Tell you what – we love hearing from artists when things go right. We equally love hearing from artists when things go dreadfully wrong. A song that was a piece of piss, written in 20 minutes? Or years in the making and a bastard to write?
Whether it’s a song that came together through great duress or one that was smashed out in a short amount of time, we’re getting the lowdown from some of our favourites on the one song that they can’t stop thinking about – in their own words.
Falmouth’s Holiday Ghosts released a killer new record this year in ‘Coat Of Arms‘ (on FatCat Records). Off the back of a UK tour, guitarist and vocalist Sam Stacpoole takes a breather and talks us through the song ‘I’m Still Here‘. Take it away, Sam…
“This is not by any stretch the most important or leading song in the ‘Coat Of Arms‘ album, but as I’m the one writing this (Sam) and its the most personal song to me, I’ve chosen to talk about ‘I’m Still Here‘.
Give or take 3 or 4 songs, most of ‘Coat Of Arms‘ is a defined collaboration both musically and lyrically. I have really enjoyed that process with Katja, both writing lines together. It moved me away from my regular narrative which I tend to write in, and opened up a kind of licence for different avenues of word play.
With ‘I’m Still Here‘, however, It’s pretty much 100% me up to my normal tricks: relating a life experience cathartically in pretty plain lyrical terms. It’s an acknowledgment of a kind of magnetism that you get with certain friends regardless of how fair-weather or flakey they may be. I guess it’s a kind of defeated internalisation, resulting in putting the blame for the way you feel back onto yourself. Not a healthy thought process perhaps. But it feels healthy sometimes to put that kind of self awareness into a song that you can shout out really loud. Kind of like a primal scream therapy vibe.
With the production I wanted this song to sound very brash and LoFi so that it would contain an urgency which would reflect the songs lyrical meaning. So, we chose to record the live track on a 4 story spiral staircase, with ambient mic’ing in different stages all the way up. Drums were at the bottom, bass a floor up, then my acoustic guitar near the top of the stairs and finally the electric in the loft. It’s probably the most separated the instruments could be in actual proximity, but because of the reverberation in the staircase, they all get melded into one clattering sound. Finally I overdubbed the vocal at the top of my voice down the spiral.“
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My partner recently bought a DAB radio and I’d love to say it’s BBC Radio 6 Music day and night, but it’s mostly been Absolute 80s since we plugged it in and I’ve been loving it. Though I only just about made it into the 80s (born at the tail end), there’s something about the musical output of the decade that I can’t get enough of.
Enter Girlfriends and Boyfriends, a new wave band from Canada, who’ve been tickling our fancy of late with their 80s leaning, throwback synth-punk bangers. They’ve just put out a new record, ‘Lost in the Noise‘ (Midnight Mannequin Records) – a collection of material throughout the life of the band, featuring new material and covers of songs made famous by Duran Duran and Barenaked Ladies. Much like most of what you’ll hear on Absolute 80s, its eight tracks are stupendously catchy in that nostalgic style we love so much.
Here to take us through the album, track by track, is Grant Minor (lead vocals / bass). Nice one, Grant.
A few words about the release from Grant:
“Pete (guitar / synth) and I have been making music as Girlfriends and Boyfriends since 2009. ‘Lost in the Noise‘ includes two new songs, and fills the gaps between our other releases, featuring B-sides and early recordings remixed and revitalized by Adam Veenendaal.“
“This is one of two “new” tracks, recorded in 2021-2022. We wanted a big synth build leading into a blazing solo. Multiple guest guitarists tracked great solos on this, but during the final mix nobody could compete with the sax performance from Tim Sars. We saved Shockk’s guitar solo at the end though (Mongoose Eastvan, SLIP~ons).“
“‘Lovers…’ is the other “new” track, and one of the greatest Canadian songs ever written. We tried to respect the Bruce Cockburn and Barenaked Ladies versions, while doing something different with it.“
“This is a very early track, recorded by me and Pete in a basement in 2009 on an unreliable multi-track interface to an equally lousy PC laptop, using a cheap rental mic kit. We had no clue what we were doing. The original demo was mixed by us (badly), but the version on this release was remixed by AdamVeenendaal, our long-time mastering engineer and current drummer. He saved it. ArunIyer, our first drummer, plays on this. The song was inspired by Duran Duran, and a deep cut from Canadian ’80s rock icon Kim Mitchell (Max Webster). Pete is a big metal guy (he also plays in Spell) and this one features his best shredding on any of our recordings. It has an uplifting melody, but the lyrics are dark.“
“Pete wrote this, and sings the lead vocal on it. It was supposed to be released on a 5-track EP in 2011, but it went into production hell, so we released different songs on a 7″ instead. An early mix of this song is out there somewhere on a tour tape. I think it was the last song we recorded with Arun on drums.“
“This song was recorded by us in 2009 at the same time as ‘Danger Line‘, with Arun on drums. It’s about getting dumped on Facebook. We were trying to make something bass-heavy and synth punk. Misfits meets Devo. It was a crowd favourite at early shows. There were a lot of great noise-punk bands in Vancouver active at the time (Twin Crystals, White Lung, Nu Sensae, Defektors), and we were trying to fit into that scene.“
“We recorded this cover in 2014 for a Duran Duran compilation on RNDM Records called ‘Making Patterns Rhyme‘. Adam Fink (Actors) plays drums on this. Moby recorded a cover of ‘Rio‘ for that compilation!“
“This was tracked around 2011 at The Factory near Cambie and 7th in Vancouver, in a studio adjacent to the one used by Metallica on ‘TheBlack Album‘. Like ‘Computer Friends‘, we were trying to combine fast, distorted chorus bass and synth punk energy. Pete and I liked British music more than American, and Late of the Pier was on heavy rotation at the time. The song is about losing someone to addiction.“
“The name of this song is a random combination of words from two different references and doesn’t really mean anything. It was tracked at the same session as ‘Ambulance‘. We were going for disco-punk with a smooth, mid-80s dentist office groove. Smoke machine walking music, nodding to a well-known classic post-punk band from Leeds. Both Pete and I sing on it, and it’s my only attempt at falsetto.“
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2021 brought us the first ArabStrap album in 16 years! Following a well received reunion tour, Scotland’s finest grumps put their money where their mouths were and came back with arguably their best record. Not only did it open up a whole new fanbase that had missed them first time round, but it really did cause a stir within their already dedicated following. It was easily my favourite record of the year and what’s more, it seemed to reignite a spark between old pals Aidan and Malcolm as they set out to write more music and tour around the world together again. Initially the band set out to record a series of singles but as time went by, the vision for an album started to appear and across the space of two years, ‘I’m totally fine with it 👍 don’t give a fuck anymore 👍’ was born.
