Release Rundown – Black Midi, Interpol and Working Men’s Club

Words: Ben Forrester

Black Midi – Hellfire
(Rough Trade)

Having made one of our favourite records of last year in the form of ‘Cavalcade’, us Birthday Cake For Breakfast lot were very pleased to hear that Black Midi weren’t mucking about when making its follow up. Coming through just 15 months later, third album ‘Hellfire’ continues the expect the unexpected nature of this trio, with the band citing it as their ‘epic action film’. An accurate descriptor for this highly ambitious, conceptual affair that tells a series of stories, some set in the midst of war, others depicting the reality of a Hell. Though the frantic, math-iness of their debut is much more subtle this time round, this builds heavily on the drama fuelled, progg-y flamboyance of its predecessor.

I wouldn’t necessarily call Black Midi a jazz band, but they certainly sit within that aesthetic of being simultaneously free-flowing and super tight. ‘Sugar/Tzu’ is a gleaming example of this, building around a laid back yet atmospheric groove that ascends into mind-boggling noodling. ‘Welcome To Hell’ follows a similar formula, this time letting a flurry of brass soar high around a crashing pit of drums. Even before I knew some of the ideas behind the album, I felt like I was descending into hell in all its magma worshiping madness.

As always though, Black Midi offer moments of respite, the country soaked ‘Still’ providing the gorgeously crafted centre piece to the album that lifts into a beautiful orchestral interlude. As ever, Black Midi always keep you guessing with some proper M. Night Shyamalan twists throughout the duration, all coming brilliantly together on the musical theatre stylings of big show closer ‘27 Questions’.

Black Midi have never really made immediate music, but this is certainly their most challenging effort that requires multiple listens to unlock all its detail. It’s definitely their most complete album that needs to be consumed as a whole. And though I have been a fan of this band from day dot, ‘Hellfire’ has really made me understand the real concepts behind the band. This is a band that make music for yesterday, today and tomorrow. Engaging songwriting, unreal musicianship and a strong vision, Black Midi keep steam rolling ahead in being one of the UK’s most fascinating acts.

Interpol – The Other Side Of Make-Believe
(Matador)

I find it hard to believe that I haven’t banged on about Interpol on these pages before! The NYC trio have played a big part in my love for indie rock since my teenage years in the early 00s. They’ve always been one of those bands that have this magic formula that has transcended decades and keeps their legions of fans hanging off every note. The last time we heard from them was on the excellent ‘Marauder’, which I think hosted some of the band’s finest material to date, offering a very live sounding record that harked back to the energy of earlier material.

Since then, frontman Paul Banks went off to front supergroup Muzz, who released a beautifully shimmering indie folk record that I was very fond of in 2020. I’ll be honest, I did wonder if this slightly more laid back approach to writing would effect the tone of a new Interpol record. On first listen to initial single and opener ’Toni’, it felt like this may be the case, with the band bringing us in at a gentle pace led by a simplistic piano driven melody that immediately made me think of The National. But as ‘Toni‘ progresses, you feel the track gaining momentum, adding in that brooding sense of urgency Interpol are so well known for. From that moment, ’The Other Side Of Make-Believe’ plays an elegant dance of slicked back indie rock that sounds like a band settling into a sound but still retains their atmospheric, down-town New York blueprint.

‘Fables’, ‘Into The Night’ and ‘Greenwich’ boast that classic Interpol sound, doing this rare thing of sounding comfortable, but it’s the combination of twanging guitar melodies and Paul Bank’s iconic, engaged voice that makes you sit up and listen in. It may seem a bit too familiar on first listen, but I found this is a record that reveals the majesty of its hooks the more you listen in.

Though I think the casual listener will find some solid moments on this record, I would say that ’The Other Side Of Make-Believe’ is an ode to OG fans. As an avid follower, this feels like another sturdy Interpol release with a subtle yet gracious dynamic shift that not only suits them but turns them into statesmen of the indie rock world.

