As the queue to get into the UEA snaked around many a halls of residence there was a real sense of excitement in the air for Black Veil Brides first UK show in over seven years. Fans filling the venue were certainly up for a great time and the band fed off that and delivered a storming set. 

BVB treated us to an incredibly strong 17-song setlist featuring a host of career-spanning tracks, opening with Crimson Skies from 2021 album The Phantom Tomorrow, and wrapping up with classic single In The End. In-between, they went back to fan-favourites like Rebel Love Song, as well as bringing things to the present day by airing Devil from 2022 EP The Mourning. 

We did however have a few incidents of said excited fans finding the gig too much to take and so on a number of occasions the band had to stop mid song to allow medics to attend or for folk to make their way out of the crowd. To their credit the band were brilliant about it and made sure everyone was safe. 

Lead singer and the one remaining original band member  Andy Biersack certainly had the crowd eating out of his hands and worshiping every scream. His laidback manner on stage somehow managed to fit the chaos and noise that was going on around him. Speaking of noise, I’ve been to this venue quite a number of times on the eight years I’ve lived in Norwich but Black Veil Brides are certainly the loudest band I’ve head in the venue, no wonder a few people fainted. 

Support came from the most excellent  Lillth Czar. The  former lead singer/guitarist for the emo-punk band Automatic Loveletter performed songs from her album Created From Filth And Dust with a Stevie Nicks cover thrown in for good measure. Czar’s powerful vocals blended fantastically with the soulful rock sounds her band was producing. You could tell she was loving performing in the UK for the very first time. The crowd were loving her performance too I could definitely see her headlining at say The Waterfront in the near future. 

Let me take you back, dear reader, to 1991. Operation Desert Storm arrived in Kuwait, The Soviet Union began to dissolve the USSR, Grunge is about to take over MTV, the enigmatic Freddie Mercury sadly passed away and my beloved Tottenham Hotspur won the F.A Cup (thirty one years later and I’m still waiting for another WEM-BER-LEE victory) 

Riding the crest of a musical wave however was Henry Olusegun Adeola Samuel AKA Seal. ‘Killer’ a song written alongside acid house DJ and producer Adamski was all over the pubs, clubs, radio stations and Ministry Of Sounds. Despite the single being released a good year before the album came out, it was still a certified banger by the time this debut album was released. It still remains a massive dancefloor tune and has stood the test of time, still influencing the dance masses to this day. 

Killer, however, is only one track, and to dismiss the rest of this record would be doing Seal and those who have worked on this record a major disservice. The beginning starts with exactly that ‘The Beginning’ is a great way to start the record, it introduces us to what we’re about to hear. There’s soul, RNB and dance laden hooks through the song and Seal’s voice, pure like golden honey is at the fore ‘The music takes you round and round, hold on to the love’ he pleads as the outro leaves us with an aching acoustic guitar. 

This album has a lot of heavy influences on it, listening back with older ears as they are now, I can pick up a country feel on ‘Deep Water’ it’s a really heavy song ‘a shade of pain and then we die’ it is mournful, sad and yet quite beautiful. I’d forgotten this song existed, shame on me. 

As strong as the aforementioned ‘Killer’ is, I was always more of a ‘Crazy’ fan. It is almost the elder relative, it is still a dance floor classic but it has a deeper meaning ‘in a sky full of people only some want to fly, isn’t that crazy?’ hell yes it is. This song still moves me, and surely that’s the definition of classic. 

The production on this record still stands up to this day. At the helm was Trevor Horn, who not only produced the album but released it on his own, newly formed, record label  ZTT Records. Horn declared this record as a turning point in his career and it is easy to hear why, tracks like ‘Whirlpool’ seem pretty simple but dig deeper and you’ll hear gospel and soul flowing through the speakers. 

The album was famously released twice, Horn was not happy with with original version so decided to remix a few of the songs, most noticeably on the song 'Violet' and reissue the album only a few months after the original had been in the shops.

It would be fair to say some the songs haven’t aged so well ‘Wild’ doesn’t live up to its name at all, but to be fair on the deluxe edition the live version definitely has the funk the recorded track lacks. ‘Future Love Paradise’ also seems to lack the drive I seemed to recall it once having. 

