Listening Post – April 2024

Words: Andy Hughes

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!

Whilst you’re here, can we quickly draw your attention to the new podcast that we launched at the start of the year? ’60 Minutes or less’ has been up and running for over three months now, featuring interesting chats with Joe Casey (Protomartyr), Paul Hanley (The Fall), Philip Frobos (Omni), Jonathan Higgs (Everything Everything), Peter Brewis (Field Music) and Steve Davis OBE (The Utopia Strong)! When you’re done here, get yourself listening to the new episodes and give it a rating on your favourite streaming service!

Patio – Inheritance
(Collection)

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.

Parsnip – The Light
(Behold)

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. 

Bench Press – Respite
(Not The Past, Can’t Be The Future)

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.

Bingo Fury – Leather Sky
(Bats Feet For A Widow)

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.

Saint Saviour – Be Gentle
(Sunseeker)

It’s fitting that we move into spring with this sun-soaked delight from London based singer-songwriter Becky Jones 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.

Non La – Hurtful
(Like Before)

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!

Ting Tang Tina – Hair
(Honeybee)

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. 

Grazia – Stupid Paradise
(In Poor Taste)

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.

VR Sex – Real Doll Time
(Hard Copy)

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. Andrew Clinco 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‘…)

Folly Group – East Flat Crows
(Down There!)

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.

Modema – Running Back

A regular in The Orielles live band (as well as behind the counter of Manchester institution Piccadilly Records), 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.  

SLAP RASH – Photo Fit
(Catherine Special)

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!

Holiday Ghosts – Big Congratulations
(Coat Of Arms)

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.

(Photo Credit: Atiba Jefferson)

Dehd – Mood Ring
(Poetry)

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.

Mannequin Pussy – Aching
(I Got Heaven)

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.

Lambrini Girls – God’s Country

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!

Rosali – Bite Down
(Bite Down)

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. 

Alison Cotton – The Letter Burning
(Engelchen)

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 & Louise Cook, two opera fans who rescued 29 Jewish people from Nazi-occupied Europe in the 30s.

Cowtown – Thru Being Zuul
(Fear Of…)

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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Release Rundown – Gilla Band, The Orielles and Warrington-Runcorn New Town Development Plan

Words: Ben Forrester

Gilla Band – Most Normal
(Rough Trade Records)

I’ve always been super impressed with the way Gilla Band push the limitations of a four piece guitar band. Combining post punk grooves, harsh slabs of noise and electro clash euphoria, every new release has always struck me with equal amounts of excitement and fear. Robbed of their usual ability to road test new material, third album ‘Most Normal’ sees Gilla Band at their most instinctive. It is not only a further exploration of the sounds created in early material, but also a look into fresh territories.

‘Backwash’ has an almost hip-hop quality to its subby bass line and crispy drum beat, while ‘Bin Liner Fashion’ and ‘Capgras’ are amongst some of the most angular, punk inspired moments they’ve captured. But what I really like about this album is its structure. I feel like its first half is much more rowdy and noise fuelled, whilst its second half brings in something almost in the way of melody. ‘I Was Away’ and ‘Almost Soon’ have a New York indie sharpness, particularly in the guitar tone. I’d go as far as to say that the latter sounds like The Strokes on smack! Though last track ‘Post Ryan’ brings back the nasty, with some filthy bass squelching over another dance floor filling beat.

Vocalist Dara Kiely has always given us his all vocally, but here he really opens up and delivers some of his most personal lyrics to date. Relationships and mental health have been deeply rooted within the band’s back catalogue, but there’s a plain speaking honesty in ‘Most Normal’ that really hits hard, particularly in the self deprecating rawness of the aforementioned ‘Post Ryan’. Gilla Band really let everything loose on this record, lyrically more direct and musically as urgent and visceral as ever. This is possibly their best to date!

The Orielles – Tableau
(Heavenly Recordings)

It was clear from the off that this Halifax formed trio had grand ideas. Following an extremely assured debut, 2020 saw a deeper dive into vintage hooks and psych pop with the equally excellent ‘Disco Volador’. So, it doesn’t really come as much of a shock for The Orielles‘ third album to be a double LP that pushes their experimental side to the max. ‘Tableau’ was created over the summer of last year, formed through live improvisations and lots of tinkering about with whatever they could get their hands on.

The result is pretty cosmic and whimsical, taking that three piece indie rock sound and adding in electronic bleeps, tape loops and orchestral swirls to elevate the listener into a dreamy state of euphoria. This is certainly a record that needs to be consumed as a whole and its more expansive, experimental nature has not been built to feel immediate or urgent. On first listen I found myself craving a bubble gum pop hook, but swim in deeper and you’ll find it’s all there.

From the pysch rock grooves of ‘The Instrument’, ‘Airtight’ and ‘Television’ to the bewildering soundscape-y pop of ‘Drawn and Defined’, ‘Some Day Later’ and ‘Beam/s’, there is something very encompassing about the arrangements here. They will soak themselves into your soul on repeated listens. ‘Tableau’ is a testament to the chemistry that lies deep within The Orielles, as well as their varied music collections. It might not quite be the catchy disco pop of yore, but there’s so much craft and atmosphere baked into this record that pushes the band gallantly forward. At this point The Orielles can go anywhere and we will happily follow.

Warrington-Runcorn New Town Development Plan – Districts, Roads, Open Space
(Castles In Space)

Gordon Chapman-Fox has been creating and releasing electronic music since 2003, and this latest project of his has been making quite the waves in the synth world. 2021 saw two album releases from Warrington-Runcorn New Town Development Plan, which not only topped many end of year lists but also sold out in a flash each time a new pressing was released on vinyl. Now comes album three, ‘Districts, Roads, Open Space’, a glorious continuation of the enveloping electronica we’ve come to love from Mr Chapman-Fox.

Having been engulfed by the likes of Worriedaboutsatan and Craven Faults recently, this is very much up my street. Long, winding stretches of layered synths and hypnotic patterns blend, intertwine and build in unison like on intoxicating opener ‘Golden Square’. Or in the case of ‘Community Square’ and ‘Old Hall’, which are helped along with bustling percussion and 808 style beats. With the project very much taking inspiration from the towns it’s named after, I can feel that expansive, utopian texture deep within.

Gordon has acknowledged this material as being lonely and spacious. Having lived in Warrington for a few years, I can picture myself walking around the city centre late at night surveying its architecture, soaking in the more melancholic soundscapes this album offers. However, there is a warmth and sense of optimism that runs particularly thick through closing track ‘Buzby’s Lullaby’ that takes this record towards a rather beautiful conclusion. This is about the lives that lived within these spaces more than the space itself. In short, ‘Districts, Roads, Open Space’ is a striking piece that is the work of a strong, forward moving force in British electronica.

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This One Song… The Orielles on Transmission

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.

