Release Rundown – Arab Strap and BIG SPECIAL

Words: Ben Forrester

Arab Strap – I’m totally fine with it 👍 don’t give a fuck anymore 👍
(Rock Action)

2021 brought us the first Arab Strap 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 Arab Strap 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. 

BIG SPECIAL – Postindustrial Hometown Blues
(So Recordings)

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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Release Rundown – Flesh Creep, Jane Weaver, Joel Harries, Metz and USA Nails

Words: Ben Forrester

Flesh Creep – We Need You To Bleed
(No Time)

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 Flesh Creep 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. 

Jane Weaver – Love in Constant Spectacle
(Fire)

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. 

Joel Harries – I Will Always Come Back Here

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’s Malcolm 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.  

Metz – Up On Gravity Hill
(Sub Pop)

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.

USA Nails – Feel Worse
(One Little Independent Records)

Speaking of noisy boy Birthday Cake For 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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Live Review: Hell Is For Heroes at Manchester Academy 05 April 2024

Words: Ben Forrester

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’s Alex 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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Live Review: The Jesus And Mary Chain at the Albert Hall in Manchester 23 March 2024

Words: Ben Forrester

Let’s start at the end shall we? My night ended with getting the last train back to the Cheshire countryside, as it usually does. But as it was a Saturday night, it was a total war zone, resulting in a group of sleepy drunk teens being individually slapped by fellow passengers in fear of them missing their stop. Even playing super gnarly, early cuts of the band I’d just been to see couldn’t drown out the young lass screaming into her fluorescent bottle of liquid. Was it worth it, I hear you ask? Spoiler alert folks, it was!

Tonight I struck another vital band off my ‘must see live’ list. I can’t say I’ve ever been a hardcore fan of Glaswegian trailblazers The Jesus And Mary Chain, but I’ve always respected their position in British indie rock and having spent the past few weeks tucking into their well revered back catalogue, I was stoked to be catching them at the second of two nights headlining Manchester’s finest venue, the Albert Hall.

But I admit, I did have another big reason for popping into the city tonight and that was to catch support from London’s latest slowcore saviours, Deathcrash. I’d seen the name for this lot darting about for the last few years, but was only recently turned onto their stunning second album ‘Less+’, which came out late last year. This lot have that classic lo-fi indie meets post-rock vibe, which immediately reminded me of ‘Come On Die Young‘-era Mogwai, Slint and Planes Mistaken for Stars. Totally a bit of me. Tonight they start the first of a fairly long stint supporting The Jesus And Mary Chain around Europe and slot nicely into the bill with their instant vocal hooks and slabs of loud guitars.

It’s all about the dynamics with this crew – most tunes in the set start off minimal and grow into something enormous. My favourite moment being ‘Empty Heavy’ from the latest album, which totally rips apart the Albert Hall when it kicks in, strobe lights going like mad. The band all stand in place, gently nodding in unison, almost entranced in their sound, particularly when they really take their time to reach a crescendo. There are moments where everyone locks in and it’s hard not to be pulled in as I find myself swaying with absolute purpose, awaiting the drop.  

It’s really enthralling stuff – the quiet bits are gorgeously textured and tonally twinkling, while the loud bits really fill the room, the bass especially slicing through in a lovely heap of chunky fuzz. I said to my compadre / faithful Ed after the set that whilst I think the surroundings of the venue really suited Deathcrash, seeing this in a smaller, packed out sweatbox would be transcendent! But in short, I really like this band, they are well up my street and the set tonight was proper lovely. It seemed to capture the hearts of the hardcore Mary Chain heads in tonight too, all slowly and agreeably bobbing away in unison.

I had to smile at an excitable old boy stood behind me at the bar who shouted “OH FUCK” as he heard the crowd scream together when the lights dimmed ready for The Jesus and Mary Chain to enter the stage. As we all rushed our orders and stumbled through the seating section of the Albert Hall, I made it back to our Ed to catch the band kick us off with sassy new track ‘JAMCOD’. 

Now, tonight is also quite a special night for the brothers Reid, as it marks the first fully fledged day that their eighth album, ‘Glasgow Eyes’, has been out in the world. Arriving to very complementary reviews, the album sees the band adhering to the swaggering rock ’n’ roll they’re known for, but with a strong electro pulse underneath it, which reminds me a lot of mid-era Primal Scream, who are of course fronted by the band’s first drummer, and still dear friend, Bobby Gillespie. 