Working Men’s Club – Fear Fear
(Heavenly)

I remember walking around a rain drenched, muddy-as-you-like field the day Working Men’s Club released their debut album in 2020. Though I knew I’d likely be stuck in the house for the rest of the weekend, there was a forward moving energy to the record, with its 90s dance beats and 80s post punk snarl, that excited me to get back into the thick of it. It seemed that many agreed, with the album going top 10 in the charts and receiving many plaudits and AOTY statuses. It seemed that the band’s leader, Syd Minsky-Sargeant, was already thinking ahead when he sent a bunch of new music to the label the day their debut was unleashed.

Keeping up this forward motion, Syd began to build second album ‘Fear Fear’. On the teaser tracks released so far, it felt that Working Men’s Club were getting moodier, with tracks like ‘Widow’ and ‘Circumference’ offering a more shadowy, gothic slant on their synth laden sound. It soon transpired however that ‘Fear Fear’ keeps up the clubbed out atmosphere of its debut, naturally exploring and expanding wider.

‘Ploys’ is a summer smash in the making, with its subby bass melody and extremely 90s inspired synth leads. But for every dance pop hit there’s a deep dive for the real ravers, with ‘Heart Attack’ and ‘Money Is Mine’ bringing the acid rave heat, all with a slick indie twist.

‘Fear Fear’ feels much more refined in its approach, with the more guitar driven post-punk sounds dialled down to make more space on the dance floor. With lyrics written in the heat of lockdowns – looking into psychical disconnection and instead keeping up more digitally informed relations – this is a thought provoking, melancholic affair that is juxtaposed with the euphoria of its instrumentals. This is dance music with a heart. Its influences may be clear yet its approach feels fresh, which makes for a compelling comeback from a clearly talented young band.

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Listening Post – April 2021

Words: Andy Hughes

Ah April. Ain’t it sweet? As dependable as the sun showing up more and more during the day coinciding with me wanting a beer outdoors, we’re back – first of the month, on the dot – with a NEW playlist to tuck into. You know the drill – 20 tunes, old and new.

Show Me The Body – Survive
(Survive)

Rock ‘ard NYC hardcore from Show Me The Body, snipped from their brand new EP of the same name. Yes it’s hard not to chuckle a bit at the opening lyrical gambit, but that’s HC innit? Proper ripper to kick off proceedings.

Japanese Breakfast – Be Sweet
(Jubilee)

More delectable indie pop delights from Michelle Zauner, a.k.a. Japanese Breakfast. March 2021 came through with the goods with the announcement of her third album ‘Jubilee‘, the first studio release since 2017’s ‘Soft Sounds From Another Planet‘. Chorus on this one is MASSIVE – A top bit of kit.

The Fall – Theme From Sparta F.C.
(Country On The Click)

As cliched as they come, can’t get enough of these fuckers at the minute! Having just finished Dave Simpson’s searching book ‘The Fallen‘ and having likely finished Steve Hanley’s ‘The Big Midweek‘ by the time this goes to print, I’m finding myself sticking this lot on quite a lot just lately. ‘Theme From Sparta F.C.‘ is a big current favourite – love the terrace chanting and thump-thump-thump that goes along with it. Rock hard.

Deradoorian – Saturnine Night
(Find The Sun)

Absolutely hypnotic stuff from NYC based artist Deradoorian. From a record described briefly as “a waypoint on a spiritual journey of acceptance“, it’s very much a trip. Got a bit of a Neu! vibe to it. Completely new to us, but it turns out they’re a former core member of Dirty Projectors and known for prior collaborations with Flying Lotus, so you’re in safe hands, Chuck!

Unschooling – Social Chameleon
(Random Acts of Total Control)

Thank you to Unschooling for coming along and filling an Omni-esque hole in our lives whilst the Atlanta trio decide what to do next. From a new EP out in April, the four piece out of Rouen, France have excelled here in producing poppy, danceable post-punk with smiles in mind!

Arab Strap – Fable of the Urban Fox
(As Days Get Dark)

“Fuck off back to Fox Land, these streets are fucking full.” We were lucky enough to have ‘As Days Get Dark‘ a few months before release and it was this track that I continuously returned to, listening intently to vocalist Aidan Moffat as the story unfolds. Love how it all gets a bit Tekken 2 in the instrumental.