Ahead of releasing their new album ‘Tableau’ (out now via Heavenly Recordings), The Orielles talked us through the track ‘Transmission‘. Take it away, The Orielles…

Words: Andy Hughes

“The tune Transmission off the D side of the record was conceived like many others on the record, at a little practise room in New Islington, Manchester. We played around a lot with it, all versions being incredibly jammy and free flowing.

We initially recorded a version of it at Echo Zoo in the quite small live room there, we turned off the majority of the studio lights and all stood around the drum kit in an incredibly tight circle within the partitions. Trying to minimize the distance between us to create a better connection between us. We managed to get a version down but concluded the drum sound of the room wasn’t fit for the record so we left it and had that version to listen to in between the Echo Zoo and Vada sessions.

When we got to Vada we tried to record Transmission in that huge live room in broad daylight. We really struggled to get a take with the weight of emotion we were trying to achieve. So in true Orielles fashion, we fucked off to the pub for the afternoon to try and take our minds off it. Anxieties were running quite high that day for a slew of reasons so we felt we needed to take the time off and not put pressure on ourselves because we’ve found it to be very counterproductive.

By the time we got back into the studio, night had fallen and the chapel studio of Vada was very dark and moody, with the stage lighting dotted around for vibes. The atmosphere in the studio felt a lot better and we’d gotten over the worst of the anxieties – we started going for takes that already felt way better.

We had a major realization that we’d all listened to the Echo Zoo version of Transmission in between sessions and were subconsciously trying to recreate it and this was causing the takes to feel ingenuine. We realised for the performance to feel sincere we had to go back to improvising and play from the heart and once we broke through that, takes started to feel a bit better. This confirmed for us why we’d been so reluctant to demo anything for this record and flesh things out in a way where we’d just be reproducing what we had already written months before. We also learned how absolutely crucial creating the right environment is for this type of work and making sure we’re being inspired by our surroundings instead of hindered by them.

We didn’t want to do many overdubs to the track in an attempt not to distract from the vibe of it just being us three playing in a room together. Sid played in the 101 high end tweety stuff (first take queen!!), an 808 on the sub kicks to give the track a larger sonic range and then we built in that choral acoustic guitar outro to bring us back down to earth. Sequenced right there on the start of the D side as the album is wrapping up and the energy of the first half of the record dissipates and the listener is left with instrumental reflection near its finish.“

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Live Review: The Cribs at The Piece Hall in Halifax 03 September 2021

Words: Andy Hughes

It almost sounds like a siren ringing out across The Piece Hall as Everything Everything arrive on stage early Friday evening, bleeding into opener ‘Lost Powers‘, the kick off point from latest album ‘RE-ANIMATOR‘. The Grade I listed Piece Hall is an architectural marvel, and it’s mildly surreal – following a near 12 months sat at home twiddling thumbs – to be catching one of our favourite bands doing their thing within its surroundings.

It’s evident the crowd are up for getting lashed and singing along, helped on no doubt by support earlier in the afternoon from Black Honey, The Lounge Society and locals The Orielles. ‘Cough Cough‘ and ‘Can’t Do‘ come out early and just at the right time, the former with a drum sound like a big shotgun blast, the latter seeing finger pointing aplenty amongst the audience.

Vocalist Jonathan Higgs has not lost the stage presence in his time away, even giving it the Robbie Williams extended arm ‘You-know-the-words-Wembley‘ on the chorus. The band are all decked out in the same livery, everyone except bassist Jeremy Pritchard, electing instead to knock about in a turtleneck like a Bond villain.

From where we’re stood we almost miss out on seeing most important member, percussionist and all rounder Peter Sené! A short change of position soon sorts that though, and we’re stationed elsewhere just to catch the mammoth stomp of ‘Regret‘, which really gets the crowd going under the pink stage lights.

It’s great to hear the likes of new ones ‘Arch Enemy‘, ‘SUPERNORMAL‘ and the anthemic ‘Violent Sun‘, having unfortunately been kept at a 2 metre distance (and then some) since the album and subsequent single came out during the pandemic. But it’s a trio of big hitters from 2015’s ‘Get To Heaven‘ that sends them off, ‘Spring / Sun / Winter / Dread‘ getting everyone’s hips wiggling as a bloke from behind sings the chorus at the top of his lungs like he’s already sunk 10 pints (and to be fair, he may very well have).

‘No Reptiles‘ is as euphoric as ever, and the crowd is a sea of outstretched arms, many holding a pint in one hand and phone in the other. People are on shoulders soon enough and pint pots are getting chucked sky high. Gigs are indeed back to normal. ‘Distant Past‘ keeps the vibe well and truly going and with the lights flashing and the punters getting fully stuck in, it feels like we’re back to business! Higgs quite rightly picks up on the atmosphere and calls out “Let me fucking hear you!” to the packed out Piece Hall.

A wealth of pop hits soundtrack the changeover, a perfect accompaniment to our allocated churro snack time like Smooth FM might soundtrack your drive home. Bliss. It’s elevated by the beautiful spire all lit up and it’s such a treat to be back in the venue. Soon enough the lit up spire is of little interest, as the stage lights glow red and the ultimate pop banger, Yazoo’s ‘Only You‘, blares out, bringing the local lads on to deafening applause.

‘Running Into You‘, best song from their new album ‘Night Network‘, kicks it off good and proper after a load of crunching feedback. The £6 pint pots are instantly flying, people wasting no time in clambering onto shoulders as the crowd suddenly seems to grow 5x in size. Confetti cannons burst two songs in and arms are around shoulders everywhere the eye can see.

“Cheers Halifax, ow the fuck you doing?” Shouts one Jarman before the other has to repeat himself when he asks “We ready to go fucking mental Halifax or what?” No words from drummer Ross Jarman, but he does his talking behind the kit, stood up and battering the cymbals early on for “an old one“.

“You’ve all got ‘Night Network‘, right?” We’re asked before they rip into the heart-swelling ‘Never Thought I’d Feel Again‘. The recently announced ‘Sonic Blew Singles Club‘ throws up the goods too via initial offering ‘Swinging At Shadows‘ and you can hear the ‘oooh oooh‘ all over Calderdale as punters get bang into it.

It feels very festival like and one loves how you can move about the venue, grab a beer, nip to the loo, snack on a churro and be completely immersed in the sound bouncing around the hall wherever you go. A great view of the band can be found at every point – even with an Adidas track-suited arm bouncing energetically in front of your nut.

Guitarist Ryan at one point borrows from the Freddie Mercury Live Aid playbook to get the crowd even more pumped but really, the siblings could say anything. The crowd are right with the Wakefield trio from the word go, erupting at anything and everything said from on stage. It’s not unusual for fans to hang off every word a band might have to say, but this felt different, the packed house fully behind them no matter what. Later on, Ryan’s at it again, telling a funny twisting-and-turning tale about almost becoming disillusioned by it all and winding up working in a health store just outside of NYC, but soon coming to his senses having heard The Cribs on the radio alongside the likes of Journey. Must get back to the actual day job!