The new stuff sounds really fun, though I do find some of the lyrical content on the record a bit cringe (trying to cling onto their youth perhaps). Musically, it still retains that coolness that has exuded this band for all these years and tunes like charged up opener ‘Venal Joy’ and the moody ‘Chemical Animal’ really slot into their greatest hits nicely. 

But of course, the hits really cut through here and the band give us a taste of all eras. From the late 80s indie rock power of tracks like ‘Head On’ and ‘April Skies’ to the crunchy, punishment pop of ‘In A Hole’ and ‘Taste of Cindy’, everyone is all in! From the mosh pits down front to the hands in the air dancers at the back with us, the tunes still sound as vital as they ever did and if that wasn’t enough, they bring psych pop hero Jane Weaver to do backing vocals on the last two tracks, ending the main set on the classic ‘Just Like Honey’. 

Vocalist Jim announces before they launch into the aforementioned hit (in his soft Scottish lilt), “If you stomp yer boots loud enough, we’ll come back”. Both parties oblige – boots are stomped and the band come back on to finish up on a few more. At this point, I’m frequenting the merch desk, eyeing up the solid spread on tonight. I’ve heard that The Jesus and Mary Chain are definitely ones to see live and now I totally get why. The guitars are loud, the tunes are ace and still 40 years on, this lot feel like an effortlessly cool band with so much left to say.

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Album Review: Liam Gallagher & John Squire – S/T

Words: Ben Forrester

Having had an absolutely mammoth 2022, with a number one album landing here in the UK the same weekend as two sold out Knebworth shows, you can forgive Liam Gallagher for wanting a break. But John Squire had other plans! Joining LG onstage to play Oasis epic ‘Champagne Supernova’ at said gigs, it was in rehearsals that Squire mentioned he was writing a record and needed a vocalist. With John’s band The Stone Roses being pretty much the reason the Gallagher’s started a band in the first place, Liam was keen to get his ear around John’s demos and after swapping song links, ranging from Hendrix to the Bee Gees, the duo were off to LA! 

Fair play, they’ve done a blinding job in keeping it a secret, as it was only in January that the news broke with the release of single ‘Just Another Rainbow’. Even then, the album was kept under wraps, so I was chuffed to find out a full length was done and ready to go! The reason for my excitement came from ‘Just Another Rainbow’ being a perfect slice of psychedelic indie. It felt like a match made in heaven, with Squire’s unmistakable guitar tone soaring above Gallagher’s iconic vocal. Both performances were sterling and arguably the best they’ve done since their respective first bands and for me, it’s a contender for single of the year already! 

Liam had claimed that this album featured the best parts of the Roses and the best parts of Oasis, and though I can clearly hear both bands ring through, to me a lot of this feels like an homage to the 60’s. Of course The Beatles and The Rolling Stones lie heavy in these tunes (‘Make It Up As You Go Along’ features Liam’s finest Lennon impression to date), but I can also hear strong hints of The Small Faces and Roxy Music, which I think adds brighter pop tones across the track-list.

There’s some lovely crossovers here. Anthemic opener ‘Raise Your Hands’ sounds like ‘Itchycoo Park‘ if it was written for the Oasis album ‘Don’t Believe The Truth’, whilst the glorious ‘Just Another Rainbow’ is laced with Stone Roses sharpness through a Hendrix psych / blues filter. Truth be told, I would have been happy with an album of songs that all sounded like the latter as it’s a definite highlight, but there’s too much fun to be had elsewhere to keep the consistency levels high.

I’ll be honest, lyrically it can veer to the cheesy side of things quite often, but given its flower power feel, It kinda works against the pep of the arrangements. It’s actually quite nice hearing Liam inject a bit of attitude into John’s words, ‘One Day At A Time’ featuring the amusing line; “I know you’re happy in your suburban trance, you should have fucked me when you had the chance”. There’s something that feels very human about this record, it’s not just love songs, but the mundanities of life tend to creep in a lot, ‘I’m So Bored’ being the most relatable, with its ode to doom scrolling; “I don’t live here anymore, I live in my phone”. 

This feels like a good bit of fun to me, two old friends getting together to pay homage to the band’s that inspired them and inspiring each other to get the best performances they’ve delivered in years. Squire is still shit hot, with killer licks all over this record, while Gallagher sounds way less compressed and pristine as he so often does on his solo records. Here his vocals fizz with a direct rawness. It made me laugh seeing fans were dissatisfied with this record, acting as if they were going to come and redefine Rock N’ Roll. This is a playful album that plays into nostalgia and friendship and if you take it at face value, you’ll get a big old kick out of it. I wasn’t expecting to be quite so charmed by this record, but it totally makes sense that this pair would make a dream team!