(Photo Credit: Wyndham Boylan-Garnett)

Cassandra Jenkins – Hard Drive
(An Overview on Phenomenal Nature)

Whilst relatively new to us, Cassandra Jenkins has some notable work under her belt – previously providing guest vocals on Kevin Morby and Muzz records, as well as rehearsing as part of Purple Mountains with the late David Berman. ‘Hard Drive‘ is a beautiful piece, incredibly captivating with its spoken word taking you on a journey. Very Prefab Sprout ‘I Trawl the Megahertz‘ – get on that if you’re unfamiliar (and have 22 minutes to spare…)

Everything Everything – SUPERNORMAL

Seemingly five minutes on from the release of their last record, Everything Everything return revitalised and unleash this gigantic single. Named after SUPERNORMAL stimuli – “highly exaggerated triggers that create a stronger reaction in us than evolution ever intended. Our animal brains can’t help but reach for the bigger, brighter, tastier, sexier, bloodier, more intense experiences.” ‘You’re GOD DAMN RIGHT!’ Go on lads!

Part Chimp – Back From The Dead
(Drool)

Loud enough to knock you off your stool, the Part Chimp phenomenon rears its not-dead head again with a new record on the way via tastemakers Wrong Speed Records! A true ripper, it’s a proper face-melter and calls for the return of sweaty basement shows sharpish!

Home Counties – White Shirt / Clean Shirt

Off the back of previous single ‘Modern Yuppies‘, Home Counties continue to embrace their wonky oddball side and offer up a DEVO-esque stance here via the rather fun ‘White Shirt / Clean Shirt‘. Yes please once again to the end-of-level-boss-battle breakdown towards its end.

Spread Joy – Semantic
(Spread Joy)

More excitement from Chicago outfit Spread Joy and their forthcoming debut album. Whilst we previously said all you need is 60 seconds to get your rocks off, this time around it’s a bit longer (only just) but we love this straight down the barrel punk smasher.

Shame – March Day
(Drunk Tank Pink)

From an album that remains on heavy rotation, ‘March Day‘ was an early favourite when we first heard ‘Drunk Tank Pink‘ and every time we hear it we still get that brand new feel in our ears. Mega infectious post-punk from the Southern lot.

Holiday Ghosts – Off Grid
(North Street Air)

If you’re in the UK, you’ve likely noticed it’s not freezing cold outside. Sure enough, whilst it was still chilly when we discovered Holiday Ghosts, their sun-soaked, 60’s vibes powered us through the end of winter and plonked us bang into spring (with our shades firmly on). I’ve been hammering this and prior single ‘Mr. Herandi‘ ever since!

Field Music – Not When You’re In Love
(Flat White Moon)

Carrying on this ‘I’m in my 30’s‘ routine, I was doing the washing up when I first heard the new Field Music album and whilst putting a cup on the drying rack, I was completely struck by the brilliant ‘Not When You’re In Love‘. Love the vocals on this one from Peter Brewis, knocking it out of the park – “D’you know what I mean?“

Eddy Current Suppression Ring – Medieval Wall
(All in Good Time)

I very recently came out the back of an Aussie punk binge with visions of getting smashed at live shows – struck with the realisation that we’re still a while away from crowd-surfing (though on that ‘I’m in my 30’s’ trope, the end might’ve already been in sight…) The brilliantly named Eddy Current Suppression Ring have been on the old radar for a while now and we can’t get enough of this repetitive hypnosis on offer.

Lithics – Excuse Generator
(Mating Surfaces)

From Portland, Oregon outfit Lithics’ second album ‘Mating Surfaces‘, ‘Excuse Generator‘ is a proper super-charged, razor-sharp post-punk delight to get you worked up. Quirky as you like.

Bachelor – Stay in the Car
(Doomin’ Sun)

Mega Pixies vibes via Bachelor, the new project bringing together Melina Duterte (Jay Som) and Ellen Kempner (Palehound). Just prior to the pandemic, the pair hooked up to put together their debut album, with first offering ‘Stay in the Car‘ very much tickling our fancy.