Speaking of NYC, the lights drop out at one point and Sonic Youth’s Lee Ranaldo comes through the speakers on ‘Be Safe‘, so convincing that I thought he was bloody there! Plumes of smoke rise above the audience and it’s people up on shoulders again, the whole crowd becoming one as they scream along whenever The Cribs come in on vocals. It’s cute to see so many proper lad types become unglued and bounce around like kids, unlocking something deep inside them. Like a giant creche for ex-indie heads.

A brief Ryan and Ross led rendition of ‘Wonderful World‘ by Sam Cooke unexpectedly kicks into the incredible ‘Men’s Needs‘ and one doesn’t really need to let you know how the crowd reacted to it. Can you imagine? Just up the road from Wakefield, in front of a packed out crowd after a whole year off from gigging? Oof! You can just about hear the vocals over the crowd noise…

“We’re The Cribs from Wakefield, thanks for coming out” Signals the end as confetti cannons burst once again on the euphoric closer ‘Pink Snow‘.

I’m not a die hard by any means but the atmosphere and enthusiasm throughout their set is intoxicating, so it’s hard not to fall into singing back every chorus with a big grin. Bassist Gary acknowledges their 2016 Millennium Square performance was a life highlight, but reckons The Piece Hall might be just as big. Sure enough, as close as we could get to Wakefield big venue wise, it’s just a joy to experience their big moment amongst a gathering that are with them all the way.

‘Night Network‘ – Reviewed here!

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Listening Post – March 2020

Words: Andy Hughes

Another month then? Given the pandemic it feels like we’ve been in 2020 for yonks already… But prior to the isolation, the once a day allowance for leaving the house and ten meals a day, we put together our usual monthly playlist of new and old songs that have kept us moving throughout the month. Now we’re stuck in the house all day, why not treat yourself to our 60+ minute soundtrack to take your mind off things.

*UPDATE – Our playlist only sticks about for ONE MONTH before we move on. No regrets. You can listen to the latest playlist below!*

Public Body – Presenteeism

Another ripper from Brighton quartet Public Body – Get a load of that riff! Like a more full-strength OMNI, their latest single (at the time of writing) is a brilliant bit of tasty post-punk that – as we spoke lovingly about back in August – calls to mind the likes of much missed Manchester outfit DUDS.

Deeper – This Heat
(Auto-Pain)

Another brand new burst of full-strength post-punk that’s been ticking boxes all month comes via Chicago trio Deeper. A mega riff against a hypnotising, anthemic chorus that reminds us a bit of moody Crack Cloud offshoot N0V3L.

The Futureheads – Appreciate The Effort
(Decent Days and Nights)

One of the many treats from the recently reissued debut album from The Futureheads, ‘Appreciate The Effort‘ sounds box fresh for the year of our lord 2020, with a powerhouse vocal from bassist Jaff (who more recently answered a load of questions for us following a triumphant return year for The Futuremen!)

Jade Hairpins – Mother Man
(Harmony Avenue)

LCD Soundsystem x New Order vibes from an offshoot of Canadian punks FUCKED UP. Originally released in 2018 anonymously(ish), it was revealed recently that this is the work of Jonah Falco and Mike Haliechuk, who’ve just announced there’s an album in the works – ‘Harmony Avenue’, out late May. Heart-pumping anthem, no doubt.

(Photo Credit: Colin Medley)

Aiming For Enrike – Flat Beats
(Music For Working Out)

Noticing a trend, eh? Here we’ve got layer upon layer of wonder to create fist-pumping dance euphoria from our favourite math-rock duo Aiming For Enrike.

H. Hawkline – Everybody’s On The Line
(In The Pink of Condition)

Back when you were still able to go to shows (remember that?), I had the pleasure of seeing H. Hawkline in late January as part of the Heavenly Recordings 30th birthday celebrations. Following that night, Hawkline soundtracked quite a number of lengthy walks through our local park (where I gets all my music listening done!)

Dry Cleaning – Spoils
(Boundary Road Snacks and Drinks EP)

A personal favourite from LDN quartet Dry Cleaning, I was lucky enough to catch this lot too before every show on earth got cancelled. Introduced to them via our friends JOHN, it’s no shocker to hear they’ve been hotly tipped. One expects big things following the release of their first two EPs.

Flat Worms – Market Forces
(Antarctica)

Full disclosure, it took me a few goes on this one before I fell head over heels with it, but no sweat – i’m there now. From their raging new album ‘Antarctica’, ‘Market Forces’ comes locked and loaded with an infectious chorus and the usual fuzz attack that’s expected of the Californian trio.

(Photo Credit: Owen Schmit)

Big Hard Excellent Fish – Imperfect List Part 1
(Imperfect List)

Half-inched from this brilliant playlist created for the launch of the British Culture Archive exhibit at fancy Manchester venue The Refuge, this is something so of its time but incredibly relevant even today that was completely new to me. Every new entry from the Scouse voiced vocalist is enough to bring a smile, with topics ranging from the dentist to Bonnie Langford to Myra Hindley and acid rain.

God Damn – High Frequency Words
(God Damn)

Ripper central from our favourite Wolvo outfit GOD DAMN, the nails ‘High Frequency Words‘ from their latest album is a proper drop of good. Love that chorus!

Tennis – Matrimony II
(Swimmer)

Following the raucous halfway point, things turn dramatically with husband and wife duo Tennis and the closer from their latest album ‘Swimmer‘. Having listened to it separately, it was agreed in the household between myself and our lass that it’s the best track off the record. Yes the production is warm, of course it is. Dealing in classic territory here.

Dead Kennedys – Insight
(Give me Convenience or Give me Death)

A renewed love of Dead Kennedys returned the morning after the night before just prior to the start of the month. Jello and the lads smash it out on this rapid cut from their much beloved late 80’s comp ‘Give me Convenience or Give me Death‘.

The Homesick – I Celebrate My Fantasy
(The Big Exercise)

The lads! Dutch trio The Homesick have had me hooked since the release of the brilliant ‘Male Bonding’ from their latest album ‘The Big Exercise‘. Previous single ‘I Celebrate My Fantasy‘ is just a masterstroke, hypnotising throughout its five minutes. The soundtrack to many a cycle home.

Grotbags – Muscle Touch
(Grotbags)

Loosely based on an infamous Scouse ‘celebrity’ (in a way – I was starstruck/terrified when I saw him in Manchester), the Grotbags mega hit ‘Muscle Touch‘ has (like a lot of their stuff) gone past the point of being just a funny song to now swimming about my brain constantly and standing out for its artistry, like any good pop song. It’s also my favourite ditty about sniffing poppers.