Closing the album then is ‘Violet’ a beautiful 80′s influenced soul ballad, hints of Cocteau Twins (I seem to recall Seal declaring himself a fan)  it drifts along with spoken word in the background, not in an Alexander O’Neal way thankfully. Has this record stood the test of 31 years? Yes and no, in some parts it sounds as fresh as it did back in 1991 and in others not so much. Now about that bloody Tottenham Hotspur and winning the F.A Cup...... 

The extras in this deluxe edition offer a peek into the late 80′s and early 90′s dancefloor. The William Orbit remixes are the ones that stand out for me (much as his work with Blur is my favourite of theirs) get your glowsticks out for KIller. There are A LOT of remixes, seven versions of Crazy alone! If remixes are your bag you’ll be in heaven. 

The live album was recorded at The Point in Dublin and does showcase Seal’s wonderful voice. It is a lovely addition and one I’d recommended checking out over the remixes, especially ‘Violet’ and ‘Show me’ 

As a trip back to 1991 this album wouldn't have been my first choice (Ten & Nevermind ruled my world back then) but as a more mature listener I really enjoyed the record and of course I dived in and listened to 'Kiss From A Rose' straight after. It gets my Seal of approval!

7/10

Swedish sister duo turn to into pop/folk goddesses on their 5th studio album. 

With their latest album, Palomino, Johanna and Klara Söderberg, aka First Aid Kit, have completely ignored the folk rule book (yes there is one, no I’m not telling you where it is) and have thrown their musical gauntlet to the wind. Proof of this can instantly be found on the opening track “Out Of My Head” a song that not only has a dance hook but also some synths behind it. Naturally it also has the trademark twin vocal harmony that we’ve come to expect from the band, but the song hints to a bigger, boulder sound. 

The second track, “Angel”, leans towards previous First Aid Kit outings but it still has a freshness about it. The chorus absolutely shines despite the lyrics being quite dark, ‘I love you even if you can’t love me’ they sing, yet I find myself singing along with a smile on my face, enjoying the beautiful noise, hell darkness can be pretty after all. 

We have the (to be expected) 70′s Joni Mitchell inspired “Ready To Run” which blends into what sounds like an Oasis song that I can’t quite put my finger on in “Turning Onto You” the opening chords are definitely (maybe) lifted from a Noel Gallagher penned song, which in turn would have no doubt been stolen from somewhere else! 

“29 Palms Highway” has a breezy, Americana feel to it, like travelling down a dusty lane somewhere in Tennessee and the closing song, “Palomino” which is also the album title, wraps up the record with more stunning layered vocals. 

Parts of this album remind me of another band that feature sisters, whether First Aid Kit can be as successful as Haim remains to be seen, but I suspect that they might not actually want to. Where they are at, over fifteen years since they decided to become a band, is a comfortable level for them. The height of fame isn’t for everyone and for the Söderberg’s being respected by their peers and loved by those in the know is more than enough. 

7/10

In support of their forthcoming UK tour, The Pretty Reckless release an album of covers, alternate and acoustic versions to wonderful effect. 

It has been twelve years since their debut album (Light Me Up) was released, and in that time the band have gone from strength to strength, building up a huge following across the globe. Time then to treat said fans with a record which will pull on their collective heartstrings.

Other Worlds is built around a tribute to the bands hero (and as it happens one of mine) Chris Cornell. They were touring with Soundgarden when Cornell sadly passed, and you can absolutely hear the influence they have had. The cover of Loud Love is a perfect nod to the Soundgarden sound, with lead singer Taylor Momsen bringing her A game.

We follow up Loud Love with a beautiful cover of a Chris Cornell solo classic The Keeper which features multi-instrumentalist Alain Johaness. The song is a wonderful example of the range of Momsen’s vocal. It is so delicate and almost gospel like, a one trick pony she is not. Completing the Soundgarden trilogy we have a  cover version of Halfway There featuring the Soundgarden and Pearl Jam Legend Matt Cameron. Yes the hook is identical to Smells Like Teen Spirit, but that can only be a good thing, right? 

The cover of Elvis Costello’s (What’s So Funny ‘Bout) Peace, Love and Understanding was first recorded during the Covid-19 forced Fearless At Home livestream and is a wonderful tune, yet again it is Momsen’s vocals that steal the show for me. We also have Quicksand  which is one of my favourite David Bowie songs so I was very intrigued to hear The Pretty Reckless version. Any fears were quickly abated, as this song works really well, it features Mike Garson who played keys for the Thin White Duke, who is on hand to lend a wonderful piano refrain. 