N0V3L – Group Disease
(NON-FICTION)

It was great to see everyone pick up on Crack Cloud over the past year, so fingers crossed there’s a similar rush of support for the debut album from N0V3L – an outfit we’ve been banging on about since their first few tunes went online a few years back. ‘Group Disease‘ carries on their taut, throwback dealings in new wave and post punk and has us intrigued for what’s across the other ten tracks on the record.

Total Wkts – Odermatt
(No Holiday)

Following on sharpish from the release of the Total Wkts debut album, John Newton a.k.a. drummer John from duo JOHN, returns with another set under the Total Wkts guise. As crunchy and raw as an onion from the fridge, ‘Odermatt‘ offers up the very BOOMing sound we’ve come to love from Newton’s day job.

Alien Nosejob – Beyond the Pale
(Hc45-2)

The conclusion of our Aussie punk binge, Alien Nosejob are very much just the ticket for knock out, speed-freak punk that comes out of the gate at 100mph. Very much something to sink your teeth into.

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Live Review: Muzz in Kingston, New York 04 December 2020

Words: Ben Forrester

I’m gonna be honest with you folks, this is the first time I have reviewed a live stream. Of course, in this quite frankly horrendous year of no gigs, many of us have had to adjust to watching live music through a TV screen. Full disclosure, I’ve quite enjoyed it – don’t get me wrong, I can’t wait to get back into a boiling hot room again, but admittedly it’s been a nice change of pace to be sat comfortably, with no one blocking your view and a clean toilet nearby.

I was particularly looking forward to this stream as this happens to be this band’s first ever live performance. Muzz are three old friends who all happen to be extremely accomplished musicians that have played their part in huge projects within the indie rock scene; The Walkmen, Fleet Foxes, Interpol, Bonny Light Horseman and The National, just to name a few. Earlier this year the trio released their beautiful self titled album that showed off their skills, as songwriters, engineers and of course musicians.

For the stream this evening, Muzz have set up shop in Reade’s Old Kingston Theatre, New York, joined by musicians Annie Nero on bass and Stuart Bogie on keyboards and several pieces of brass and wind. The start of the show begins with the sound of a calypso beat being played from an old keyboard reverberating around the theatre. We then cut to the stage exit where the five members of Muzz are gathered in the lobby, all donning masks, waiting to be told to go on stage – just to keep that live show element alive.

They walk into their socially distanced stage set up, take off their masks and smile at each other. It’s quite a moving moment and one that, for a second, brings in the weird reality of this new norm. However, the band gracefully move into the set and for the next 45 minutes or so all I can focus on is their elegant indie rock tones as they take us through a unique performance of their debut album.

Although not played in order, it’s really cool to hear the songs played out live as naturally the record has a big, lavish production behind it. But between the five of them they do a pretty good job recreating the dynamic boldness of this album. The three core members of Muzz are a pleasure to watch; Matt Barrick bringing a slick, almost jazz like style to his drumming, with Josh Kaufman adding thick layers of guitars over the wonderfully distinctive vocals of Paul Banks who, dressed in a black polo neck and a crew hair cut, is likened to ‘a cool looking Bond villain’ by my partner.

I just love how well the songs are recreated, ‘Knuckleduster’ and ‘Red Western Sky’ sounding even more chest-swellingly majestic than before, while hushed moments like ‘Bad Feeling’ and ‘Chubby Checker’ take on an even more gorgeously warm and intimate feel. Big shout out to Stuart in particular for a rather killer sax solo in ‘Bad Feeling’ too! Playing these songs as a five piece band just goes to show that hiding behind the grand sonics of the album lie incredibly well written and beautifully crafted songs. ‘Evergreen’ acts as the perfect opener, slowly building towards a beautiful harmonised chorus with Paul really suiting this laid-back vocal style.