No Trend – Teen Love
(Too Many Humans/Teen Love)

From a bumper reissue box set being released via Drag City, I only picked up on this as the deluxe package they’ve put together looked cool as fuck. Here in ‘Teen Love’ (NSFW on a work computer) we’ve got seven minutes of DC anti-hardcore from the 80’s that is super catchy and begs the question – why haven’t I heard this before?

SAVAK – It’s Mutual
(Rotting Teeth In The Horse’s Mouth)

Another discovery and another entry in the ‘where have these lot been?’ list, Brooklyn outfit SAVAK bring to mind USA Nails, Meat Wave and Hot Snakes on this frantic number from their fourth album – the gnarly sounding ‘Rotting Teeth In The Horse’s Mouth‘. A stomper this one, mate.

GONZO – Genius
(Do It Better Again)

Another new discovery that i’ve been mildly obsessed with of late – Aussie punks GONZO. Their second album ‘Do It Better Again’ is loaded with a Gang of Four flavour, with the infectious ‘Genius‘ being the standout on an album full of standouts. Well worth a go.

Baxter Dury – Carla’s Got A Boyfriend
(The Night Chancers)

Slinking, sultry number from the latest Baxter Dury record, with something horrible bubbling under the gorgeous instrumentation. We had the pleasure of speaking with the man himself in the run up to the records release, which you can read here.

YANNIK – The Smallest House On The Street
(Curmudgeon)

A proper nails tune with a rock hard post-punk bite from Brighton based newcomers YANNIK, which we had the pleasure of premiering in late February. Already eager to hear what else they’ve got in store.

The Orielles – Bobbi’s Second World
(Disco Volador)

“SHE’S A LADY NOW“! Live favourite from Yorkshire based outfit The Orielles, one which wound up on their latest record ‘Disco Volador‘! A track that’s had us dancing about the kitchen all month!

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Album Release Rundown – The Orielles, Real Estate, Soccer Mommy and Wasted Shirt

Words: Ben Forrester

February graces us one last time with maybe the strongest release week of the month. Mad collabs, big comebacks and some well needed sophomore’s, its all going on in our rundown this week. We have reason to believe that all of our picks are released on some real nice looking vinyl variants, so make sure you get down to your local independent record store and treat yoself.

ALBUM OF THE WEEK: The Orielles – ‘Disco Volador’
(Heavenly)

With a well delivered vintage tone, The Orielles debut ‘Silver Dollar Moment’ was the sound of a band wise beyond their years. Proving an impressive knowledge of 70’s disco and pop, the Halifax formed outfit topped a lot of AOTY lists in 2018, gaining them an ever growing following, ranging from fresh faced to the old school.

With the band’s second LP, entitled ‘Disco Volador’, you can tell already that this is going to be a deeper journey into the genre. But then the needle hits the groove and the first thing you hear is 5 minute psych funk odyssey ‘Come Down On Jupiter‘. This is still the disco pop vibe that made their debut so great, but this time they’re playing a psych funk all dayer in space. I mean, the fact that second track ‘Rapid i‘ ends on a 90’s dance inspired breakdown led by phased out organ is enough to show how much the band’s confidence has grown. They are just fearless on this record, from big dreamy pysch pop (‘Whilst The Flowers Look’) to pure disco funk grooves (‘7th Dynamic Goo’), it just keeps elevating.

Getting producer Marta Salogni back in was a very wise idea as she seems to push the band into new sonic realms, whilst keeping the record cohesive and like a continual journey. But of course, the band’s writing is what shines through and they just seem to be at their tightest as a unit. You’ve got such a strong rhythm section in bassist Esmé and drummer Sid, especially in how the beats twist around these super catchy bass lines. Henry adds lush chords and sharp guitar twiddles to hold down the groove, while newest member Alex takes his keys right up front here for some far out vibes (the organ line in ‘Bobbi’s Second World‘ is funky as fuck). A sonic triumph and a stonking comeback make no mistake, The Orielles keep their place at the top of the indie pop ladder.

Real Estate – ‘The Main Thing’
(Domino)

New Jersey quintet Real Estate have been delivering the goods for well over a decade now. They’ve become an influential act within the guitar pop world, with each new record always arriving with high anticipation. Personally, they’ve always been a band I’ve slept on a bit, but I felt it was time to delve in and their fifth album has had me hooked.

‘The Main Thing‘ has all the traits of earlier material but with a stronger grasp of melody and a richer sonic palette. ‘Friday‘ is a beautifully dreamy opener that brings you in gently and from there, you are thrust into their gorgeous jangle pop world, Martin Courtney’s vocals as silky smooth as ever. There is no denying how good Real Estate are at writing hazy pop hits; ‘November‘, ‘The Main Thing‘, ‘You‘, I mean I could just keep going with how well this record marries laid back melodies with infectious hooks. You can tell that the band took their time to write and record the album, with every track crafted with the utmost care, even bringing in some outsider musicians for the first time; I mean the strings on ‘Paper Cup‘ propel it to that of a timeless degree.

Having spent a little bit of time inside Real Estate’s discography, I would say that the band sound refreshed on this album. They just sound on top of their game. The production is lusher, the songs are bolder but it is unmistakably the band you fell in love with all those years ago. I’d best describe ‘The Main Thing‘ as a big fluffy blanket of a record; full of warmth and ready for your embrace.

Soccer Mommy – ‘Color Theory’
(Caroline International)

I think it’s fair to say that the 2018 debut from Soccer Mommy was easily one of the finest releases of the year. ‘Clean’ was a beautifully devastating portrayal of being young and hopelessly in love. This is why many of us are totally gassed to see Nashville based singer/songwriter Sophie Allison return with her second full length as Soccer Mommy. Having spent the past two years touring extensively, I’m wondering how this will shape ‘Color Theory’ both musically and lyrically.

That late 90’s rock pop sound is back, in places even more exaggerated than before, with ‘Circle the Drain‘ sounding like something off that first Natalie Imbruglia record (just revisited it by the way, still slaps). Once again the production is just lovely, it might be a bit more expansive this time but that warm indie rock tone comes into focus more; opening track ‘Bloodstream’ washes over like a Saturday morning shower. But like its predecessor, this is counteracted with plenty of stripped back numbers, the ambient swell of ‘Night Swimming‘ and the beautiful acoustic strums of ‘Up the Walls‘ being absolute highlights, even more personal and heart wrenching than before.

With the album talking directly about Sophie’s mental health and bringing in stronger feeling of melancholy, its luscious, laid back soundscape throws us off the scent again. It’s testament to Sophie’s impressive song craft that she can make heartbreak sound so sumptuous. I’ll be honest, I would have settled for ‘Clean Part 2‘ but ‘Color Theory‘ is much more than that. This goes deeper into Sophie’s mind, coming out more brave and beautiful than ever.