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Release Rundown – Everything Everything and Yard Act

Words: Ben Forrester

Two firm favourites here at BCFB towers return with highly anticipated new records this week, battling it out for who can make the weirdest pop record. 

Everything Everything – Mountainhead

On a very recent office night out to The Plaza in Stockport, we were told by Everything Everything’s frontman Jonathan Higgs that he felt like his band was a pop band, albeit one that likes to break the rules. I think this is the perfect descriptor for the Mancunian quartet as they’ve always made super immediate music, but often on the wonkier side of things, creating a faultless back catalogue of albums that have expanded and evolved their sound across seven full lengths. Their latest, ‘Mountainhead’, comes after the vibrant, bold disco pop tones of their 2022 album ‘Raw Data Feel’, an album which I have genuinely not stopped listening to since it came out. So in classic Everything Everything fashion, they take what they’ve done before and put a fresh spin on their lyrical and music tones. 

Conceptually, it lives in an alternate universe where society has built a mountain. At the top is a mirror that reflects recurring images of the self and at the bottom lives a giant golden snake that is the primal fear of the society. It’s not a particularly subtle metaphor, but then again this is a band that doesn’t deal in subtlety. I don’t think that the story adds much to the album as a whole, but themes of money, electricity and love do work alongside the general narrative so I’ll give em that.

For me though, this album is all about how great the songs are. To my ears It balances the sophisticated yet flamboyant indie of earlier material with the glossy, dance pop of its predecessor. If anything, the EDM element of the band feels even more prominent here, with lots of very contemporary sounding synths making their way into songs… ‘Enter the Mirror’ even sounds like it could make it onto the ‘Love Island‘ soundtrack or something!

There is something for every kind of Everything Everything fan here; ’Wild Guess’ is an absolutely delicious opener for those that liked the Radiohead worship of ‘Re-animator’, while recent single ‘The Mad Stone’ feels like it could slot in nicely on second album ‘Arc’, with its quick fire harmonies and staccato string backing. Of course, there is still plenty of room for evolution, with album highlight ‘Don’t Ask Me to Beg’ continuing the glitter-ball magic of ‘Raw Data Feel’, but with even more emotional clout. ‘Mountainhead’ really does take everything into consideration and there is no doubt in my mind that this will not only be another album that fans will adore, but is sure to turn people onto the genius of this band. Their faultless streak keeps on running.  

Yard Act – Where’s My Utopia?

I won’t beat about the bush, I loved that first Yard Act record. It felt like an accurate representation of both the current post-punk scene we have here in the UK, as well as a well observed snapshot of post-Brexit Britain. It was bleak, cheeky and smart all at the same time. As expected, it did really bloody well and the boys from Leeds became a household name pretty rapidly. Given that they’re a band consisting of musicians that all have varied tastes and have been in a plethora of acts over the years, it suggested to me that they could totally take the piss on album two. And I am so glad they have! 

‘Where’s My Utopia?’ is a huge melting pot of themes, sounds and feelings. They have thrown everything at the wall and everything has stuck. ‘Down By The Stream’ sounds like Cypress Hill if they were Northern and recounted childhood bullying stories. ‘Dream Job’ is a Prefab Sprout style pop tune about ‘making it’, while ‘Blackpool Illuminations’ is a 7 minute epic that sees frontman James Smith go full circle – from family trips as a child to family trips as a parent – whilst still managing to make a quip about people not liking album two. To be honest, I could break down every track here, each with various lyrical and musical references, as they really do put lots of detail into every moment. 

On first listen it feels a bit all over the place, but now I understand this is an album about looking how far you’ve come. It’s a very knowing nod to a band making a classic second album about being in a band, but it’s the reflective, pensive observations that show off their smarts. It’s still got the bass driven grooves and dry Northern wit that made ‘The Overload’ such a banger, but here they really try to push their sound to some mad places, often cutting into tracks with chopped up samples for that old school hip hop collage vibe.

When listening to ‘Where’s My Utopia?’, I’m reminded a lot of the output from Gorillaz in how they blend indie, rap, soul and pop to create something both instant and left-field. It might not have quite the same instancy as its predecessor, but I think that’s due to the production being tenfold this time round. It makes for a larger than life album that shows that Yard Act can go anywhere they want to! Just another talky 6 Music band? Think again! 

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Jason vs J: Release Rundown – Grandaddy and J Mascis

Words: Ben Forrester

To celebrate new releases from two of US indie rock’s most beloved songwriters, here are our thoughts on the highly anticipated new albums from J Mascis and Grandaddy.