Other highlights for me include a country-like acoustic Harley Darling (a song that originally features on the bands 2021 Death By Rock and Roll LP) and a really smart remix of Got So High, giving the song an MGMT like feel. 

Taunton’s finest hit new heights on their sophomore record, coming in bigger, bolder and brighter than ever. 

 Imagine this. You’ve formed a band with your mates who you’ve known since you were teenagers. It's a slow burn, you play gigs up and down the country and sleep on floors or, if you’re really lucky, a sofa. You take your time, finally recording and then releasing your debut album almost five years after you got together. 

All good so far, right? Well what if I told you that said record (the brilliant Forever, Whatever) was released less than eight weeks before a lockdown that saw promotion and tours being halted and momentum coming to a shuddering halt. The frustration, the annoyance and anger would finish off most bands. However, for October Drift it proved to a driving force of inspiration.

 Writing and recording in their own studio once restrictions were lifted proved to be a god send, the band have clearly honed their craft and with producers Justin Lockey (Editors, Mastersystem, Minor Victories) and Paul Gregory (Lanterns On The Lake, EERA) they’ve recorded a darker, grungier album. 

Airborne Panic Attack launches the record like an F-16 fighter jet taking off. Some strong Captain era Idlewild and Fugazi influences as the guitars bleed through the speakers, turn the fucker up loud and you’re good to go. 

Waltzer is a song built for the stage. It’s ready made for an audience to scream the chorus back at the band  'I don't think I'm coming back' is already being sang in the Evans household, get ready to join in. 

How an album flows is a big thing for me, this LP gets it bang on. Bleed arrives at the halfway point, it’s brooding, evocative, a real grown up song. It absolutely points to a strong future and is better than anything Pearl Jam have released in the last decade.  

The pandemic raises its ugly head but in a beautiful refrain during Webcam Funerals, a song written about a friend who had lost their battle with cancer during lockdown meaning that friends and family weren’t able to be there for the funeral. 

Parasite is incredibly dark, with some big In Utero vibes across this song, maybe some Smashing Pumpkins too, Ever After also has a lovely grunge feel to it, building up to a crushing chorus, it is going to be another song that absolutely soars when played live.

Old And Distant Memory closes the record beautifully. It is mournful yet still full of hope, you can almost hear singer Kiran Roy’s heart breaking, stunning work ‘I’m an old and distant memory, I got cold and you got bored of me’ 

Two albums in then and October Drift aren’t drifting, they are flying. I Don’t Belong Anywhere? Nonsense, this album belongs EVERYWHERE! Go and buy it. 

Out now on Physical Education Recordings.

10/10

London based four piece climb to new heights with their best album to date. 

Album releases post pandemic can be a curious thing. It feels a lot of artists were forced back to the drawing board. Tours were cancelled, records due for release were shelved rather than on shelves. However for The Big Moon it would seem that going back to basics was a genius move. 

“Here Is Everything” serves as a love letter to lead singer and principle songwriter Juliet Jackson’s pregnancy and subsequent birth to her child. Jackson might have started lockdown teaching fans how to play guitar on Zoom to help pay the rent, but she ended it as mother to a super little human being.

The album is also an ode to friendship and survival, it soars on tracks such as “Wide Eyes” a song that genuinely made me stop in my stride and listen to it intently when it was first released. “I want to dance and I want to cry” sings Jackson, if you’ve been a parent it is a refrain you can completely relate to. That excitement fuelled with fear and elation, it is some cocktail of emotion, this song describes that feeling perfectly. 

“This Love” has a wonderful early 80′s R.E.M feel to it, guitars chiming in the background, the song feels incredibly warm, as does “Suckerpunch” a song laden with beautiful harmonies and a driving beat, this one is absolutely going off live.

“Trouble” has one of those sing-a-long choruses that just get you hooked in, “never thought love would be like fear, I’m scared for everyone I hold dear” is such a brilliant lyric. That fine line between two fierce emotions, blossoming in a wonderful song, has to be one of my favourites of the year. 