There definitely is an energy and boldness to the set recreating an otherwise quite chilled out record. It’s honestly really great to see them translate and grow in a live setting. I’m a big fan of bands that don’t completely recreate their album and instead do very much a live take, getting to the essence of the songwriting. This is what Muzz do with total ease. In some ways I was a little sad that I couldn’t experience this in the flesh, but in the same breath it was great to experience a band perform for the first time together with a strong sense of warmth definitely permeating through the air waves. Honestly, this was a really charming performance from an excellent band that I hope we get to hear more from.

Read our review of their S/T debut here!

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Release Rundown – Run The Jewels, Muzz, Katie Malco, Rolling Blackouts Coastal Fever and No Age

Words: Ben Forrester

Here is our ever punctual (and pretty bumper) release rundown for the week, reviewing some snazzy new records ready for your aural consumption. As we always like to gently remind you, these releases should be available to buy on the artists web stores as well as online with your favourite local record shop.

Run The Jewels – ‘RTJ4′
(BMG)

The most anticipated album of the year is here. Hip-Hop heroes Killer Mike and El-P have turned their collaborative project into the most influential Rap group of our time. They have gone from strength to strength with each new release, sounding fresher and more vital as they progress. The RTJ cult is only widening and after blowing us all out of the water with album three in 2016, album four gives us a rawer and even more charged up set.

The chemistry between Mike and El is nothing but electric and this album is their strongest statement as a partnership, particularly in their ability to riff off one another so effortlessly. They’ve culminated decades of experience into a celebration of hip-hop’s past, present and future; crushing back to the golden age of the 80’s (‘Goonies VS. E.T’.), wonked out 90’s inspired samples (‘Ooh La La’) while pushing into the current era of hip shaking subs (‘JU$T’). Not to mention they’ve got in a stellar cast of features and sweet samples; my favourite being the use of Gang of Four’s ‘Ether‘ on ‘The Ground Below‘.

Lyrically this looks at the issues that have been highlighted in bold with recent events; racist police, systemic poverty, corporate media and other eternal enemies. It’s important to know that this album wasn’t written this week, and tracks like ‘Walking In The Snow‘ and ‘A Few Words For the Firing Squad‘ ram home that these issues need to be looked at and talked about every single day. These are the messages we need to hear right now. But it never feels preachy, they use humour and compassion to get their points across and it’s that human connection that empowers you and gives you hope. Run the Jewels have always felt like a group that need to be heard and with their most urgent and fired up LP to date, this is the soundtrack to move forward to.

Muzz – ‘Muzz’
(Matador)

Featuring Paul Banks (Interpol), Josh Kaufman (Bonny Light Horseman) and Matt Barrick (The Walkmen), Muzz is the product of three old friends making a record together after years of collaborating both in studio projects and on the stage. The debut album they have created is what you would expect from three experienced hands within the alt rock cannon; slow cooked indie rock with heaps of alt folk flavour. ‘Bad Feeling’ opens proceedings with an understated guitar melody, elegantly lifted by a flurry of saxophone leads that takes me back to the gorgeous heights of Bon Iver’s second album. From that moment you feel wrapped up in this comfy blanket of sound.

We do have some more rousing moments later in the track list with ‘Knuckleduster’, which dons the same swing of a big hitting Interpol tune (especially with Paul’s distinct vocal). It’s the strength of the guitar melody in the chorus by Josh however that turns this into a Muzz song. There’s a big majesty to these songs; they may seem slightly laid back, but the strength of the songwriting coupled with well crafted production gives them a timeless quality. It reminds me quite a lot of The National in places (a band Josh has worked closely with), which I feel is due to the bands ability to deliver something passionate with such poise and grace; it’s calmly gut wrenching, which I think can hit you even harder. In conclusion, this is a successful meeting of minds, steeped in beautiful textures that shimmers and glistens with heart swelling warmth.

Katie Malco – ‘Failures’
(6131)

Having spent the past decade appearing on DIY shows across the country, there’s no denying the graft Katie Malco has put into the UK underground scene. After a smattering of releases, the London based songwriter is finally ready to unveil her highly anticipated debut album. ‘Failures‘ is about taking a good hard look at yourself, embracing the hardships you’ve been through in order to grow. It’s not easy to write songs that carry such vulnerability, but Katie turns this into something relatable and ultimately comforting.