Grandaddy – Blu Wav
(Dangerbird Records)

Although Grandaddy has always been very much a band dynamic, I think it’s fair to say that it is the brainchild of vocalist and guitarist Jason Lytle. Which is why it makes sense that for the sixth Grandaddy album, Jason has taken the reins, playing virtually everything we hear.

It’s not been an easy ride for the project – a burn out on the road led to their split in 2005, then once reformed and releasing 2017’s ‘Last Place’ LP, bassist Kevin Garcia suddenly passed away following a stroke just two months after its release. With a solo piano reimagining of the band’s classic ’The Sophtware Slump’ album put out in 2020, it was apparent that Jason’s musical mind was far away from the college rock fuzz that has peppered their discography.

As a result, ‘Blu Wav’ is a spaced out country record that is a reflective, melancholic trip into the depths of Lytle’s mind. It’s not until track 5 that the pace is picked up (fractionally) on the pleasant indie pop stylings of ‘Watercooler’. This is a slow burning, somber affair but nevertheless, an incredibly moving and beautiful one. ‘Cabin In My Mind’ is the poster boy for this record, a super dreamy slab of cloud-bathing psych that taps into the band’s most majestic yet intimate moments. 

This is still very much an album about loss and grief though. Lytle is still reeling from a breakdown in his marriage (a key theme on the previous album) and there are times where this album plummets into despair; the sampled screaming in interlude ‘Yeehaw AI in the year 2025’ can be a little distressing, while ‘Nothin’ To Lose’, full of stunning sun soaked harmonies, appears to be about living out your last days. 

‘Blu Wav’ is not always an easy listen, but Jason is such an engaging songwriter, so it’s hard not to get reeled in. I’ll be honest, on my first few listens, I struggled to get into the pace of this album, but the more time I spent with it, the more I found myself understanding its dark humour and ultimately finding solace in its gorgeous arrangements. It’s good to have Grandaddy back and their less is more approach has led to one of their boldest moves yet. 

J Mascis – What Do We Do Now
(Sub Pop)

Apparently it’s been six years since the last J Mascis solo record and his fifth record in total! Which all seems mad to me, but when you put together all the live records and other projects, not to mention his day job fronting Dinosaur motherfucking Jr, it’s fair to say that J has had quite a fruitful career. I love that quote from Lou Barlow; “J’s week beats your year”. 

‘What Do We Do Now’ has been knocking about for quite a bit, with sessions beginning in the first lockdown within his home studios. Usually when writing for Dinosaur Jr, J writes with his fellow bandmates in mind, coming up with ideas that they can fit into, whereas his solo material tends to be stripped back and much more simplistic. But with the sessions starting in what was perhaps a very isolating time for everyone, ‘What Do We Do Now’ finds J yearning to be back in a band, presenting probably his most full sounding solo offering to date.

To me, J is one of those songwriters that is so distinct in their songwriting and melodic choices – everything he does (whatever the name), sounds like him. A lot of this sounds like acoustically driven Dino tunes, which I’m very much up for. ‘Can’t Believe We’re Here’ is an excellent opener, coming straight in as a charged up indie pop banger, complete with a ripping solo! This is the first of many ear worms, ‘Right Behind You’ being my biggest in this collection. 

Elsewhere, this is all about beautifully breezy alt-country instrumentals with gorgeous slide guitars and piano plonks, topped with J’s inimitable vocals and forever honest, anxious lyrics. There are times where I think the electric guitars should have come out – ‘Old Friends’ is very much a rock song, with the drums going full pelt throughout. But then you get songs like ‘I Can’t Find You‘, which really suit the light and airy country-folk backing. 

There are a fair few moments on ‘What Do We Do Now’ where J shows us why he is such a beloved songwriter, especially in how he manages to fit such vulnerability in his lyrics against these gorgeous slices of sunshine pop. As previously mentioned, there’s also a few moments on here where the rockstar is maybe too eager to burst out and I wonder whether a couple of songs have been saved to get the full, fuzzed up Dinosaur Jr treatment for another time. But when it works, it really works and overall it makes for an extremely pleasant and charming release from everyone’s favourite silver-haired slacker.

(Photo Credit: Jeffrey Fowler)

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Album Review: Idles – Tangk

Words: Ben Forrester

At the back end of 2021, Idles seemed to come out of nowhere with their most ambitious record to date. ‘Crawler’ was an amalgamation of everything the Bristolian five piece had worked towards on their previous three LP’s, whilst pushing everything from lo-fi electronics, soul grindcore and black metal into the mix. Personally, I put it up there as one of the band’s finest moments and it subsequently made me hopeful for an even weirder album five. 