Upon first listen, It’s fair to say that the songwriting is pretty immediate and the first half of this record in particular is full of catchy choruses and boppable electro pop beats. But in true ArabStrap fashion, they hit us with a plethora of sounds from stoner rock fuzz (‘Allatonceness’) to glitter ball techno (‘Bliss’) and post rock majesty (‘Turn Off The Light‘). They even blend it all together on album highlight, ’Strawberry Moon’.
As always, the chemistry between Aidan and Malcom colliding provides a sense of cohesion, both members playing a blinder as usual. Aidan’s razor sharp wit and up front honesty propels forward the more personal narrative of the album. I mean, obviously there’s smatterings of political themes and plenty of shagging involved (not shagging politics, mind) but I do find Aidan looking more inwardly here, assessing his pitfalls but understanding there is light and compassion everywhere (“I see you and you see me, I am bound and broken, you are free”). Malcolm’s instrumentation acts as the perfect accompaniment, knowing when to build the drama, expand the atmosphere or just let a fun little hook loose.
Arab Strap have felt that they are starting all over again since their reunion, with this album acting almost as their second album. And to a degree I can understand that, as there’s an undeniable vigour to these songs that sounds like a band that are only getting stronger. But at the same time, I feel like this record could only have been made by a band with their experience and tenure. There is a confidence, a warmth and melancholy that you can only achieve when you’ve been grafting away in the scene for nearly 30 years. But ultimately, it’s just great to see these two back making music, with that music being some of their very best. Another great record by a truly great band.
Having grown up in the Midlands and closely studied the scene across the country, I always felt that there was an ambition with the Black Country gang that always felt unique and individual. It makes sense then for Brummy duo BIG SPECIAL to come swaggering in with a sound that borrows from different sectors of the musical world to present something that feels fresh. Beginning life as a solo project for vocalist Joe, it was a want to be loud and shouty that lead to getting old school mate Callum on board to play drums. This debut album has been cooking from day one, taking the best part of four years to be completed.
The result of all this hard work is a debut album that comes fully realised and very assured in its delivery. Of course, lyrically this comes from a very different place. Rooted in depression and working class survival, this is a record full of self-deprecation with the grit that only a British band can fulfil. I will say that on early listens, I did wonder whether the soul elements were too reminiscent of that whole soul pop scene that Rag’n’Bone Man came out of a few years ago. But the more I dove into this album, the more I really felt true soulfulness within these vocals (‘Black Dog / White Horse’ being a gleaming example).
Joe is an incredible vocalist and has an amazing ability for switching between super strength singing and broad Brummy accented spoken word. Tracks like ’Trees’ and ‘Desperate Breakfast’ are all the more impressive with these two styles in play. To be honest, the whole record is impressive – Callum hits the living shit out of his drums and adds real drama to these blues soaked alt pop bangers.
It would be way too easy to musically compare this to fellow Midlanders Sleaford Mods (though there is a strong whiff on ‘I Mock Joggers’), but I think this lives in a different space. It’s more poetic than political and more bluesy than punk. However what both bands do have in common is their sense of humanity. There is a rawness and a believability in these performances and as soon as the soaring closer ‘Dig’ starts up, you really feel like you’ve been through it all with these two over these past four years of trials and tribulations. There is so much detail within ‘Postindustrial Hometown Blues’ which really gives it a strong sense of narrative and cohesion, and you can tell that this has been a long time in the making. A bit like Mike Skinner fronting The Black Keys, BIG SPECIAL bring sass, wit and originality to the UK scene.
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Bonjour! For the ninth episode of ’60 Minutes or less’ – the new podcast from Birthday Cake For Breakfast – it’s an honour to welcome our first European guest! If we were still in the EU we would have ticked this off the list two episodes in, but since we fucked that when the UK voted to leave the EU, we look to France and our European friends with an interview with HALO MAUD!
I discovered HALO MAUD in 2018 around the release of ‘Du Pouvoir’, her label debut for noted tastemakers Heavenly Recordings. Described by us at the time as a ‘gorgeous, sultry affair’ with a nod to Bjork, we were completely taken in by her brand of cinematic pop and have kept a close eye on her work ever since.
In March 2024, HALO MAUD released her new album ‘Celebrate’, another via Heavenly Recordings, recorded between Paris and LA, with a number of tracks produced by Greg Saunier of Deerhoof.