Wasted Shirt – ‘Fungus II’
(Famous Class)

New year, new Ty. Never one to chill out, the insatiable Ty Segall brings us another collaboration but this time it’s with the drummer from fucking Lightning Bolt!! That’s right, the powerhouse, noise rock maverick that is Brian Chippendale hooked up with Ty one sweaty week in July 2018, started a band called Wasted Shirt and smashed out an album. As you’d probably expect, this is a full throttled affair.

Although I would say that it isn’t a million miles away from an LB record, Ty does bring some of his natural charisma that makes for quite the white knuckled ride. Dual guitar solos, fuzzed up riffs and slap back happy squeals tend to be the main flavour over the top of Brian’s mile a minute, fill to ya spill drum style. ‘All Is Love’ is the best display of this, opening the record in furiously frantic fashion that’ll get the blood pumping in seconds.

The manic beats and raucous riffs keep coming, ‘The Purple One’ even leads with an acoustic guitar and is still chaotic as fuck. It feels like the album is building to something monstrous and sure enough it does, ending on 7 minutes of sheer madness. ‘Four Strangers Entered The Cement at Dusk’ tests your nerves with a doomy riff that feels like the end of the world. Ty then loops a million guitar widdles while Brian sounds like he’s got hundreds of nails glued to his sticks. It’s very unsettling but ultimately it’s pretty damn exhilarating.

Wasted Shirt are here to push you to your limits and ‘Fungus II’ is no easy listen, but it’s nothing short of ripping. This is a killer noise rock collab that I hope we hear more of.

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Live Review: Sounds From The Other City at the Regent Trading Estate in Salford 5 May 2019

Words: Andrew Christopher Hillock

It’s May bank holiday Sunday, a date that in Greater Manchester has become synonymous with Salford’s premier music and arts festival Sounds From the Other City. For the past 14 years, ‘Sounds’ has shown an unflinching commitment to new music, art and a unique carnivalesque atmosphere. Now returning in its quindecinnial year in a slightly altered format, the festival teams up once again with local heavyweight promoters: Blue Dot, Hey! Manchester, Tru Luv, Band on the Wall, Grey Lantern, Now Wave, Heavenly, Strange Days, Fat Out, The Beauty Witch, Dots & Wolf, Bad Uncle, Comfortable on a tightrope and Partisan Collective (and breathe).

The festival, previously a sprawling affair that engulfs Chapel Street and the surrounding area in Salford, returns in a condensed form of one outdoor stage and four units in Regents Trading Estate just outside usual HQ Islington Mill. Jury’s out whether the usual street party spirit and grandeur of the previous festivals can be recreated in this limited space, but part of me is thankful for the reduction in foot distance between venues.

Opening proceedings is Grotbags in the Bad Uncle curated segment of Unit 5. “We are your favourite band!” they announce as they blow the cobwebs off the hungover, latte clutching audience with their fun style of pop punk, and their claim isn’t far wrong. Dressed in sailor attire to match the lighthouse installation in Unit 5, Grotbags proceed to sing lines like ‘I think your baby has gout’, have a scrap with an intruding eye monster and unplug each-other as they go for rock‘n’roll moments on a ladder.

“We are your favourite band!”

It’s a great start and after a quick tour around the site, it’s back to the Partisan curated segment of Unit 5 to see Handle’s focused but surreal take on post-punk. Short bursting tracks of wandering bass, synth stabs and samba rhythms arrive like a more upbeat, feral Young Marble Giants. Like most stuff we see at Unit 5 this afternoon, they find themselves having to fight the Reform Radio stage that has for some reason set itself up to blast right through the entrance of Unit 5, but don’t let it affect their excellent unique performance.

After Handle, nature calls and L.A.L. are in attendance to spice up the daunting festival portaloo queue experience. There’s karaoke and personalised toilets (I think Mable handled my business) and it’s a good diversion to take your mind off an at-capacity bladder and dispiriting queue size.

A thorough hand wash and salt and pepper chips from Dim Sum Su later, it’s off to see Dutch artist Accü in The Beauty Witch curated segment in Unit 4. Based in Wales, Accü takes influence from SFTOC alumni Gwenno as well as the granular sinewaves and vocal stylings of Broadcast. To an absorbed and packed warehouse, Accü showed an effortless command of a large arsenal of live-loops and instrumentation, culminating in a consistently impressive and layered set.

Accü

After a quick check in on Baltimore-based Sneaks multi-faceted performance at the Comfortable on a Tightrope curated segment of Unit 5, it’s time to catch the end of Hey! Manchester’s Penelope Isles on Stage 1. We arrive to see the Brighton based group deliver an earnest and explosive finale.

Next up it’s Spectres as part of the Dots & Wolf lineup in Unit 4. Easily the loudest band of the afternoon and much more so than on record, the Bristol-based four-piece bring an abrasive cyclone of noise reminiscent of A Place to Bury Strangers and Belong. Harmonies drift to the surface and are then submerged into a pulsing undercurrent of driving motorik beats and bass. It’s reminiscent of the weather of the day, which is heavy cloud occasionally punctured with intermittent sunshine, but with an ever-present chill.

The weather, which is unseasonably cold, is a bit of an issue as none of the units have heating, so the only solution is to dance it off. Luckily for us it’s Gabe Gurnsey on next in the relative cover of the Stage 1 tent curated by Blue Dot. Playing tracks from solo record ‘Physical’, Gurnsey’s entrancing brand of electro and acid house soon shakes feeling into numb hands. Highlights are Middle Eastern tinged ‘Temazzy’ and the trademark Factory Floor acid crunch of ‘Harder Rhythm’.

A bit knackered and sweaty, it’s time to have a more relaxed groove with much-anticipated BABii. At first glance, Margate’s BABii kawaii vibes and her own typographical style (capitalizing everything except doubled lowercase ‘ii’s) might come off as a bit gimmicky, but within a few minutes it’s clear there’s substance behind the style. Sweet harmonies float over Visible Cloaks style oriental tinged lead lines that alternate over deep Telepathe electro-pop hooks and FKA Twiggs style R&B. It’s a short, fun set that indicates a lot of promise.

BABii

After, we enter Unit 2 to check out the screen-print-your-own-merch workshop area and Ménage À Trois finish their set with a sensual cover of Roger Sanchez’s ‘Another Chance’. Back out in the cold we head next to Diamond Dogs to grab some much-needed hot food, then for a different kind of edible in the form of Tirikilatops. Combining sugar-rush K Pop and wasabi electronics to dizzying effect, Tirikilatops sound a bit like a Limmy techno remix performed by an acid flashback. Unnerving in the way all the best pre-school entertainment is, the Vengaboys cover is the icing on the cake of a performance that is lysergic and strange but never anything less than 100% entertainment.