This anticipation has only been heightened by the prospect of Radiohead collaborator Nigel Godrich helping out on production duties. Judging by the taster singles for ‘Tangk’, I got the impression that this was going to have another kitchen sink approach. What we get instead is more of a two pronged approach; we get sharp, groovy alt-punk bangers alongside dreamy, electro-indie ballads.

Personally, I love it when this record gets all expansive. Getting Godrich in has given the band’s musical MD Mark Bowen the freedom to sonically explore deeper than before. There’s some stunning moments on this. ‘IDEA 01’ is another enticing scene setter of an opener, as a flurry of delayed pianos floats beneath a closed mic’d Joe Talbot, who comes in with his most soulful performance to date. I’ve always loved Joe’s singing voice and he really goes for it on this record. He has this ability to project his fragility really well, which comes in a lot here. 

‘A Gospel’ is maybe one of the band’s most sweeping moments, as Joe details a breakdown in his relationship. Again, the fragility that Joe taps into here is extremely relatable. Following an album that resurfaced his battles with addiction, ’Tangk’ is an album about love and finding optimism within dark situations. This sentiment is very much echoed in the arrangements, with tracks like ‘POP POP POP’ and ‘Grace’ creating gorgeous soundscapes over the top of solid beats. The former even goes to Aphex Twin levels of electronic manipulation. You really get this feeling of a clouded mind that is trying to shift through the fog. It could have been all too easy to make a break up album but Idles have always been ones to think of the bigger picture and it’s this balance of internal and external love that evokes its charm and humanity. 

Amongst all this though comes some good old fashioned Idles punk rock chaos. ‘Gift Horse’ is a sugar rush rocker about the joys of parenthood, ‘Hall & Oates’ is a barbwired punk banger about platonic love and ‘Dancer’ is a scrappy disco bopper about expressing passion ‘on the floor’. Though I think this is another solid Idles record, the more thoughtful moments on ‘Tangk’ really clinch it for me here. It’d be ace if Idles did a full album of stuff like this because they’re really coming into their own with it.

Those that are calling this their ‘Kid A’ make a point in this being their most sonically widescreen album, but it embraces too much of the Idles we know and love for it to be a bold move into the abyss. To be fair, when the more urgent moments are as vibrant as they are here, that’s not to be sneezed at. A very happy medium is struck and I’d even say it’s a little tighter than its predecessor. Is it as good? I think only time will tell, but those that have been eager to follow Idles on their journey so far will most definitely enjoy the ride. All is love indeed. 

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Album Review: The Chisel – What A Fucking Nightmare

Words: Ben Forrester

It feels like we’re in a period where UK punk bands are hitting harder than everyone else. When The Chisel unleashed their blistering debut at the back end of 2021, the underground scene sat up and collectively agreed it was a fucking rager. In a world where authenticity can be hard to find, it’s genuinely refreshing when a bunch of lads from down south turn up and tell it exactly how it is. With the momentum of The Chisel only gaining speed these past few years, it’s fair to say that we’re all buzzing to hear their second full length. 

‘What A Fucking Nightmare’ does everything its predecessor did so well, but in true second album fashion, amps everything up. More songs, slightly longer runtime and twice the amout of vigour. The Oi! elements are even more anthemic and the anarchic elements pack a much bigger punch. For example, songs like ’Cry Your Eyes Out’ and ‘Living For Myself’ are so uplifting they make me wanna punch the sun. Whereas tracks like ‘Bloodsucker’ and ‘Fuck ‘Em’ are so deliciously aggy, they make me wanna start a riot. 

There’s this perfect balance of songs that make you wanna dance and songs that make you wanna rage. I think it’s so important in a scene that can be perceived as full of tough, angry dudes to offer optimism and support to the vulnerable. In the same way that High Vis champion mental health and self care, The Chisel promote self love and well weighted defiance against those that try to prevent that.

‘What A Fucking Nightmare’ is packed with hits, energy and a whole heap of sincerity. Although it’s only 36 minutes long, there’s a lot of material here and in punk terms, this feels like a double album! I’ll admit, it’s one I’ve gone through in chunks as I do prefer my punk bite sized, but still – every tune hits here and this is another banger from a vital band in the Brit punk crop.