We recently spoke with HALO MAUD backstage at the New Century Hall in Manchester ahead of her supporting Jane Weaver. Whilst I’ve been hammering Duolingo for over a year, I didn’t quite fancy my chances of parler Francais avec HALO MAUD. Alors… Enjoy the episode and be sure to tell your friends, both local and international!
A handy Spotify player is embedded below, but you can find further ways to listen here.
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Alongside our bumper playlist for the year (cataloguing everything we’ve been loving from January through to now), the ‘Listening Post’ returns this month and it’s full of our favourite choice cuts of late, 20 of them – old and new!
It’s a crisp 70 minutes so you can rip through this playlist again and again – be sure to tell your loved ones all about it!
Stepping into the new year with some bumper news, Metronomy have just signed to NinjaTune for the release of a new EP, the follow up to their killer collaborations EP out in 2021 (appropriately titled ‘Posse EP Volume 1’). Featuring NYC multi-instrumentalist Pan Amsterdam rapping in an old school stylee and ripping it on jazz trumpet, ‘Nice Town’ is an energising dance-y hip-hop bopper.
Skydaddy a.k.a. London based musician Rachid Fakhre, toured with Black Country, New Road ahead of releasing any actual material, so it makes sense that the band’s own Tyler Cryde would make an appearance on his debut EP. Featuring Cryde on classical guitar, her dual vocals with Fakhre make ‘TearGas’ such an engaging, yet sombre listen.
Fresh off the back of releasing ‘A Little Touch of Schleicher in the Night’ in 2023, Brooklyn’s KatieVonSchleicher just last month released the lovely, summery ‘Pilea’, a swell little song about her pilea plant and her sweet tweetie-pie bird, Ursula. Dig that bass clarinet!
Real killer moody post-punk of the N0V3L and Preoccupations variety here from Ora Cogan, the sharp instrumental really creating a fire under the hypnotic, ghostly vocal. From a record featuring international guest spots from Y La Bamba and Mac Diarmada of LANKUM, ‘Feel Life’ moves ahead at a real clip.
Boston, Mass artist Haasan Barclay gets real deep on this vibe of a cut from his oeuvre, released in 2021 – “…pleasure’s just an overdraft away”. ‘Curfews’ is an ice-cold, many-moving-parts hip-hop peach of a record.
London based soul artist Jalen Ngonda well and truly captured our hearts with his storming debut LP ‘Come Around and Love Me’ and he’s followed up its 2023 release sharpish with new single ‘Illusions’. It’s crazy to think this is a cut from our year of the lord 2024, rather than some uncovered gem from a Northern Soul DJ’s loft!
Helene Smith – I Tried So Hard To Be Good To You
Said to be Miami’s ‘First Lady of Soul’, Helene Smith totally wows on this heart-swelling soul piece from the 60s. This has got late Sunday morning with a giant cup of coffee on the go written all over it!
I was mildly obsessed with this when I first heard it – a revved up, bass and synth attack heart-stopper that sounds like DEVO if they’d put out a New Romantic record. From Vancouver, British Columbia, Girlfriends and Boyfriends really hit the spot on ‘Ambulance’, a raging bit of nostalgic punk.
The opener from a forthcoming debut EP from Mary in the Junkyard, ‘Ghost’ sounds a wee bit like BigThief – soft and sparse, then opening with bursts of noise as the ethereal vocals of guitarist ClariFreeman-Taylor really soar.
Fair cop, ‘Super Mega Ultra’ is the perfect title for a new record from Canada’s speed-punks Wine Lips. Discovered in this house off the back of their third album ‘Mushroom Death Sex Bummer Party’ (another gnarly title), ‘Derailer’ is a total fuzz-fest ripper of a good time!
I was literally just thinking – when are we going to be getting a new song from Anna Erhard? Consider us tickled pink then to discover brand new material from Erhard, her latest off the back of brilliant standalone single ‘170’ out last year. ‘Botanical Garden’ has a touch of the Darwin Deez to it and is a sugary-sweet delight to these ears!
January 2024 saw the release of the third album from Danish composer and viola player Astrid Sonne and from it, ‘Boost’ is a proper head-wrecker. Booming beats cut through what sounds like the theme for some end of level boss fight at times. Love that record sleeve too!
Album title / cover of the year here from London born Shabaka Hutchings for his latest release, the brilliantly titled ‘Perceive Its Beauty, Acknowledge Its Grace’. Known for his work with Sons of Kemet and The Comet Is Coming, on ‘Managing My Breath, What Fear Had Become’, Shabaka hooks up with MC and poet Saul Williams for a completely tranquil, mind-escaping three minute journey.
Seeing this live last month really cemented it for us. From a standalone single (alongside ‘Deep Tunnel’), ‘AITA?’ is yet another dynamite hit from Chicago outfit Stuck, vocalist Greg Obis asking the big question again and again – ‘Am I The Asshole?’
Appearing in numerous gospel groups before starting Manukahunney in 2012, Northern Irish soul vocalist Siobhan Brown recently celebrated a decade of Manukahunney with the release of a new EP. ‘Moved On Up’ is a total showcase of that powerhouse vocal. Nails drumming too!
Prince has returned, but this time around the vessel with which he gets funky is a mid-50s bearded white male by the name of John Grant. A few years on from the release of ‘Boy from Michigan’, Grant gets the party started on this total groove-fest from his forthcoming new album, ‘The Art Of The Lie’.
Inspired by traditional Eastern-Europe melodies and folk songs, violin and cello duo Fran & Flora are completely captivating on ‘Fishelekh Gefinen‘, the vocals as striking as the driving instrumentation. From their recently released second album ‘Precious Collection’, self-produced by the pair.