The pandemic hit just after “Walking Like We Do” the bands sophomore album was released, and threw their plans up in the air. Taking your time isn’t always a bad thing though, and it feels like third record was a labour (in one case quite literally) of love. It ends with the stunning piano led “Satellites” a joyous song about the realisation of parenting being on the horizon and how your whole world changes and becomes mapped out. It closes as it started, with a gentle piano line to take us home.

Releasing a third album can be quite a daunting thing. You’ve had all your life to release your first and if successful you’ll ride that crest of a wave into album number two. It is often the third that becomes a matter of sink or swim. I’m happy to say that “Here Is Everything” not only swims, it gets an Olympic gold medal for the butterfly. You should dive in. 

Nine albums in, Gavin Rossdale and co are more than surviving, they are thriving with their best album in decades 

I’ve always been fascinated by the career of Bush. They are a band that, when you mention them to most British folk, will meet with raised eyebrows and possibly a mention of “doesn’t the lead singer have a daughter who’s a model or something” Mention them to rock loving Americans however and it is a completely different story. Why then, are Bush so revered in the US? Maybe this album can explain that? 

“Heavy Is The Ocean", the opening track, kicks off with trademark ‘Bushness’ (yes, I’ve created a new word) low bass, drums that hang in the air and a proper grunge riff. Rossdale’s coarse vocal slowly growing and growling. It’s a song I can imagine listening to at full volume driving down Sunset Boulevard, top down, heads nodding along. Not sure it would work as well on the M6 Birmingham toll road mind you. 

“Slow Me” is another slice of classic Bush, a giant chorus, a we run refrain and a mention of America. You’ve got a nod to Stone Temple Pilots via lead guitarist Chris Traynor’s riffs and chords. It is a song that would sit comfortably on Razorblade Suitcase, in fact it would compliment it brilliantly.  

Want more riffs? “Human Sand” is full of them, and does that thing that Pearl Jam does so well, drops the guitar at points and leaves the bass to be king for a bridge or two. Glorious stuff. “Kiss Me I’m Dead” is a song born for stadiums, it has a Linkin Park feel to it, I guarantee you Hybrid Theory was on rotation in the bands studio when they were recording the album.  

“Identity” is another heavy hitting track, proper full on post-grunge goodness, it swirls around the room and has that almost whispering chorus that bands of Bush’s ilk love so much. You can’t kill the American dream sings Rossdale, yes another nod to the US of A. 

If you know this bands work then you’re probably wondering by now why I haven’t mentioned a trade-mark ballad. Fear not, dear reader, “Creatures Of The Fire” is, can you guess? A beautiful ballad. It is a love song that slows the record down to a delicate tempo, a modern version of Glycerine if you will. 

“Judas Is A Riot” and “Gunfight” bring the noise back to the table, Judas... has a riff lifted from Mellon Collie And The Infinite Sadness (the algorithm actually played a Smashing Pumpkins song after the album had finished) whist Gunfight discusses gun violence and the questioning of God. America anyone? 

Closing track “1000 Years” brings the record and tone down, like a hazy sunset it slowly fades but remains pretty beautiful. “I wish we could sleep for a thousand years” sings Rossdale, “we’re sinking” there’s clearly some heartache and loss fuelling this song, something we can all relate to at some point in our lives I’m sure. 

The Art Of Survival isn’t going to win over any new fans, it isn’t trendy, it won’t make tik-tok or go viral. It will, however, appeal to those who know the band and those who might dip their ear into the void of latter day rock. And it is definitely American!

My six favourite acts across a quite brilliant weekend

Karma Sheen - The Sheen are an International Hindustani Classical Psychedelic rock group based in London. The band is spearheaded by Sameer Khan, and they tore the walls of this beautiful venue to shreds. They are the perfect example of what it mean to be Psych, they fused rock, jazz, funk, soul and naturally, Psychedelia to heights I genuinely hadn’t heard or felt before. Modern influences that stretch back beyond the 60s, Karma Sheen are shining, go see them. 

Bug Teeth - Now a fully fledged five piece, the dreamy sounds of PJ and band mates are just getting bigger. They create dreamy, emotional ambient pop and shoegaze goodness that made me float. I cannot wait to hear their next ep  ‘Lucky Me, Lucky Mud’ and the single taken from it ‘Ice-9′ is simply stunning. Bug Teeth have got some serious bite, I could happily listen to them all night and long into the morning, more, more, more please you wonderful Bugs.