(Photo Credit: Nick Suchak)

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Album Review: Vennart – Forgiveness & The Grain

Words: Ben Forrester

It was only in September of last year that we were graced with an album featuring the inimitable talents of one Mr Mike Vennart. Teaming up with his touring brother Simon Neil of Biffy Clyro fame and Dave fucking Lombardo, Empire State Bastard came through with a monolithic debut that challenged the extremes of alternative music. And won!

Having spent most of 2023 touring said record all over the shop, it’s a wonder he found any time to do owt else. But he fucking did! 2024 brings us the fourth Vennart record, which comes four years after the magnificent ‘In The Dead, Dead Wood’, which I felt was his finest moment!

Even Vennart himself wondered if he was ever going to top that album, but by following his soul into even deeper, more emotive waters, ‘Forgiveness & The Grain’ finds Vennart presenting his most heart on sleeve release to date. I thought that ‘Forc In The Road’ from the last album was an unbelievably beautiful and epically dynamic piece, but tracks like ‘Fractal’ push that to the extremes.

Even without drums, this is the heaviest Vennart song; a crescendo of guitars covered in delay and distortion as he sings as if his life depends on it. I may have used this analogy before, but I genuinely feel like this is the musical equivalent of standing on the top of a mountain with 90 mph wind speeds trying to lift you into the sky. It is beyond stunning.

‘The Japanese No’ is another completely hypnotic arrangement, this time centred around a solid floor driven drum track and layer upon layer of guitars shimmering around your head. I’ve always been a huge fan of Vennart’s voice, but there are just so many moments on this album where it seems to transcend above everything else. In fact, I think transcendent is a very good word to sum up the entire record.

Even the albums more straight up rock moments, like the gigantic ‘3 Syllables’, absolutely soar into the stratosphere; Mike’s voice powering alongside its stinking synth bass line. Every moment on this record provides a different shade of emotion, whether it’s the loud and proud, earth shaking closer ‘Seventy Six’ or offering graceful reflection, like on the gorgeously understated ’R U The Future?’

There is something about ‘Forgiveness & The Grain’ that goes deeper than Vennart has gone before. Having only had it for a short amount of time, I can honestly say that this is my favourite Vennart record. From the very first listen it embraced me and refused to let go. That may sound like a cheesy thing to say, but there is something so unbelievably emotional about this album that I find it really hard not to be moved and inhabited by it. I think those that have followed Vennart will agree that this is the sound of an artist at their most realised, being unashamedly themself.

(Photo Credit: Jessica Wild)

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Release Rundown – Future Islands, Frank Carter & The Rattlesnakes, Gruff Rhys and Ty Segall

Words: Ben Forrester

Future Islands – People Who Aren’t There Anymore
(4AD)

Those that read these pages regularly will know that since 2014’s breakthrough ’Singles’ LP, we’ve become a bit smitten with North Carolina good boys Future Islands. Though it took me a small bit of convincing from our faithful Ed at the start, I have to say that I am now fully onboard with this lot and I am always excited about hearing new material from Sam and the gang. The thing that astonishes me about this band is how they have never veered away from their songwriting formula and now, seven albums in (!), they sound as relevant and fresh as they did when they formed 18 (!) years ago. They’re kinda like the AC/DC of synth pop! 

‘People Who Aren’t There Anymore’ has been a few years in the making, with album tracks like ‘Peach’ and ‘King Of Sweden’ initially being released as singles back in 2021 and 2022. I get why they’ve been included on this new collection though, not only because Future Islands have that consistency in style, but also because these songs deserve to be a part of a bigger picture and not to be forgotten. ‘King Of Sweden’ opens up the album for christ sake, with its planet sized chorus, while ‘Peach’ is a subtle autumn pop banger that is as lovely now as it ever was. Basically, this is Future Islands being a solid, hit making machine as always. 

I thought their last record, ‘As Long As You Are’, was a masterclass in pop songwriting and so it’s great to hear the highlights of that album very much match the highlights on this one. The aforementioned ‘King Of Sweden’ is just as anthemic as ‘For Sure’, while ballads like ‘Corner Of My Eye‘ are just as sky scrapingly beautiful as tracks like ‘Thrill‘. 

As the title suggests, there are strong themes of loss and grief that flow thick across the record, but Sam and co have this knack of making vulnerability sound so universal. Seven albums in and Future Islands keep proving their worth as a band you can trust and believe in. It might not stay with everyone and some fans may be seeking more variety, but personally I think this is another sturdy record from a sturdy band. 