Shades of Cate Le Bon and Dana Gavanski on this cucumber cool, wonk-pop stomper from LizLawrence, searching for somewhere to feed her ego – “…somewhere between my dreams and the fruit machine.” From a new album out this June, potentially named after Charlie Brown, Snoopy and all their mates.
Come in, relax and get 100% soothed by the wonderful ‘Music For Peace and Harmony’, the new single from London-based multi-instrumentalist and producer Hiro Ama. Known for his 9-5 as the drummer in indie-rock outfit Teleman, his new material centres around the Waraku synthesiser (‘Waraku‘ translating literally to ‘peace and harmony’), an obscure Japanese instrument that blends the sounds of traditional instruments such as the Kotoand Shakuhachi.
If you’ve been in my company recently and Jane Weaver’s been the topic of discussion, you might’ve heard my hot take that ‘Emotional Components’ – the enchanting bop from her latest album ‘Love In Constant Spectacle’ – very much has the vibe of ‘There’s Nothing Like This’, the early 90s smooth number from Omar.
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There’s a lot to be said for securing yourself a seat at Manchester’s The Deaf Institute, up the steps with a big fat pint of the finest pale ale and a great view of the live room and the stage beyond. Yes, the prime spot is down on the floor, front and centre, but when you’re hitting quite a few live shows throughout the month, it’s hard to pass up the chance to give your plates of meat a rest.
Fresh off having a song appear on ‘Made in Chelsea‘ in the week, TTSSFU aka Tasmin Stephens (last seen with these eyes on stage playing guitar with Manchester locals Duvet) opened the show, looking mega fresh as she coolly played on a cherry red heart shaped guitar, mouth open wide as she sang the chorus on big single ‘I hope you die’. Dressed in all black, she stood out against the rest of her band of short haired young lads with white shirts and ties, very much capturing the attention of any latecomers like ourselves.
A number of things got in the way as we made our way into town, so we didn’t manage to catch the whole thing, but what we were in the room for sounded top and – looking at her upcoming gigs – hopefully we can catch TTSSFU in a similar sized venue before the rocket strapped to her back fires her sky high. The couple next to us spent the changeover googling TTSSFU, so I’d say that’s job done!
Rather fittingly, a DUDS song played before the arrival of headliners Omni, both bands having shared a stage in Manchester back in 2017 – the first time I caught both live, in fact. We’ve since gone on to catch Omni on many of their UK outings, from Leeds to Liverpool and Manchester many times over. The last time we shared the same space with the Atlanta trio was back in late 2019 off the back of releasing their third album, ’Networker’ – a wonderful occasion in the ‘Pink Room’ of Manchester’s YES venue.
Anticipation was built expertly via the ominous THX sound effect from the pictures (heard in that tooth-shattering clip from ‘The Simpsons’), audio filling the room in deafening fashion. It was the first in a number of humorous interludes throughout the evening, different sound effects and muzak pieces helping to bridge the gap between songs. From modem dialup to ringtones of mobile phones of old (Nokia? Orange?), the theme from ‘The X Files‘, voicemail inbox recordings and hold music (including the incredible hold music that was recently covered by OSEES on their last album ‘Intercepted Message’). At one point someone made a loud vocal request for “AOL”.
It was expected that we’d be hearing a lot of their new album ‘Souvenir’ on Wednesday evening and having hammered the record for a few months solid, this was a plan we could get behind. Surprisingly though, Omni kicked things off with ’Supermoon’ from their 2017 release ‘Multi-Task’, no warm-up required as they looked cooler than the other side of the pillow from the off.
Not long after a run through of the giant ‘Afterlife’ from their debut album ‘Deluxe’, bassist and vocalist Philip Frobos introduced the band and highlighted that they would indeed be taking us back in time, ripping into ‘Moat’ and ‘CourtesyCall’, the latter with its ‘Marquee Moon’-esque guitar parts from Frankie Broyles. It was at this point that Frankie broke a string. Lucky then that they had some hold music to keep things moving, eh? Whilst muzak played and Frankie switched guitars, Frobos urged us to “Hold that thought“. As drummer ChrisYonker laughed at the back and asked Frankie if he was ready, they cut back in where they’d left off in silky smooth fashion and boy did those new strings sound good!
Galloping on the backing track bled into the anthemic good-time that is ‘Equestrian’, Yonker delighting with that disco-punk drumbeat, Frobos power-stancing his way through the chorus and belting it out whilst Frankie was all smiles. He’s back in the room! Somehow the string breaking energised the trio and they shifted gear, with a great bounce on them through ‘Earrings’ as the room vibed. The perfect time then for Frobos to break a bass string. “I fucking called that…” Said a crushed punter behind us. “We’re just rocking too hard guys…” Frobos announced, moving things along sharpish as he fixed himself up and they fired back into it. Boy did those new strings sound good!
Writing succinct bops is the bread and butter for Omni, but on the night they stretched out a few with some lengthy, thrashed out endings, where the three bods really kicked it and let loose. ‘After Dinner’, ‘Skeleton Key’ and recent single ‘INTL Waters’ all pushed through into shred territory and it was a trip seeing the trio blast away, the latter punctuated by great tumble down the stairs drums from Yonker as lights went nuts on stage.
“Think about someone on a ladder putting that shit up there. Precarious. Dangerous.” Said Frobos of the dual disco balls above the crowd ahead of ‘Common Mistakes’, which opens with lyrics of someone doing just that. Earlier in the night, Frobos promised there would be “twists and turns” with cuts from their latest album and as the evening drew in, he announced in a mysterious fashion “consider this your encore”. Big hitter ‘Plastic Pyramid’ marked their last, Yonker playing the female vocal part of Izzy Glaudini rather convincingly as Frobos raised his bass high. Broken strings? No problem, Omni still make this look easy. Another winner in Manchester.