Feeling like much attention hasn’t been given to Unit 2 or 3 so far and wishing to get out of the Baltic temperatures, I head to check out Working Men’s Club at the Heavenly Recordings curated segment of Unit 3. What I find is depressingly young kids delivering convincing Gang of Four, Devo style new-wave with energy and swagger that Andy Gill can only dream of these days.

But uh oh, there is an emergency on site. It’s just after 9PM and SFTOC has run out of beer. People are pissed, but in the wrong way. Luckily for me, I indulged in the four free Jäger bomb tokens early enough to not be in need. However, I’m still feeling fairly done in by this point and it’s going to take something special to give me the second wind. Luckily, the incredible SCALPING are here to help me over the line. SCALPING’s effective combo of driving guitar grooves and acid house are at once eviscerating and immersive. Single ‘Chamber’ is a standout combination of the styles on show.

Feeling reinvigorated, it is time to head to the last band of the evening: The much-hyped black midi on Now Wave curated line up for Unit 3. It’s understandable to conclude a headlining band with only a couple of singles and performing arts school background could be anything more than the product of a well-oiled PR machine, but with black midi it’s justified. Bursts of Hella math noise energy followed by Slint break downs followed by Women post-punk clangings, black midi destroy and rebuild continuously throughout their brief but breathtaking set. Whilst the individual influences are obvious, the combination and application is never anything less than absorbing. You can definitely see a high score from a certain Melon in their not too distant future.

The party continues on the site and then away into afterparties at YES and The Old Pint Pot but personally I’m sated.

So how did the quindecinnial format compare to the usual festival? Perhaps unavoidably, this year does have a SFTOC-Lite feeling to it, in terms of both scope and atmosphere. A few common logistical problems, some unavoidable (the weather), some avoidable (running out of booze, lack of toilets), slightly mar the experience. But despite the smaller scale, the quindecinnial has no problem summoning that unique SFTOC spirit. The curation has been consistently varied and excellent to the point I can say I’ve enjoyed every act I’ve seen today. Technically, every band sounds faultless and the impressive art direction of each stage heighten the experience.

You have to give it up to Sounds From the Other City, it remains a refreshing standout fixture in a festival calendar that increasingly plays to the market of nostalgia, and whose consistent vision and unwavering belief in new bands and art make it easy to recommend.

(Photo Credit: Dan Kendall)

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Do Not Miss – Top 5 Gigs in May 2019

Words: Andy Hughes

As the world turns and burns, we take a bit of solace at the state of things via being able to wear shorts outside… There’s also the fact that our favourites Viagra Boys, Crack Cloud and N0V3L are making their way up Norf for the month of May, taking the sting off things somewhat…

There’s loads of places you should find yourself this month throughout Manchester and the Norf, but here’s our top five picks. You trust us, right?

Sounds From The Other City – Regent Trading Estate, Salford 05/05

Celebrating their big ‘Quindeccenial’ this year, the folk at Sounds From The Other City have been championing the underground scene for the past 15 years, previously bringing the likes of Birthday Cake For Breakfast favourites DUDS, Anna Burch, Snapped Ankles and Vital Idles (as well as big names like Sampha and Alt-J) to various venues throughout Salford.

With its last five years selling out, this year they promise “special touches fans won’t find anywhere else”, including art direction from all five art directors of the past five years. This Sunday, we suggest seeking out the likes of Working Men’s Club, See Thru Hands and Manchester’s best boy band (with a woman), Grotbags!

Crack Cloud/N0V3L – Shipping Forecast, Liverpool (14/05), Hyde Park Book Club, Leeds (16/05)

Not content being one of our favourite discoveries over the past 18 months, a number of creatives involved in Crack Cloud splintered off into the dreamboats that make up N0V3L.

On one hand you’ve got the unfathomably brilliant Crack Cloud, making all manner of shit-eating-grin inducing post-punk that verges into oddball territories, with N0V3L a bit more danceable, adding a new-wave flavour to proceedings. No Manchester show, so it’s a trip up to Liverpool or Leeds to get your fill!

Pottery – The Castle Hotel, Manchester 14/05

As part of a biggie UK/EU tour throughout May, Canadian outfit Pottery are highly likely to make you sweat if you manage to squeeze into this one. Have you been to The Castle? No room to breathe…

Having previously played with the likes of Oh Sees and Parquet Courts, we were hooked from the get go on this lot, initially describing debut single ‘Hank Williams’ as “a post-punk gem, skirting a wonky pop edge with lashings of psych for good measure.” Sound good? Tickets still going!

Oh Sees – Albert Hall, Manchester 18/05

We’re up the road to Glasgow when our favourites OH SEES are in the UK, but it’s fine – we’ll be watching them whilst we’re there! Before that though, you lucky Northerners will have chance to catch the greatest band in the world (almost certainly) in Manchester’s best venue (quite possibly).

JPD and co. have been in the studio this year working on album no. 24492, so expect a barrage of face-melting new ones to mingle with the current crop, packed into 90+ minutes!

Viagra Boys – Shipping Forecast, Liverpool 22/05

(Photo Credit – Ollie Nordh)

Whilst they will be up this way for Dot To Dot Festival a few days afterwards, we’ll be tootling up the road to catch Viagra Boys in Liverpool for a sweat-fest. What else might you be able to expect?

“Last week when we played in France, some old lady took her tits out and I started sucking on them.” That’s what enigmatic, tatted up vocalist Sebastian Murphy told us when we interviewed them last year. Will it be as raucous in Liverpool? Here’s hoping!

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Hey, have you heard about…Working Men’s Club

Words: Andy Hughes

Here’s a funny one, like – chances are you have already heard about this lot. Or maybe not, either way – Let’s get started on the trio with the great name, Working Men’s Club!

Running in the same circles as The Orielles and having a name very much on brand – that being dead British (see Black Country, New Road and Tebay Services) – they’re based out of one of our favourite spots Up Norf, Todmorden (“by-way of-Europe“).

In a similar vein to Gang Of Four and Television, with a dash of New Order here and a sprinkle of Orange Juice there, their debut single ‘Bad Blood‘ is really quite something, with excitement at every turn and an insatiable groove. Sounds like an instant classic.

The vinyl for this one sold like hot cakes and they’ve neatly slotted themselves into BBC Radio 6 Music’s playlist. Get in on the ground floor whilst you still can!

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Top 50 of 2K18… So Far – #40 – 31: From Axes to Kagoule

It seems like only yesterday we were having a monumental headache trying to whittle down our favourite 100 songs of last year. A painstaking task made worse by doing it at the last minute and (potentially) missing out on some of the year’s biggest bangers.

This time around we’ve been on the clock all year long, making a note of each new release and chucking those not worthy in the trash where they belong. We’ve done the maths and been able to produce our ‘Top 50 of 2K18 (so far…)’ and we’re proud to show off the list here. But because life’s too short, the list isn’t in any particular order…

Full list here and a handy Spotify Playlist can be found here!