Frank Carter & The Rattlesnakes – Dark Rainbow
(International Death Cult)

While everyone else was making intimate, introspective lockdown records, The Rattlesnakes were eager to get back into the thick of it and stormed into 2021 with the party punk excess of ’Sticky’. To be fair, I did get caught up in the excitement of the album and gave it a decent write up on this very site, but admittedly it’s not been a record I’ve returned to since its release. Having gone through the band’s back catalogue recently, it does stick out like a sore thumb. I think a lot of us were hoping for a continuation of the heart on sleeve indie rock that informed arguably their best record, 2019’s ‘End Of Suffering’.

‘Dark Rainbow’ is very much that continuation. Mixing sophisticated pop arrangements with the gritty immediacy of the bands earlier material definitely puts Frank and the gang back on track. ‘Man Of The Hour’ is a silky little number, starting off with a latter day Arctic Monkeys classic synth intro before ripping into a big, guitar crunching chorus lead with a killer vocal performance from Frank. I’ve said it many times before, but I love Frank’s voice and I do think that pure, soulful side of it really hits hard across this record, wrapping itself round the slinky groove of ‘Brambles’ and belting it out on The Rattlesnakes do Mac DeMarco romp of ‘Can I Take You Home’.  

They manage to blend that classic, majestic pop sound with some big, FM rock guitars really elegantly. I think it’s fair to say that this is a huge improvement on ‘Sticky’ and a decent evolution from ‘End Of Suffering’. Is it as good as that record? The jury is still out on that one, but I think sonically and melodically, there’s more than enough to hold your attention. After a slight dart off in the wrong direction, it’s good to see The Rattlesnakes regain some control and inject some soul again. 

Gruff Rhys – Sadness Sets Me Free
(Rough Trade)

I fucking loved that last Gruff Rhys album. The absolute king of psych pop delivering a proper peach of a volcano worshipping album that soundtracked my summer back in 2021. The Welsh legend returns once again with his 25th album (including all his work with the inimitable Super Fury Animals) and as expected, shows no signs of slowing down in his 35th year as a pysch rock star. I have to admit, I didn’t hear any of the singles prior to hearing ’Sadness Sets Me Free’, which is quite the rarity in this day and age. So, it was a nice moment settling into the whole record with a fresh slate. 

This is quite simply a gorgeously written set of psychedelic pop. There’s heart warming string arrangements, beautifully poised slide guitars and loads of well punctuated musical references from a clearly well travelled musician – from Samba rhythms to French pop sophistication. I can’t help but think of smart, Bacharach worshipping pop bands from the 00’s when hearing this – ‘Bad Friend’ has a sprightly, Kings Of Convenience vibe, while ‘Silver Lining’ is pure Belle & Sebastian. Like those two bands, this is a record that takes from the past and gives it a fresh, modern twist. It’s just bloody delicious really. ‘They Sold My Home To Build A Skyscraper‘ is a lounge pop masterclass, while ‘I Tendered My Resignation’ is a beautiful slice of slow baked psychedelic country. 

Gruff continues to cement himself as a brilliant songwriter that can shape shift himself into many different characters. I do really love the more low key yet expansive feel to ’Sadness Sets Me Free’ – a bit like that Bill Ryder-Jones album that came out the other week, it balances perfectly between pensive and bright. Also, I like how this shows off a different side of his psych pop foundations – I just feel like it can go anywhere, which at this point in his career, is a remarkable achievement. 

Ty Segall – Three Bells
(Drag City)

I’m gonna lay it down right away. To my mind, the last Ty Segall record that really grabbed me by the horns was 2017’s self titled effort. Its double album follow up, ‘Freedom’s Goblin’, had some killer stuff on it, but it had almost too much material to let it really sink in. There has been some stuff on the last few albums that I’ve dug, but for a man that releases pretty much an album a year, it feels like it’s been a while since I really got bitten by the Ty Segall bug. Having heard the singles for this new record, I was massively impressed and genuinely intrigued to hear the whole thing. I looked at the 15 song track-list and over 1 hour runtime and winced a little, but it only took one run through of ’Three Bells’ to get me all hot and bothered again.

Taking the stripped back, folk stylings of last year’s ‘Hello, Hi‘ record, Ty brings in a full band backing to make a proggy, jazzy, stoner pop record that is covered in bangers. ‘Void’ is a 6 minute psychedelic wonder, with a guitar melody that will hypnotise you! ‘Hi Dee Dee’ and ‘My Best Friend’ are sassy, glamm-y desert rock slammers, the latter sounding like it’s directly lifted off Queens Of The Stone Age’s ‘Rated R’ LP. Then you’ve got ‘To You’, which sounds like a lounge tune on steroids!! It’s all over the place this album, but it’s the flamboyancy and ambition of it that ties everything together. It all just works as one big, mad melting pot, Ty’s chops ever impressive.