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They said it couldn’t be done – ’60 Minutes or less’, the new podcast from Birthday Cake For Breakfast, returns for our eighth episode! Off the back of our last episode with Steven Hodson of USA Nails, we continue on with noise-rock frontmen with a chat featuring Alex Edkins, guitarist and choice shouter in gnarly power trio METZ.
Formed in Ontario, Canada, METZ have been wrecking heads for fifteen plus years, with five studio albums now under their collective belts. Their latest, ‘Up On Gravity Hill’, was released just under a fortnight ago in April 2024 via Sub Pop Records. It’s a treat to have a new METZ record in our lives, particularly as we were so enamoured with their previous album, ‘Atlas Vending’ and – well – pretty much everything they put out there.
On top of killer records, the trio are killer merch-men and always have some swish clobber available to wear upon your person. On top of keeping an eye out for new releases from them, we’re always keen beans for whatever rad long sleeve they’ve got coming out. It’s something which we got into when I spoke with Alex over zoom in mid-April, a few days away from releasing their new record. It’s a big chat with a total dude – I think you’ll dig it.
If you like what you hear, rate us five stars, tell your loved ones and share ’60 Minutes or less’ on the internet. You could even print off transcripts and leave them lying about your local library. The choice is yours.
A handy Spotify player is embedded below, but you can find further ways to listen here.
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This Midlands based crew have been making waves in the underground scene since their blistering debut EP back in the winter of 2021. Having spent the past two years building momentum on both the release and live front, the quintet are ready to kick the door down with this absolutely barnstorming LP. With a dream runtime of 18 minutes, these 10 tracks tell you everything you need to know about FleshCreep and what they stand for.
This is a fucking ferocious slab of modern hardcore that gives you a well needed slap around the face at every corner. From the second opener ‘Gold’ erupts, this embodies everything I love about heavy music; exhilarating metallic twists, head-banging hardcore and pit swelling thrash. This is a band that mean every fucking note and every fucking word and it’s this authenticity that gives ‘We Need You To Bleed’ a timeless quality. Tracks like ‘Turf War’ and ‘Bleed Out’ both boast hooks that beg for the mic to be grabbed, while ‘Insect Politics’ and ‘False Flag’ are sure-fire pit-hungry bangers.
Credit must go to old pal of the site Stale Winton, who has done a stellar job at producing this record, helping the band bridge the gap between classic and contemporary punk, which is no easy task if you ask us. This is a huge step up sonically and musically from their previously released EPs, which were already super raging, so with this in mind, any punk heads HAVE to check this out! An essential release in 2024 hardcore.
I spent most of the early 2021 lockdown dreaming of swaying in the middle of a disco ball filled dance floor whilst listening to the beautiful glitter pop sounds of Jane Weaver’s last album ‘Flock’. It was my first proper introduction to the North West songwriter’s back catalogue and it subsequently became one of my absolute favourites of that year. Excited about a follow up, I’ve spent the last two weeks immersing myself in Jane’s latest opus, ’Love in Constant Spectacle’.
With esteemed producer and regular PJ Harvey collaborator John Parrish at the helm, Jane has honed in on the psych pop vibes of her previous work to create something that feels way more loose and expansive. I really like the psychedelic feel across this record, with tracks like ’The Axis and The Seed‘ and ‘Happiness in Proximity’ really expanding that pallet. There’s also different levels of it too, from the stripped back folk of ‘Motif’ to the sprightly pop of ‘Perfect Storm’, Jane covers all bases here, continuing her knack of giving eclectic track-listings a sense of cohesion.
Whereas ‘Flock’ relied on its immediacy, ‘Love In Constant Spectacle’ feels more detailed and steeped in magic; the sweet love song that is ‘Romantic Worlds’ makes me want to swan about in a pedalo, very much like in the video for the track. Basically, it’s hard not to lose yourself in this. There is such a candid coolness about Jane Weaver and I think it comes from making music that lives in its own world. ‘Love in Constant Spectacle’ is a blissful yet pensive foray into the UK’s finest pysch pop export.
Although he’s been a big part of the UK underground scene for some time, playing in a whole heap of different projects, it was his collaboration with Arab Strap’sMalcolm Middleton that first turned me onto Joel Harries. Their band Lichen Slow made a top 5 AOTY for me last year with their beautifully emo debut ‘Rest Lurks’. Much to my delight, Joel’s latest solo record very much takes off from where we left Lichen Slow.
‘I Will Always Come Back Here’ is a gorgeously produced indie-folk record with a big dollop of classic emo. The thing that struck me when I first heard Joel was his angelic voice and as soon as the harmonies saunter in on opener ‘Birthday Card’, I was well and truly suckered in. This is another pensive affair, with Joel looking deep into relationships – whether it’s with old friends (’Shitty Friend’) or with his dog (‘I Wish I Had Words’), this is a very tender, honest account.
The production is just perfect. There’s a lot of sonic detail, but just the right amount to serve the deep intimacy of these songs. Whereas the Lichen Slow record had a few more outward looking moments, ‘I Will Always Come Back Here’ feels very introverted and there’s something incredibly moving about Joel’s delivery. If you’re a sad lad like me and stoked about that Owen record coming out later this month, you gotta check this out, it’s a proper lovely listen.