Lemondaze - My word how good are this band! There’s no question mark about it, they are absolutely the best band around right now. This was the third time I’ve seen them and as a hat-trick it doesn’t get any better. Ambient noise and glorious sweeping shoegaze, this foursome will undoubtley be headlining bigger venues than the Arts Centre soon. They are up there with Wolf Alice (I feel I can hear influences from Ellie and Co) and are undoubtably my band of the weekend.

BDRMM - Headlining the Saturday night was Hull’s finest BDRMM. With a wonderful mix of songs of songs taken from one of THE albums of 2020 Bedroom and some new songs thrown into the mix (one of which made its debut live appearance on the night) they soared with their modern take on classic shoegaze and Psych. Tracks like Push/Pull and Happy filled the room with a glorious sense of love and optimism. Whilst the band remain shocked by their success (I don’t get this, we’re from Hull says Joe) the audience are well aware of what they are witnessing, sheer greatness. 

Ben Auld - Playing songs from his brilliant debut album, Lemongrass, Ben and the band really got to soar on the Arts Centre stage. Its always a real pleasure to see a musician on the up and up, they pay off to say I told you so is always welcome.  Hints of Teenage Fanclub circle around Ben’s songs, and that is something that really works. The harmonies are glorious, the set was a real treat, looking forward to listening to the songs on vinyl and taking in those sweet vocals again and again. Lovely. 

Tess Parks - An absolute fitting end to a quite stunning weekend, Tess Parks and her band left everyone on an absolute high. I adore Tess’s voice, so dreamy and just perfect for the incredible musicians she performs with. I genuinely felt like I was having an out of body experience as Cocaine Cat whirled around my brain. It is safe to say then that the whole weekend has been an absolute triumph. Norwich Psych Fest ‘23 anyone? I’ll be there with bells on. Literally. 

A Friday night spent right with two quality bands....

The Waterfront on a Friday means earlier than usual sets as the venue has to prepare for Propaganda, an indie disco night that is famous for its love for 90s music and Freshers arriving to drink alcopops having finally escaped the clutches of Mum and Dad. 

But before that mayhem commences we have the quite wonderful Klangstof opening proceedings with their experimental synths and giant pop hooks. The three piece, based in Amsterdam, have toured with the likes of Mike Snow, The Flaming Lips and Jagwar Ma, thus bringing a powerful force to the stage. 

Playing tracks mostly taken from their third album Gospeed To The Freaks, Klangstof owned the stage with their dark and ambient indie rock. At times reminding me of Ride, lead singer Koen van de Wardt’s vocal range is simply glorious. The dynamics of their sound blew me away, I cannot recommend this band highly enough. By the time they ended their set with Sylvia I was in love with my new favourite band. I reckon they could be yours too. 

Manchester’s very own The Slow Readers Club headlined the night with their indie-electro songs being performed to a very loyal audience. The ‘Readers’ fans back their band to the hilt, most wearing, and at one stage removing, merchandise T-shirts, a sight to behold I must say! 

The driving sounds of birthday boy Kurtis Starkie guitar really drove the songs forward. Lead singer Aaron Starkie vocal range matched his brothers playing as they ran through songs from each of their four studio albums. Aaron is a fantastic frontman, gets the audience engaged and works them well, there’s no arrogance involved, it is just pure joy. 

Highlights of the set for me was the triple threat of You Opened Up My Heart, On The TV and I Saw A Ghost. TV especially got the audience moving and singing along to the riff, it was pretty darn joyous despite the dark nature of the song itself.

The encore starting with a mellow Block Out The Sun, showcasing the bands ability to slow it down as well as the angular noise-pop almost goth like sounds we’ve come to expect. It ends, fittingly, with the 80′s OMD like Lunatic, a song that left the fanatics at the front and the casuals at the back all coming together as one....Build a tower indeed, The Slow Readers Club are climbing to the top. Enjoy the ride. 

What better way the spend a Thursday night than in the best venue in town with three of the very best bands around....

The folks at Voodoo Daddy’s Showroom are bringing the goods to our fine city in giant measures right now. Pretty much every night they have a band or two that are climbing to the top of their game and tonight is absolutely one of those big nights. 