Axes – ‘Christmas Number One’

What a joyous first 20 seconds! The LDN quartet (via Essex, Scotland, Iran and Denmark) have been favourites of ours ever since we began Birthday Cake For Breakfast and with ‘Christmas Number One’ they prove why. Intricacy off the charts with grin-inducing little flourishes throughout, it’s math-rock at it’s most fun!

Unknown Mortal Orchestra – ‘American Guilt’
(Sex & Food, Jagjaguwar)

A belter of a riff welcomed ‘American Guilt’ into the world – marking the first original material from Unknown Mortal Orchestra in two years on release! Wicked guitar parts permeate this big bad boy from Ruban Nielson and co.

The Orielles – ‘Blue Suitcase (Disco Wrist)’
(Silver Dollar Moment, Heavenly Records)

‘Silver Dollar Moment’ – debut album from Halifax trio The Orielles – was one of the most hotly tipped records coming into 2018 and sure enough, it delivered the goods on release. ‘Blue Suitcase (Disco Wrist)’ is the final single from the record, a groove-tastic heavy dose of indie nostalgia. One of their more infectious numbers.

DRINKS – ‘Real Outside’
(Hippo Lite, Drag City)

Anything to do with Cate Le Bon usually manages to worm its way into our mid-year/end-of-year lists. The Welsh dynamo can do no wrong in our eyes. This year saw Le Bon team up with Tim Presley (White Fence) again to release the second record as part of their collaborative project DRINKS. ‘Real Outside’ is typical DRINKS, in that it’s completely off the wall and out there on its own. Quirky, offbeat, typical DRINKS…

Peaks – ‘Heart Swell Intentions’
(Happy Medium)

Absolute lump-in-the-throat stuff from Manchester’s solo-bod Peaks, with a vocal warmth in amongst (at times) delicate guitar work and a killer riff. Loop driven emo pop for life!

Gulfer – ‘Fading’
(Dog Bless, Big Scary Monsters)

Gotta love that heart-string tugging Gulfer vocal! A lovely, sun-soaked new one from Canada’s math-rock heroes, this hits so many spots and sounds super-duper in the process. Hard not to get a bit excited during that impassioned shout of “Whatever it takes to be alive”!

SLUG – ‘Lackadaisical Love’ 
(HiggledyPiggledy, Memphis Industries)

In similar company to Springsteen (‘Dancer in The Dark’) and Messrs Hall and Oates (‘Private Eyes’), the repeated drum track throughout this wunderbar new SLUG track lends a great backing to one of ‘HiggledyPiggledy’’s poppier moments. SLUG (Ian Black) has entered ear-worm territory here!

MOURN – ‘Fun At The Geysers’
(Sorpresa Familia, Captured Tracks)

Bit of a new discovery for us – Spanish quartet MOURN bring out the catchy post-punk-esque ‘Fun At The Geysers’ in just under two minutes, with a stirring vocal that at times sounds a bit like B-52’s! Stonker!

Jo Passed – ‘MDM’
(Their Prime, Sub Pop)

A rad guitar part paves the way for this super-cool slice of gnarliness from Canada’s own Jo Passed. It sounds like something you’ve heard before but completely unique all at the same time. A bit like their debut album ‘Their Prime’, which is all over the shop – in a good way.

Kagoule – ‘Bad Saliva’
(Strange Entertainment, Alcopop!)

We’ve been Kagoule fans for years now, so were stoked to hear of their recent signing to Alcopop Records! First single verdict? Brillo-pads – All the quirkiness that they’ve gifted us with on previous releases, with an infectious sprint through its verses. Their debut record ‘Urth’ remains a favourite in our household, so we’re excited about its follow up ‘Strange Entertainment’!

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Live Review: Father John Misty at The Piece Hall in Halifax 26 May 2018

I had a pinch myself moment this past weekend, when I found myself queuing up for a fish finger butty in a Grade I listed building, whilst the voice of Father John Misty floated over to our location and enraptured us with its splendour. As he dreamily sang “You can call me Nancy”, the air was thick with the smell of frying fish as I danced and twirled my beloved. An absolutely magical moment that capped off a wonderful day of live music, craft beverages and (sadly) a fish finger butty van running out of stock before we could sample the goods.

Halifax was the spot, with the picturesque Grade I listed Piece Hall the star of the show. Arriving at The Piece Hall, the familiar chug of The Fall could be heard playing across the courtyard and a bar selling crafty beers winked at me. It was then that I knew we were off to a good start.

“You’re in for a treat with The Orielles!” said one enthusiastic punter to a friend, eagerly anticipating their imminent arrival. Sure enough, the hometown trio arrived to an enthusiastic response, with all the (cow)bells and whistles.
“Really nice to be back in ‘Fax” commented guitarist Henry after a sun-soaked rendition of opener ‘Old Stuff, New Glass’. “We’ve brought the sunshine from Scotland.”

The Piece Hall Panopticon was bathed in warm afternoon sun, with SPF sceptics everywhere getting blushed in the unexpected rays. ‘Blue Suitcase (Disco Wrist)’ very much did what it said on the tin, with some lovely throwback guitar work throughout, made into a proper mood enhancer from the super bass efforts of Esmé Dee. The whole set was peppered with nostalgic, beer-garden-weather delights, from the joyous ‘48 Percent’ to mega single ‘Let Your Dog Tooth Grow’. It’s on the latter that the three-piece looked particularly chuffed, all sporting huge grins, with drummer Sid bringing up the rear and playing a blinder, hitting so many right spots.

“Fank you very much, ‘Fax, you’ve tret us well” called out Henry just prior to closer ‘Sugar Tastes Like Salt’, the eight minute marathon that accompanied us all the way from front of stage to the front of the queue at the craft beer bar!

So called pioneers of the ‘Shoreditch of the North’ moniker, Hookworms of Halifax took a moment prior to their scintillating set to comment on the absence of Scott Hutchison. Their heartfelt message to the Frightened Rabbit frontman (whose band were due to play on the day) was a touching moment, resulting in a large round of applause from the ever-growing crowd.

With local beers in hand, we ventured further afield within The Piece Hall and so watched Hookworms from afar. ‘Negative Space’ opened proceedings, leading me to have an almost out of body experience I was that engrossed. A truly special cut from their latest record ‘Microshift’ and potentially the best song they’ve ever penned, it delivers a pure euphoric rush at its close. From the same record, ‘Static Resistance’ and ‘Ullswater’ kept things bubbling over in this fashion, the latter sounding phenomenally huge as frontman MJ’s vocals carried out throughout the hall. Unsurprisingly, drummer Jonathan Nash put in a right shift!

Just prior to the arrival of Edwyn Collins, a further tribute was paid to Scott Hutchison from one of the organisers of the event and the man behind the Brudenell Social Club, Nathan Clark. A minute of noise and appreciation for the much loved Frightened Rabbit frontman was genuinely a wonderful thing to behold. Equally wonderful was the entire performance from Scottish icon Edwyn Collins.