It’s a progressive album in every sense of the word and boasts some of Ty’s best songwriting in, well, years! Is every tune a winner? Not as such, there’s a few wigs out and skippable moments which you’d expect from such a long record. I do think it could have been a 10 track smasher, but in a way, it kinda needs everything else to give it its edge. I even quite dig the Rhodes battering jazz of ‘Denee’ after a few goes. From playing it safe for a while, I am pleased as punch to hear Ty Segall delivering something that is as weird and wonderful as ‘Three Bells’. 

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Release Rundown – Folly Group and Bill Ryder-Jones

Words: Ben Forrester

Folly Group – Down There!
(So Young)

Bursting onto the scene with their debut EP in 2021, there was something that felt ready and fully formed about London’s Folly Group. Though they did slot nicely into the Crack Cloud inspired school of young post-punks, there was a depth to both the songwriting and production of the quartet that definitely caught the attention of tastemakers and new music fans alike. And just two short years of further EP / single releases, lots of touring and a whole heap of radio play, we now have that all important debut album. 

‘Big Ground’ opens up with the same urgency we’ve come to expect, wrapping Afrobeat rhythms around razor blade guitars and hooky, spoken word vocals. It’s an enticing opener that takes you into the deep, dark underbelly of London. ‘Do What I Can’ feels apprehensive and agitated but also fizzes with a driving chorus, once again proving that these dudes sure know their way around a hook.

My main takeaway from this record is that it’s mega catchy. Nearly every tune is an ear worm and perhaps the sign of its sturdiness is how heavy loaded it is with a new favourite tune popping up on each new listen; the slinky groove of ‘Frame’ is an intensely cool way to close the record, while ‘Pressure Pad’ swirls around your mind with another huge chorus. 

It matches the same energy and excitement as that first EP, with impressive playing, interesting song structures and just generally solid tunes. I think that some may consider this as just another post-punk album, which I understand. But whilst a lot of young guitar bands seem to be really hitting their stride with their second album, it’s refreshing to see a band like Folly Group come out with all guns blazing on their debut. ‘Down There!’ is definitely the sound of the finished article, but still with loads of space to expand. 

Bill Ryder-Jones – Iechyd Da
(Domino)

At the back end of 2018, Bill Ryder-Jones broke my heart and put it back together again with his gorgeous ‘Yawn’ record. Its bleary eyed melancholia and gentle, slow-core backing had me completely spellbound, becoming an instant album of the year contender just days after release. It seems that the West-Kirby born songwriter has had this effect on many others, with his previous LP’s all receiving star studded reviews, as well as his live shows growing in venue size with each new tour. 

I find it hard to believe that nearly six years have passed since ‘Yawn’ came out, but Bill has been busy producing everyone else’s records at his own studio (sharing its name with the aforementioned ‘Yawn’), along with other collaborative projects and so on. But finally, having started work on it some time ago, we have ‘Iechyd Da’. 

Having read that this was Bill’s attempt at trying to make something more majestic and brighter, both lyrically and sonically, I was slightly apprehensive going into this as I selfishly wanted another sad lad record. But actually, what we get is this prefect medium of sadness and hopefulness. A bit like the kind of day it is today as I type, frosty and freezing in temperature, but with the most warming, blue sky – this is an album of light and shade. ‘A Bad Wind Blows In My Heart pt. 3’ is a mid paced, heart aching ballad that builds into a waltz of choir assisted vocals, and with that, a personal song becomes universal. 

Then you get something like ‘If Tomorrow Starts Without Me’, which is an upbeat, string soaked indie pop song with Bill trying to embrace love despite his default cynic setting. It’s a perfect portrayal of someone working through their feelings and trying to hold onto some light. As previously mentioned, it’s this dance between fear and hope that makes Bill more relatable than he’s ever been. This still has all the lo-fi, mumble pop intimacy of its predecessor, but somehow manages to push that into the widescreen, with bigger production, even more musical reference points (there’s a definite Gospel / Soul connection to the latter half of the record) and beautifully delivered lines.

Like his previous work, this is a slow baked affair that takes time to bed itself in and you just can’t deny the detail and care that’s gone into this record. It feels like Bill has worked really hard to make an album that is grand and warming, but still looks deep into the depths of his brain with delicacy and charm. Beautiful, timeless work from an all round talent.

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