Kicking off proceedings with a beautiful shoegaze and dream pop vibe is the sublime Suds. A four piece made up from each corner of East Anglia the band (Mae, Jack, Dan and Harry) brought their A game. I love their modern take on 90s Rock/Britpop. Theirs a hint Slowdive, especially in Mae’s vocals, and I absolutely adore the sweet bass sounds. The audience tonight quite rightly loved them, singing along especially to their most recent single My Own Mind.

Suds are on the up and up, catch them on the 29th September, for FREE, at the Playhouse. I’ll be there, you should be there too. 

Bringing their driving post-punk, hardcore noise to the stage, Other Half tore eardrums a new one. The Norwich trio have been treading the boards for sometime and having finally released their debut album in 2020 it is a climb to success that will reap many rewards. I love the switch up between Cal and Sophie’s vocals, there’s a sweet Pixies, Fugazi vibe about this band and I love them. Tonight they were the finest Ham between two slices of freshly baked bread. 

 Hailing from Oslo, Norway is our headline act Spielbergs. Touring their stunning sophomore album Vestli, the band arrived in Norwich ready to blow our collective minds and that they did. Opening with The New Years Resolution (which is also the first track on the album) the angling, driving guitars and bass filled the room spectacularly. When They Come For Me is my favourite Spielbergs song, they played it two tracks in and those of us down the front sang (or screamed) along with wild abandon. 

The set leaned heavily on Vestli but did feature Five On It a driving, pulsing song from their debut album This Is Not The End. Guitars drilling down at all angles yet remain melodical on tracks such as Go! and Get Lost, plus the brilliant sing-a-long Me And My Friends, it is safe to say that Spielbergs are one of the most exciting bands around and they are lovely people too. 

As the feedback bleeds through the speakers and the crowd slowly leaves the room, my friends and I look at each other and nod. You know the nod, the one that says Fuck yes, what a night that was! And whilst ears might ring the next day, the sounds of Suds, Other Half and Spielbergs play on, and play on in style. 

Chester based independent label Mai 68 Records bring a plethora of talent to an iconic London venue.

In a world of streaming and downloads it can sometimes feel that being in the physical world has taken a back step. It is so easy to listen to music via your tablet or your mobile (are they even called mobiles these days?) music for many has become lazy.

But there is a counter balance to that, and thankfully the wonderful folks at Mai 68 Records are a leading light in good, honest, old fashioned live music.

Bringing four fantastic acts to the iconic London venue The Social is a brilliant move. Most labels will have a particular style, say your meat and two veg rock, and stick to it. What's wonderful about Simon and his team is that all four acts we had on the bill were individual, having their own style, their own freedom to express.

Kicking off the night were a four piece called COW. Bringing their Dinosaur Jr infused noise to the stage, the band played a wonderfully tight set. Full on rock yet extremely melodic, COW hit the right note for early 90s grunge efficiandos like myself. I'm excited to investigate them further.

Hailing from Glasgow and finally playing London, Wojtek The Bear brought their beautiful, souful indie pop to WC1. I've been a fan for quite some time and getting to see them play was an absolute joy. The fact they played my two favourite songs of theirs (Tide and Tonic) made it even better. I'm really hopeful that Wojtek... can go on to bigger and better things, comparisons are often made to Teenage Fanclub and for me they are just as good and deserve the highest of accolades. Good luck gang!

Campfire Social are another band that surely have to be on the rise. I loved this set, hints of Death Cab For Cutie and more recently the Lottery Winners, Campfire Social add further joy to the room. The harmonies are bang on, the songs are perfect for a sing-a-long. My daughter and I are massive fans of the song..... and getting to hear it tonight was a real treat. Excited to see where Campfire go next.

Bringing the evening to a close then was Ennio The Little Brother. Unsure what I would make of Ennio at first I have to say he blew me away. The use of loops to create a room full of sound was just incredible. Songs of everyday life and his personal experiences woven in a trip hop beat and moving guitar sequences, each song just progressed and expanded Ennio's talent. The future is very bright for this young man and anyone who can get Xabel Xavier into a song will have my respect for life!

The bands third album, recorded over a thirteen-day period with producer Marta Salogni, sees Black Midi thrive. 

