Album Review: Blood Red Shoes – Ghosts On Tape

Words: Ben Forrester

In 2019, Brighton formed duo Blood Red Shoes re-emerged from the shadows after a five year gap with an all new electro pop sheen. One of the many things I admire about this band is how they’ve always pushed the boundaries of what a two piece rock act can do. I don’t think anyone could have blamed them however for wanting to try out something new. Though we had a pretty raging fuzz rock EP out last summer, Laura-Mary and Steve head into album six picking up from where they left us on the synth driven sass of predecessor ‘Get Tragic’.

‘Ghosts On Tape’ takes inspiration from true crime podcasts and all things Lynch, as we are taken through a dark, dangerous set of gothic pop. The songwriting is sharp (particularly in the first half), taking some left turns compositionally, from the enveloping menace of opener ‘Comply’ to the Turbowolf synth rock rage of ‘Give Up’ that dissolves into a glacial sway of electronica. In truth they’ve never sounded so fearless; ‘I Am Not You’ is a statement of alt rock defiance, while ‘Morbid Fascination’ boasts a seductive synth pop hook that Gary Numan would be proud to take home as his own.

Admittedly, it’s the first half of the record that seems to retain more staying power on the hook front for me, but it’s still hard not to get caught up in the drama of this thing. I’ve never been one for interludes, but the white noise fuelled segue weaving between tracks really add to the atmosphere that sweeps across the record and sonically it could quite possibly be their most cohesive sounding effort thus far.

To me, it feels like Blood Red Shoes have built a new empire from the foundations set on ‘Get Tragic’. But, as ever, they’ve grown and evolved on what they’ve learnt previously, embracing the grit of it all whilst also not being afraid to etch in finer detail. Overall, there’s a lot to be impressed about on ‘Ghosts On Tape’, as Blood Red Shoes continue to keep their fire burning bright.

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Live Review: Blood Red Shoes at Soup Kitchen in Manchester 30 January 2019

Words: Ben Forrester

Blood Red Shoes have had it pretty tough these past few years. Dealing with personal mishaps as well as having a bucket load of industry bullshit thrown their way, the future wasn’t looking so bright for Laura-Mary and Steven. But by taking the band in a new direction and bringing a new attitude into proceedings, Blood Red Shoes have emerged victorious with their brilliant new LP ‘Get Tragic‘.

Tonight we’re in Soup Kitchen, a slightly smaller venue than the band are used too, but all part of a short UK club tour in support of the album. The sassy, electro tinged stylings of their latest effort definitely fit the dark yet neon lit basement of the Soup Kitchen and naturally, the show is sold out and the room is buzzing.

Joined by members of 2:54 and Tigercub, Blood Red Shoes stroll out as a four piece tonight and kick into massive, riff hungry monster ‘Elijah‘; the epic closer from their new record. Combining their rock routes with a sassy, electro pop sheen, this is a perfect opener and the band seem straight into the show as Laura-Mary falls straight to the floor for her guitar solo. Two more bangers from the new record follow in ‘Bangsar‘ and ‘Howl‘, thrown out and swallowed whole by the crowd, before the band halve into the original two piece and get straight into the hits.

I think we get an 11 track run of solid gold smashes from the bands consistently solid back catalogue. One thing that’s cool to hear is the subtle changes with each record. We have the scrappy indie punk of ‘I Wish I Was Someone Better‘ from their debut, the anthemic grunge pop of albums two and three with tracks like ‘Light It Up‘ and ‘Lost Kids‘ before the beefy riff-rock album of four with ‘An Animal‘. You forget how timeless these records are and some of the choruses barely fit in the room, as the whole of Soup Kitchen mosh and shout along.

With the band expanding once again, the last part of the set brings out the poppier moments from ‘Get Tragic‘, like the groove-pop swagger of ‘Mexican Dress‘. The new material is greeted with such love from the crowd tonight and whilst I know some fans haven’t quite gotten into it yet, it really does sound massive live, bound to change minds whilst out on the road. But generally speaking, there is something for everyone this evening and it’s great to see the band genuinely having fun on stage with songs new and old. The word triumphant has been used a lot to describe Blood Red Shoes’ comeback and I’m pleased to say that this is definitely the case with tonight’s set. Welcome home.

Read our review of ‘Get Tragic’ here!

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Album Release Rundown – A.A. Williams, Blood Red Shoes and The Yacht Club

Words: Ben Forrester

It’s been an unbelievably strong start to 2019 on the new music front and the final week of January does not disappoint. Here is our rundown of the best records released this week – January 25th. These three picks are all released through amazing independent labels that you can find on the web and in selected stores. Please support your local record store or pick up a copy online!

Blood Red Shoes – ‘Get Tragic’ (Jazz Life)

Having spent well over a decade pushing the boundaries of a two-piece rock band, Blood Red Shoes needed a break. On their return, the Brighton formed duo decided to approach the band from a new angle. Their fifth album ‘Get Tragic‘ has all the blueprints that make BRS such a treasured rock act, but this time they’re covered it in an electro-pop sheen. Synth bass seductiveness and sassed out vocals lead the way as the duo bring the groove, ramp up the hooks and sound like they’re having the most fun doing it.

With massive pop bangers like ‘Mexican Dress‘ and ‘Howl‘ bringing a new sense of swagger into their step, glittery electro ballad ‘Find My Own Remorse‘ flips everything you know about this band upside down in a totally stunning way. Self reflection and doubt are weaved into the fabric of ‘Get Tragic‘ and understandably so as this is a story of discovery and reinvention. But ultimately, triumph and defiance win the battle to create a massive FUCK YEAH of a comeback!

The Yacht Club – ‘The Last Words That You Said To Me Have Kept Me Here and Safe’ (Beth Shalom Records)

Following a few well received EP releases, London based quartet The Yacht Club are ready to reveal their debut album. Although this band have always written very honestly and personally, this is an album that deals directly with grieving and dark mental health issues, but with it they inject a lot of fond reflection and hope. The vocal work is brimming with conviction, from finely tuned vocal leads, soaring three part harmonies and of course, the chest-swelling gang vocals that scream out the title of closing track ‘Be Happy and Love‘.

Musically it combines a shed load of twiddly guitars, math style time changes and super strength indie pop sensibilities. Although it reminds me a lot of the current American Emo and Indie Rock crop, there is something very British about The Yacht Club, which is why fans of bands like TTNG and itoldyouiwouldeatyou will be well into this. All in all, this is a well put together debut full of sharp musicianship and heart warming songs.

A.A. Williams – S/T EP (Holy Roar)

A.A. Williams is a brand new artist for 2019. Having released teaser tracks late last year, the London based singer/songwriter is here to unveil her debut release. Opening track ‘Cold‘ sets the tone for the EP, with a bewildering blend of folk and post-rock that sounds like Mogwai jamming to an early Cat Power record. The other tracks follow suit, with haunting yet warming vocal melodies and soaring guitar work that create an atmosphere that is both tense and beautiful.

Although there is a consistency throughout the EP, final track ‘Belong‘ really steals the show. Bringing a huge crescendo of crashing drums, massive guitar sounds soaked in reverb and of course these really affecting vocal harmonies, this is definitely the sound of an artist with a fully realised sound. This is an extremely accomplished debut and will act as the most perfect winter soundtrack.

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