The urgent indie rock rush of opener ‘Animal‘ may conjure feelings of reckless abandon but its chorus refrain “I’m not an animal, I won’t die here for you” rings with defiance. The lyrics lie at the forefront on these songs, with Katie being extremely good at setting the scene and bringing you into her story. Recent single ‘Brooklyn‘ is a prime example of her ability to take you with her as she takes in the sites of New York whilst realising the bigger picture with a close friend by her side.

Musically, this bridges the gap between American, emo tinged influences (‘September‘/’TW‘) with a grasp on the British indie rock scene she comes from (‘Creatures‘/’Animal‘). Although the more driven moments grabbed me more on first listen, the slower burning pieces that tend to dominate the track list do really soak into your skin after repeated listens. This is a coming of age record make no mistake, but one more self aware and heart on sleeve than I have heard in recent memory. A soul is laid bare here which is something I admire whole heartily. If you want a brave and honest emo record, you’d be hard pressed to find something as beautiful and genuine as ‘Failures‘.

Rolling Blackouts Coastal Fever – ‘Sideways To New Italy’
(Sub Pop)

For a band that formed only seven years ago, Rolling Blackouts sure have been busy bees. After two well received EP’s, the Aussie quintet got snatched up by Sub Pop, released their debut album and became everyone’s favourite new band. Naturally, they toured their asses off, leading them to take a small break in order to gain focus for album two. But as they say, no rest for the wicked and ‘Sideways To New Italy’ is here to dazzle us with all its jangle pop charm.

Musically, this continues the sun soaked pop of ‘Hope Downs‘ but as expected from a band that have been on a non stop tour, they emerge tighter and more confident than before. The hooks are snappier., the melodies are catchier and the production is bolder and crisper.

You can’t fault the immediacy of these songs, as soon as ‘The Second Of The First’ hits you with a three pronged guitar attack backed by a mile a minute rhythm section, you’re thrown into a home run of three big hitting tunes. Although they do slip in a few mid paced numbers, they really strike a chord when they speed up and lock into a glistening melody; ‘Cars in Space‘ and ‘Not Tonight‘ really hit the neck jamming spot for me. To be honest, I have been sceptical of the guitar pop scene in the past as I can find it a little beige at times. But having fallen for the latest Real Estate record a few months back, my opinion seems to be changing. As ever though, it’s gotta be done well and I must say that Rolling Blackouts very much do it well.

My previous thoughts on this band are when they’re good they’re good and although that hasn’t changed much with this record, ‘Sideways To New Italy‘ is a progression in tighter performances and stronger songwriting. In short, it’s got summer smash written all over it; I’m off to hit up the deck chair in the back garden!

No Age – ‘Goons Be Gone’
(Drag City)

Noise punk mavericks No Age return to our speakers with their fifth long player and their second for one of our fave labels of late, Drag City. ‘Goons Be Gone‘ may begin in a one two punch of straight up punk rock, but naturally strays off into the unknown with their notorious brand of pedal tomfoolery. ‘Working Stiff Takes A Break‘ might be four tracks in, but I reckon it would have made a cracking opener. It chimes in with a sense of urgency with a minute of chopped up guitar loops and excitable vocals as drummer Dean exclaims “This wonderful thing I hear has bought me back“. Never the less, it pushes up the levels of energy making way for the fuzz punk stomp of ‘War Dance‘.

As always, this is a mix of solid alt rock jams and cosmic art punk. To be fair, the soundscape-y stuff can be really encompassing; ‘Toes In The Water‘ stands out, building with layers of delay and fuzz that takes you through 3 minutes of mind altering meditation. In the grand scheme of things though this is the most ‘full band’ sounding effort I’ve heard from No Age as they really lock into the guitar/drums simplicity of their sound (watch out for that catchy lil riff in ‘Head Sport Full Face‘). Though I do dig the material on here, I prefer it when they go down the rabbit hole and really try to mess with your head. But still, it’s enough to keep the punk kids satisfied and is another statement of intent in No Age’s quest in keeping punk rock weird.

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