Music is supposed to be fun, right? A joyous rush of noise and excitement, euphoric and energetic, making you move and groove! Hellfire does that and more. 

Opening with what almost sounds like a modern day version of The Imperial March, the title track doesn’t hang about, taking off in a high-speed free-jazz/prog/metal direction. It is all over the place yet completely cohesive 

The record is loosely about death and the afterlife, dark tones breathing through the wide range of genres. One minute lead vocalist Geordie Greep is crooning like Tony Bennet the next he’s as angry as Joe Talbot. Personally I love the range Greep can produce, you’ve no idea where he’s going next and where the next song will land.

The musicianship is incredibly tight throughout the record, the band have been together since they were students and you really get the feel that they are honing their craft to perfection. Amongst all the angst and noise of the record comes a moment of serenity during the song Still. It brings everything down to a calm, mellow, zen like sense of peace and calm before to noise roars back into life.

Hellfire is an album you have to stick with. Give it time, a few listens, allow it to seep into your soul. Somehow a mix of noise rock, prog, jazz, theatre, elevator music comes together to form a solid album. To suggest this record is for everyone would be naïve, but it deserves attention for just how brilliantly bonkers it is. These young men are onto something big here, good luck to them. 

On what was the hottest day ever recorded in the UK I ventured to Norwich Arts Centre armed with unknown expectation on what the night might bring.

Stepping into the unknown musically is something everyone should do at least once. I used to do it a lot back in the 90s living in London, I saw a band called Oasis purely because I liked the name, shame they never made it eh.....Whilst there wasn’t any Gallagher brother style angst on stage we did get a selection of stunning songs and musicianship. 

Alex Ellis (lead vocals/guitar) and Henry Senior (pedal steel/dobro) performed songs from their debut album The Company Of Strangers and yet to be released sophomore album which was recorded in Portland Oregon with producer Tucker Martine (Martine has worked with the likes of R.E.M, The Decemberists and My Morning Jacket and many others) 

Alex and Henry filled the room with real beauty, the Arts Centre is perfect for their type of sound. Alex voice is like velvet, gravelly and yet wonderfully mellow. Henry’s pedal steel guitar married Alex’s vocals perfectly, at times it reminded me of the legendary performer B.J Cole, especially his performances with R.E.M in the late 90s (for an example take a look at their performance of Country Feedback taken from the Later....with Jools Holland session)

Stand out track for me was Feel Good, written about a dodgy agent who stole 10k from the band to fuel a drug habit, but was told talking about to the band would help ‘clean him up’ We also had a song dedicated to one of Alex’s best friends, George, and how much respect Alex has for him and also Teachers who have worked so incredibly hard, especially during the pandemic. Songs about fatherhood and how once you become a parent you reflect on how your own parents raised you. 

Our Man In The Field have a real down to earth feel about them both on and off stage. But that’s not to say they are lethargic, they are hard working musicians writing beautiful songs and honing their craft. I’m excited to see what the future holds for them and hopefully they’ll return to this fine city real soon.  

Norfolk Singer-Songwriter releases her stunning debut album into the wild

I settled down to listen to Eliza’s debut album on what is one of the hottest days ever recorded. There’s a haze across my balcony, the plants are looking concerned (don’t worry, they have been watered) and as I press play I genuinely don’t know what I’ll be hearing from the speakers. 

With modern technology as it is you don’t have to ‘find’ new music anymore, it is all at your fingertips. Streaming apps, YouTube and even TickTok have taken over the way we listen. But today I’m going back in time, I’ve got a compact disc! And a CD player. Yes I’m hipster and proud. 

Why do I mention my listening option today? Well this is an album that  deserves to be heard on a physical format. It needs to be taken in and enjoyed in full, with speakers not through a phone. Eliza’s voice is hauntingly beautiful and needs to fill the room (or in this case the outdoors) 

Into The Wilderness has a wonderful charm about it. The songs leap out from the stereo, I can hear nods to Kate Bush, Tori Amos, Kate Nash and The Beautiful South. Opening track Howl serenades you straight away, There’s a real nostalgic feel to the track. It sounds like it is from a 70s arthouse movie but also sounds really modern. 