Absolute faves here at BCFB, Canada’s finest Metz are back with the follow up to their absurdly good 2020 LP, ‘Atlas Vending’. There was always going to be some big shoes to fill with that album, as it embodies everything I love about the power trio, whist looking into some new sounds too. Teaming up with producer Seth Manchester again, Metz have gone and made a really cool move by turning in their most expansive and immediate record to date.
Just so you know, this is definitely not Metz going pop. Far from it. This is still the same noisy punk rock band you love, but there’s a slight focus into a more shoegaze-y / indie rock dynamic, which really suits them. ‘No Reservation / Love Comes Crashing’ leads the charge with its six-plus minutes of hazy guitars and ethereal vocals swirling over the top of the band’s thunderous rhythm section. ‘Glass Eye’ and ‘Entwined(Street Light Buzz)’ follow up next, pretty much backing up the opener with what this record is all about; scuzzy, full throttle punk with a big melodic centre.
Of course, tracks like ’99’ and ’Never Still Again’ still cut through with razor blade sharpness – the latter in particular is a head caver, rocking a relentless chorus that smashes into a half time beat down. But then we get to ‘Light Your Way Home‘, which concludes the album with their most shimmering, shoegaze moment to date and it’s, dare I say, the most beautiful piece of music they’ve made. Though some may feel that overall this might not quite pack the same punch as its predecessor, there is a subtle majesty to ‘Up On Gravity Hill’ that is hard to not get wrapped up in. Solid playing and a forward moving sense of ambition keeps pushing Metz forward as one of the finest rock bands to come out of Canada.
Speaking of noisy boy Birthday CakeFor Breakfast favourites, UK alt punk mavericks USA Nails have just unleashed their sixth album! For a band that have been at it for just over a decade, they sure have put in a right shift, so it’s great to see a label like One Little Independent pick up the band for this one. I think it’s fair to say that USA Nails have a strong formula now and ‘Feel Worse’ keeps up the raucous noise rock we know and love them for.
This is a constant attack of stabbing guitars and seething vocals, backed by a rhythm section so thunderous it could probably smash glass.‘Cathartic Entertainment‘ is a relentless opener that is held down by powerhouse drummer Tom, swiftly followed by ‘Feel Worse’, which is two minutes of chaos as guitarists Steve and Gareth try to bend your brain with twisting riffs. If anything, USA Nails are only getting better at being more gross – ‘Networking Opportunity’ manages to hold down a killer, tom heavy rhythm while all hell breaks loose around it, whilst ‘Holiday Sea’ builds from an 808 electro beat into probably the most punishing moment on the record!
As well as being all kinds of gnarly, this lot have always tried to not take themselves too seriously and as always, the deadpan delivery between Gareth, Steve and Dan comes through with the great one liners; a particular highlight being ‘Beautiful Eyes!’, which I’m pretty sure is about Gareth’s meme account on Instagram. 10 years in and USA Nails show no signs of slowing down – if anything, ‘Feel Worse’ might be their most full throttle record to date, barely taking a second to breathe in its 26 minutes. As expected, this is another killer album from truly one of the best bands we have in our beloved underground scene.
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For American bands touring in the UK, you can imagine there’s a checklist of sights and experiences that they have on their bucket lists. How many have scraps on their lists though? For Chicago outfit Stuck, who just landed for their first official UK tour, the potential for a post-punk punch-up was seemingly too much for a group of young lads and mid-show / post-show there was almost a rumble, much to the delight of the band and yours truly. Thankfully it was just handbags at dawn, though it added a little bit of spice to what had already been a spicy Manchester debut for the visiting Stuck.
“I’m far too earnest to be in a punk band…” Said guitarist and vocalist Greg Obis earlier in the night when they were a few songs in, confiding in the crowd that they had been worried about attendances for their first UK outing, but had been pleasantly surprised. I must admit, I too was a tad concerned about the turnout, particularly given their show in London the night before looked like such a rager – and especially because Manchester crowds can sometimes be a wee bit frosty! These worries were put to bed pretty quickly though when a rush of kids broke through to the front and set off a room-filling pit that had nearly everyone pile in, setting the tone for the evening with the busy room of people vibing and getting into the groove.
Their Manchester debut had been a long time coming. We first discovered Stuck around the release of their debut album ‘Change Is Bad’ in 2020, not long after they were due to host USA Nails on a tour of the states. Tour plans were significantly aborted due to the pandemic, but during the UK lockdown I personally hammered ‘Change Is Bad’, taking it on many a lengthy walk up and down the Mersey. Not much else to do, right? It was a trip then four years on to hear not only cuts from their debut LP, but everything they’ve put out since – its full length follow up ‘Freak Frequency’, as well as the 2021 EP ‘Content That Makes You Feel Good’ and their most recent singles, ‘Deep Tunnel b / w AITA?’. The latter, ‘AITA?’, was great on the night – near enough just vocalist Greg Obis asking ‘Am I The Asshole?’ over and over again.
A few songs in and the fucking lads from ‘Bottom’ came and stood directly in front of us, determined to knock our pints out of our hands. After much shuffling about, they disappeared after just one song, seemingly for the rest of the night. Over to the right, as the band thrashed out the closer of one, a tall lad whizzed his huge mop of hair left and right like he’d been set to full speed setting. Later on, he had his arms around the shoulders of his mates doing that can-can thing we used to do at gigs and a tear rolled down my check at the realisation that I was at least 15 years older than him.
A Scottish voice mumbled something loudly between songs and I think I was the only one that caught bassist David Algrim laughing, asking no one “…What?” From the off, Algrim’s tongue was lolling as he contorted his form during frantic opener ‘The Punisher‘ and he’d soon be putting maximum effort into everything all night, busting it out with gusto. Obis too looked wild-eyed at times, looking left and right as he hammered away with dagger-sharp, running down the plug hole guitar and the occasional yelped vocal.