Having arrived on stage to a giant ovation and basking in the early evening sun, Collins kicked off on ‘Losing Sleep’ and Orange Juice favourite ‘Falling and Laughing’, described as a nostalgia trip from those post-punk beginnings in the early 80’s. Each song came with a little comment or two from Collins, with miniature backstories in abundance, offering a more intimate feel to the performance.

The real magic came just from being in the presence of Collins, who gave off such a warmth. “I love you too” he said with a chuckle after an appreciative punter called out their admiration for him following ‘The Wheels Of Love’. On the incredible ‘Rip It Up’, two assumed lovers embraced in the crowd in a particularly heart-swelling moment, eyes clenched and completely lost in the moment whilst others around them cut a rug. I personally became incredibly dewy eyed and felt my heart skip a beat when Edwyn took to his feet and enjoyed a wiggling of the hips himself.

“You know what’s coming now…” he said with a smile, preceding that infamous Collins staple ‘A Girl Like You’. Within seconds, I was transported back to the early 90’s and hearing this on the radio for the first time (from the backseat of my Mum’s battered Yugo). I must have had something in my eye again as Collins rose to his feet once more, raising his cane high to the audience and taking it all in. The ripping guitar solo took over and accompanied him off stage, closing a touching, memorable performance from a proper comeback kid. Unforgettable.

Back then to that fish finger butty van and the fully suited and booted band, along with Father John Misty, gracing The Piece Hall with the tantalising ‘Chateau Lobby #4 (in C for Two Virgins)’.
“It’s a beautiful night” called out Misty, looking exquisite in that suit he’s seemingly been wearing since taking on the Father John moniker. He suggested that two songs in feels the appropriate spot for 15 minutes of banter – A one man show about discovering the blues. He wasn’t wrong about the evening too, with his spot on the bill just as the sun set being a masterstroke by the organisers.

Prior to its release, Misty had graced the world with a number of singles from his new record ‘God’s Favorite Customer‘, a number of which were peppered throughout the evening. The ludicrously catchy ‘Mr Tillman’ was hypnotic, with Misty bathed in purple lighting as he sang of a particularly troublesome hotel stay. Delicate ivory tinkling made way for a ripper of a whistle solo at its close. The heart-breaking ‘Just Dumb Enough To Try’ felt incredibly powerful, emphatically laboured over by Misty throughout.

Elsewhere, crowd favourites ‘Bored In The USA’ and ‘Hollywood Forever Cemetery Sings’ sounded incredibly rich, the former backed up by a heavenly orchestral troupe and the latter with every word sung back by the crowd. From last year’s ‘Pure Comedy’, the triumphant sound of ‘Total Entertainment Forever’ had the crowd erupt as Misty went full-pelt, giving it both barrels.

It was the stripped back title track from ‘Pure Comedy’ that really tugged on the heart-strings, however, as Father John paced the stage, poking his head in wonderment and pushing on the theatrics throughout its rousing length.

With the moon shining bright and hearts fit to burst, Father John pushed the plunger and gave us the final hit of the evening, with the dreamlike ‘I Love You, Honeybear’ sending us off into the night in euphoric glee. Thank you, Mr Tillman. 

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Live Review: Baxter Dury at The Lantern in Halifax 5 May 2018

Review from Mark Bowers

There is a lovely buzz about Halifax tonight, which spreads for miles around this thriving town. The much lauded regeneration of local arts, culture (mainly around The Piece Hall), and being part-home to much respected bands Hookworms and The Orielles has led to Halifax’s amusing new moniker ‘Shoreditch of the North’.

The local Wetherspoons and other town bars may be spilling over with gammon-tanned lads, but I’m sat in a bar that’s just a stone’s throw from fantastic new music venue The Lantern. Located just across from the old time music hall (the Victoria Theatre), it just happens to have Florence and the Machine on the bill tonight. Also performing just a few miles away are Goat Girl at the legendary Hebden Trades Club.

As a local and regular gig goer, it’s really quite heart-warming to see the progress locally and the booking of Baxter Dury to play in such a small venue (120 capacity) is an amazing achievement. I’m really curious to see if this will be full band or possibly a cut down and partially sampled performance. As I enter the venue, it becomes very clear that it will indeed be a full performance, with six places all set up and with barely any room left on stage (given the amount of synths and keyboards). Considering this fact, it’s no surprise to hear that the gig has no support act, probably dictated by logistics.

The place fills up considerably nearing the 21:30 start, it becoming apparent that the crowd are a mix of local gig goers with a few, seriously delighted to get tickets, faithful Baxter fans. The band fire straight into the set within seconds of appearing; ‘Isobel’, ‘Trellic’ and ‘Picnic on the Edge’ are older favourites in the first half and help build things up nicely, not sounding overly distant from the newer material on ‘Prince of Tears’.

(Photo Credit: Darren Fearnley)

The swaying and dancing increases, as does the banter from “The Sausage Man”. He alludes to the fact he really is quite enjoying this intimate gig, and references opening for Noel Gallagher (at Manchester Arena yesterday) as “very facccking scaaary”. I must admit, I’ve not seen Baxter live before, but I’m very impressed. Madelaine Hart and Leslie Bourdin add a Stereolab type smoky vocal, a fitting contrast against Baxter’s Sleaford Mods style tirade.

As the thunderous bass kicks in on ‘Porcelain’ (which was definitely my favourite of the night), I observe Baxter and his extremely tight band moving up into a 6th gear, seemingly amused by a smaller and maybe more engaging crowd than previous nights. Taking a back seat completely on this tune, Madelaine Hart dishes out some very dark and sinister Baxter Dury lyrics – in that lovely French pop style:- “You’re just a lonely motherfucker … I don’t give a shit about you”. Baxter either engages with the audience or stares right through them, often wrapping his tie around the microphone stand, appearing like a bored child. He weaves and glides about, but despite his aloof cool, I can tell he’s really enjoying this!

As the set moved to its conclusion, we were treated to some further amusing banter with the crowd as ‘Oi’ culminated with Baxter’s attempt at a Calderdale accent. “Halifaxxx, is that ow you say it?”, and some good humoured “shhhh – stop it” as hecklers (predictably) shouted out “Mr Maserati” and “Urban goose”.

(Photo Credit – Darren Fearnley)

‘Cocaine Man’ had everyone singing along, with the set then ending on the incredible ‘Miami’, an extraordinary replication which again made me realise what an extremely good band he has – recreating multiple layers, often very orchestral and making good use of three keyboard/synth players.

A quick shuffle stage left then back on for a quick encore had them ending on a beautiful recreation of the previous, popular single – ‘Prince of Tears‘. A brilliant night that I was genuinely honoured to witness, as Heavenly Records would say: “Believe in Magic”.

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