Stealing My Fear Away is a slower, brooding song. The harmonies are exceptional throughout the album but especially on this number. Closing my eyes as the sun beats down listening to Eliza sing ‘Don’t let let go...’ is blissful. 

The musicianship on this album is truly wonderful, tender and delicate when needed but also full and brooding. If She Were To Fall for example has a very understated piano playing through it, drawing you in. 

Recorded at Talking Cat Recordings you can feel the love and passion pour from the album. Eliza means every word that is sung. Love songs that are loved. My favourite track, Singing With My Ghosts, has even got a Mogwai feel to its instrumental loop, music to my ears literally! 

Admittedly I don’t often listen to folk/acoustic albums, I tend to lean towards noise and distortion. But this record is an absolute delight, it is one you can get absolutely lost in. I’ll be playing Into The Wilderness on the regular.

Eliza received the Bright Spark award at the University Of East Anglia, don’t be surprised if her next award is the Mercury Music Prize.  

Into The Wilderness is available on all your usual streaming services but please contact Eliza and buy a CD, support your local poet. 

Festival season has not only returned from an unexpected hiatus but has returned with a swagger and, in Neck Of The Woods, an absolutely top tier line-up.

Earlham Park played host and around 30,000 folk lapped up everything it had to offer.

Opening the main stage was, quite rightly, a local band by the name of 'Youth Killed It' a band once described as  “indie-Rock social hand grenade” they powered through tracks, one dedicated to anyone who's driven a transit van (Van Mann) and the lead singers cat (Molly) they even had a song referencing Tom Hanks and Neil Buchanan. Beat that if you can! A brilliant opening act, looking forward to seeing them again in our fine city.

Up next we had a proper indie/pop band by the name of Lottery Winners. Their sunshine power pop had the crowd enthralled, lead singer Thom Rylance had the crowd in fits of laughter (talk of only fans and massaging his.....ego) but the songs especially shone. Sing-a-long tracks such as '21' and 'Start again' really got the crowd going. My daughter declared them as her favourite of the day.

Deciding to have a wander at a festival can often mean finding an act that you'd previously not heard of but instantly love, and this happens to be Trunky Juno. Fuzzy indie pop noise reminiscent of Weezer and The Flaming Lips, Trunky Juno sound like a truly modern 90s indie/shoegaze/rock band, absolutely one to watch.

Back to the main stage then take in a member of a wave of Scottish indie/pop outfits The Snuts. The band raced through their set (we don't talk much as we tend to offend people says lead singer Jack) again a strong nod to the 90s ran through their songs, one of them even being called Fatboy Slim. They finished their set with Glasgow , a song that harks back to home and one the audience sang along with gusto.

We stay at the main stage to catch Dodie, an artist that drew a massive crowd. Dodie began their career uploading original songs and covers to YouTube. They have over 210 videos, over 2 million subscribers, and over 404 million views on their main channel. Her songs are all extremely personal yet you can feel the audience, especially the young women, understand exactly where she's coming from. The band she had with her are exceptional musicians, this set was a delight to watch.

Sea Girls are next up and having finally seen them live I totally get the 'next big thing' moniker that some have tied around their next. Their set is peppered with brilliant pop/indie songs, catchy and very danceable, each track sounds like a sure fire winner. A mix of Courteeners meets Arctic Monkeys, see Sea Girls if you can.

Arriving from Australia but heavily influenced by British bands, DMA'S are a powerful trio destined for big, big things. Tracks like Feels Like and The Glow get the crowd bouncing, hands in the air, vocals pulled from the stomach. There's a strong whiff of Oasis watching this band, even the chanting between sounds like it is taken from an Oasis gig. A brilliant festival set, DMA'S would brighten any stage this and every summer.

As the sun begins to settle to the right of the stage we have The Kooks arriving to take the mantle as headline act.

Naturally pulling in the biggest crowd of the day, we open with lead singer Luke inviting us to the Seaside. And off we go, the set is a wonderful dance through the bands back catalogue. Naturally the crowd is besotted with any song taken from their debut album (Inside in/inside out) especially She Moves In Her Own Way and Ooh La. I have to confess I wasn't totally convinced that The Kooks would be headline material but I have to admit that they absolutely are. Having an army of songs that filled the darkening sky, The Kooks had the crowd in raptures, you could feel the love pouring off the stage and into the night.