Living up to the title of their EP, creating ‘Content That Makes You Feel Good’, Stuck must’ve been pleased with their debut up Norf. With a red hot crowd energised off everything dished up from the stage, Stuck ripped it through half hour of power and had the room wanting more. As the band rushed over to placate punters at the merch table at the end of the set, bassist Algrim sauntered off stage scratching his neck like he’d just done a big shift. Well earned, lad!
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When Hell Is For Heroes announced their hiatus in 2008, there was concern amongst their dedicated fanbase that they may not return again. However, we only had to endure four years of silence before the quintet headed back on the road again and much to the delight of many, they’ve been touring on and off for the past 12 years now! Tonight we are at the Academy 2 as part of a small headline run that comes hot off the heels of a new single, their third in two years! There’s also a reissue of the band’s self-titled third album, which has just been released on wax for the first time, all thanks to the good people at Big Scary Monsters.
The nerd in me immediately noticed some of the merch referencing the artwork from that album, so I was excited to hear some material from maybe an underrated moment in the band’s brief discography. Of course, it’s the band’s debut album, ‘The Neon Handshake‘, that is very highly regarded in the UK Brit Rock scene. HIFH have always been grateful for what that album did for them back in 2003 and have since honoured it with a few anniversary shows, playing it in full. Having seen those shows a little while back, I’m stoked to see a full strength Heroes set tonight!
Naturally, the set leans on the first record, but you can’t deny just how massive those songs are. The minute they open with ‘Five Kids Go’, the whole room goes into karaoke mode! The chorus is just gargantuan, and I can’t help but smile at the bloke next to me, who looks exactly like Taskmaster’sAlex Horne, singing along like his life depends on it! They then launch into second album smasher ‘Folded Paper Figures’, followed by MTV2 classic ‘Night Vision’ and the people of Manchester don’t know what’s hit them! It’s a huge opening to the set and a precedent of what is to come.
With a brief yet sincere hello, we get ‘I Should Never Have Been Here In the First Place’, a newer song which definitely has that, dare I say, more matured feel to it, but slots in perfectly amongst older material, frontman Justin getting the crowd involved in the call and response crescendo in which the audience happily oblige. It’s really lovely to see the room nice and full, and a crowd firmly over 30 reverting back to their teenage selves. A little later down the set, the band bang out ‘You Drove Me To It’ and a bunch of bros all stood at the back race into the pit, jumping on each other as they go.
Though the first record tunes get the biggest rise out of the crowd, I am delighted to hear tracks off the aforementioned S/T LP – the post-rock dynamics of ‘You’ve Got Hopes’ really hitting the spot. Then opening the encore with the mostly instrumental ’To Die For’, which sees frontman Justin surfing the crowd before standing up above the pit and screaming out the tracks climactic crescendo.
It kind of feels like no time has passed really, the energy between the band and the crowd is exactly how I remembered it all those years ago… It’s actually pretty heartwarming to see, especially when big hitter ‘I Can Climb Mountains’ closes up the set and the whole room explodes into one last sing-along. Tonight feels more than just nostalgic, this is a band that are playing because they love what they do and love the people that come to see them. It makes for a genuinely great live show and one I hope keeps going for as long as it can!
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Here we are then – the seventh episode of ’60 Minutes or less’, the new podcast from Birthday Cake For Breakfast. What a peach too – a bumper chat with Steven Hodson, guitarist and vocalist in gnarly quartet USA Nails.
Having formed around 2013, we’ve been following USA Nails for pretty much the life of Birthday Cake For Breakfast. I still fondly recall their appearance at ArcTanGent Festival almost a decade ago and a slot on the lineup early on in the day. Their raucous half hour set separated the strong from the weak willed and after a night on the pale ales and who knows what else the night before, some couldn’t hack their full-on noise rock and made a swift exit.
Following a blistering appearance at the festival, we’ve since had the pleasure of interviewing USA Nails a number of times over the years and have caught them live in the flesh whenever possible. Their appearance at the festival was around the time of releasing their second album ‘No Pleasure’ and in March 2024, USA Nails released their latest album ‘Feel Worse’ – their sixth full length release and their first for big boy new label One Little Independent Records, home to Bjork amongst others.
A decade into band-life, USA Nails have a combined rap sheet that includes histories with bands such as Kong, Oceansize, Death Pedals, SilentFront, WastedDeath, TheEurosuite and many, many more. Recorded over zoom, we went deep into the recording process of their new record, which I personally can’t get enough of – yet another winner in their solid back catalogue.
A handy Spotify player is embedded below, but you can find further ways to listen here.
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I can’t quite Adam-and-beliEve-it that we’re already easing into spring. No, this isn’t an April Fools (particularly as that was a few days ago), but rather the year zooming ahead as per.
Alongside our bumper playlist for the year (cataloguing everything we’ve been loving from January through to now), the ‘Listening Post’ returns this month and it’s full of choice cuts, 20 of them – old and new!
It’s a crisp 60 minutes, so you can bosh this one out in snappy fashion – be sure to tell your friends / family / pets too!
Cooler than the other side of the pillow stuff here from NYC formed trio Patio. From their second album ‘Collection’, out September last year on tastemaker label Fire Talk, ‘Inheritance’ is as groovy as it is moody and calls to mind the brilliant Lithics. Love those machine-gun fire drum bursts.
On our radar ever since their 2017 EP ‘Health’, Aussie lot Parsnip return in 2024 with their forthcoming second album (on the way this month via Upset The Rhythm). Kicking things off with bright and breezy lead single ‘The Light’, it’s an offering that sounds like it’s been zapped forward in time from the swinging sixties.
From their 2019 album ‘Not The Past, Can’t Be The Future’, Melbourne’s Bench Press have a motto we can get behind – ‘don’t bore us, get to the chorus’. Mastered by Mikey Young, naturally, this is a snarling post-punk number that sinks its teeth in from the off.
It was a trip seeing Bingo Fury at hipster hotspot YES in Manchester recently, given that the cover photo for his new album ‘Bats Feet For A Widow’ captures the songwriter in the restaurant across the street, literally taken from the very same room we were stood. ‘Leather Sky’ is something else, a proper stop you in your tracks affair from the young crooner, one that’s drawn comparisons to songwriting greats like Scott Walker.
It’s fitting that we move into spring with this sun-soaked delight from London based singer-songwriter BeckyJones a.k.a. Saint Saviour (though it is pissing it down in Manchester as I write this…) From a new album out now – the aptly titled ‘Sunseeker’ – elsewhere on the record you’ll find a guest collaboration from Bill Ryder Jones.
Mega S/T ‘blue’ album Weezer vibes aplenty on the fist-pumping ‘Hurtful’, one of the big hitters from ‘Like Before’, the new record from queer Chinese-Vietnamese multi-instrumentalist Non La (whose name sounds like what a scouser might say when you’ve asked them for something they’ve just run out of…) Dig that fuzz!
Texan quartet Ting Tang Tina first started playing shows in 2017, but listening to the infectious ‘Hair’, you’d think they’d have been at it for decades. Hardly letting up across its near three minutes, this from their debut album ‘Honeybee’ sounds like it’d be sitting pretty on the soundtrack of any coming of age teen film.
Featuring ex-Sauna Youth bod Lindsay Corstorphine, London based duo Grazia put out a killer EP at the start of the year (another winning release from the team at Feel It Records). ‘Stupid Paradise’ is a total ear worm of the slacker variety.
I’ve been flirting with disaster of late, listening to loads of VR Sex on my work laptop (that name!), but I can’t help it – I’m hooked on their new record, ’Hard Copy’! Spearheaded by Noel Skum (a.k.a. AndrewClinco of Drab Majesty), ‘Real Doll Time’ is a mega infectious bit of moody post-punk from a record that well and truly has its hooks in us.
The Chico Hamilton Quintet – The Morning After (Chico Hamilton Quintet featuring Buddy Collette)
An absolutely delightful piece here from American jazz drummer and bandleader, Chico Hamilton, a completely cinematic jazz affair that would perfectly soundtrack any time of day (not just ‘The Morning After‘…)
Sometimes seeing a band live can really take their record to another level. Following an appearance in Manchester last month, I’ve been hammering the debut album from Londoners Folly Group. ‘East Flat Crows’ is a particularly cool number from the quartet, the dual vocal and hypnotising rhythm section taking hold.
A regular in The Orielles live band (as well as behind the counter of Manchester institution PiccadillyRecords), last year saw the release of a debut single from Scottish artist Modema, a slick pop number that doesn’t sound too dissimilar to the synth-pop stylings found on the latest Everything Everything record.
Local lot SLAP RASH put out their debut EP ‘Catherine Special’ at the tail end of last year and from it, ‘Photo Fit’ is a frantic post punk shoulder-shuffler of the Drahla variety. Thumping drums, killer bass and a captivating vocal attack that keeps you on your toes, this is solid!
The ever prolific Holiday Ghosts swiftly follow up their 2023 record ‘Absolute Reality’ with yet another slab of wax to be devoured. Latest single ‘Big Congratulations’ is a total pop treat – a joyous, breezy single to welcome in the brighter months of the year.
Starting off as a thumping, Nine Inch Nails type industrial assault, ‘Mood Ring’ switches gears dramatically and becomes such a pop bop. From a new record out this May, ‘Mood Ring’ is insanely catchy and a total heart-sweller from the Chicago trio.
You know we love a 90 second ripper at Birthday Cake For Breakfast, so we were stoked when we heard this on the latest Mannequin Pussy record. A hardcore rush that sounds like the gnarliness of early Turnstile, you’ll want to stick ‘Aching’ on again and again.
Very much in the vein of early Sleaford Mods – dog-dirt bass and engrossing, corner-you-in-the-pub stream of consciousness vocals (both a compliment, trust us) – ‘God’s Country’ is the latest attack from killer trio Lambrini Girls. Known for a notorious live show and with records to match, they can’t seem to put a foot wrong!
From a new record out last month via Merge Records, North Carolina’s Rosali conjures up a real vibe on title track ‘Bite Down’. Guided by the warmth of the vocals and the instrumentation, it’s the type of track you can completely lose yourself in, allowing your mind to float off along a lazy river.
From a new record out this year on Rocket Recordings and Feeding Tube Records, ‘The Letter Burning’ is a haunting, thought provoking piece from London based viola player / vocalist Alison Cotton. The record ‘Engelchen’ – meaning “little angel” in German – is a tribute to Ida & LouiseCook, two opera fans who rescued 29 Jewish people from Nazi-occupied Europe in the 30s.
A commemorative pen in the post for Leeds formed Cowtown, the trio now celebrating twenty years in the game! To mark the occasion, the trio have just announced a new album is on the way this May via Gringo Records – their first new album in eight years! New single ‘Thru Being Zuul’ is the Cowtown sound we’ve come to love, an energetic burst of DEVO styled synth-punk to get the body moving.
(Photo Credit: Vincent-Lee)
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