Release Rundown – Belle and Sebastian, Billy Nomates and Rozi Plain

Words: Ben Forrester

Belle and Sebastian – Late Developers
(Matador)

What a New Years treat, eh? Scottish treasures Belle and Sebastian explode into 2023 with the surprise release of their 10th studio album. It was only in May of last year that we got ‘A Bit Of Previous’, but it turns out the band had recorded two records at the same time and kept it schtum until now. And it’s not even a digital only release, the physical editions of the album will be out this week too! A treat indeed. I mean, any new release from this indie institution is worth getting excited about, but it’s especially worth getting excited this time round as this may well be my favourite Belle and Sebastian release in a decade!

Much like its predecessor, ‘Late Developers’ is an eclectic set that keeps up the band’s ever winning indie-pop formula, whilst building on some areas we don’t always hear from them. But whereas ‘A Bit Of Previous’ fell on middle-ground at times, this is all killer no filler! ‘Juliet Naked’ opens up as a jaunty acoustically driven number that has a mod-like swagger, vocally coming with an almost early Weller like delivery. Even though ‘Give A Little Time’ follows next with that classic B&S indie-pop vibe, there’s a pep in Sarah Martin’s vocals, complimented by sing-a-along guitar riffage that sounds like a band rejuvenated. It’s strange to think that this record was made around the same as their last record and this feels way more switched on and fuller compositionally.

It’s got everything really, from the head bobbing vintage rock sway of ’So In The Moment’ to the almost Eurovision flamboyance of ‘I Don’t Know What You See In Me’ – this covers a lot of ground dynamically. But its eclectic nature works well due to the strength of the songwriting. Whereas its predecessor had its highlights, this time it’s hard to pinpoint a favourite moment. Although its little darts off into different territory are brilliant, when they lock into that well-loved B&S soul pop sound, it’s so timeless – tracks like ’The Evening Star’ and ‘When We Were Very Young’ already feel like classics. As you can tell, I am very impressed with this record and although I think Belle and Sebastian have always been a very consistent band, ‘Late Developers’ feels like a power up moment.

Billy Nomates – CACTI
(Invada)

With a social media buzz surrounding the release of her debut album, Bristol based songwriter Billy Nomates (real name Tor Maries) seemed to light up the UK underground in 2020 with a powerful blend of punk, indie-rock and synth-pop. It was Tor’s abundant talent that struck me instantly on my first proper run through of the album, which is a masterclass in snappy songwriting and catchy as you like hooks.

I was extremely pleased then to hear new track ‘Blue Bones (Deathwish)’ earlier last year, slowly ushering in this second album from Billy Nomates. Starting the record at home armed with a plethora of guitars, drum machines and keyboards, Tor ended up at record label Invada’s own studios and was let loose on cupboards of vintage equipment to add the album’s final flourishes.

When discussing the album’s lyrical themes, Tor was quoted in saying “70-80% of being bold is about being vulnerable as hell.” This is such an accurate feeling when listening to ‘CACTI’. Although it’s clear that these are songs about heartache, anxiety and desire, there’s a power within Tor’s vocals which feels healing. I read a tweet from a fan recently that said it was her voice that made them feel strong, which I wholeheartedly agree with – there is such a conviction in her delivery, which is impossible to not be engulfed by.

I found that the punky, spoken-word snarl of the debut has been replaced with much more soulful, harmony soaked vocals, which I think really helps hammer home just how massive these hooks get. Recent single ‘Spite’ blends crunchy guitars and shimmering synths to create a new-wave banger that has a chorus that will not leave my head. Every track brings in a vocal line that demands to be sung along to – I found myself singing along to ‘Black Curtains In The Bag’ and ‘Vertigo’ on first listen! That’s the level of instancy we’re dealing with here.

The more I delve into ‘CACTI’, the more I find it amazing how such an instant sounding indie-pop record can deliver so much sonic and lyrical depth. I mean, it’s a testament to Billy Nomates’ talent as a songwriter, producer and musician that this can hit on so many textural levels; if you want some belt-them-out choruses then there’s plenty of them, but if you want a deeper dive into the mind of this album’s creator, it’s all there to absorb. Getting the balance right is not easy to do, but everything on ‘CACTI‘ achieves that with ease. A thoughtful pop record packed with shimmering hits, Billy Nomates is the real fucking deal.

Rozi Plain – Prize
(Memphis Industries)

It was back in the care-free Covid days of 2019 that I was first introduced to the music of Winchester based musician Rozi Plain, around the time of her fourth album ‘What A Boost’. Its gentle yet vibrant grooves and distinct melodies made an instant impact on me and I immediately felt warm and comfy in that album’s presence. With Rozi dividing her time playing in other bands, she has taken her time to craft her fifth album, spending the last two years gathering material, recording at studios in France and London, with additional sessions stretching across home spaces in London, Bristol and Glasgow. For quite a sparse, laid-back record, you really get a sense of wonderment and beauty that can only come from going out and experiencing different places and spaces.

‘Agreeing For Two’ is such an effortlessly stunning opener. Rozi’s plucked, staccato guitar playing is instantly recognisable from the get go and then you get this quietly complex rhythm section coming in that compliments it perfectly. Even before we get to the vocals, the sound of Rozi and her band is distinct and you feel warmly welcomed back by a friend. It’s that similar palette that forms the rest of the album, but it’s subtle, additional instrumentation cropping up across the track-list that creates this really elegant flow to the record, everything beautifully bending together.

Sonically, this is such a gorgeous record to inhabit, it’s detailed but without clutter; vintage synths and other ethereal textures often float above Rozi and her band’s slick groove (‘Conversation’ and ‘Painted The Room’ being prime examples of this).

The grace of ‘Prize’ washes over you on each listen, its sumptuously layered production hugging your ears whilst its ear-worm hooks reveal themselves every time. It’s the balance between these quietly complex arrangements and the jazz-like looseness of the performances that really draws you in, ultimately offering a sense of togetherness that you can’t help but immerse yourself in. With ‘Prize’, Rozi Plain has handed in her most refined set to date, one that will provide a perfectly poised soundtrack to January, leaving you soothed and refreshed for the rest of 2023.

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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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Release Rundown – John Grant, Lucy Dacus, Kid Kin, Lucy Gooch and Outlander

Words: Ben Forrester (Photo credit: Ebru Yildiz)

It’s that time again for our release rundown for the week, reviewing some brand new records ready for your aural consumption. As always, we gently remind you that these releases are available to buy on the artist’s web stores as well as online at your favourite record shop (and back in store! Woo!) Pick up if you can.

John Grant – Boy From Michigan
(Bella Union)

The popularity of Michigan born songwriter John Grant is one that has grown and grown over his first decade as a solo artist. Now on his fifth album, John follows up the flamboyant electro pop stylings of 2018’s ‘Love Is Magic‘ with a sci-fi blockbuster. ‘Boy From Michigan‘ keeps up with his electro sass stomp, but brings in gradual arrangements that float across this 70+ minute epic. Opening with its title track, you are tossed into a parallel musical universe that treads through John Carpenter’s synth collection, Flying Lotus‘ cosmic sense of groove before launching into the kind of spaced out chorus you’d find on the latest Beck record.

There’s a whole heap of otherworldly atmosphere that seeps through the production, this time round handled by BCFB fave Cate Le Bon. Cate does an excellent job of helping John navigate his way around this classic electro sound (I’m talking everything from plucky Sparks-esque pop to industrious Nine Inch Nails moodiness), while the lyrical notions behind the record find him perhaps at his most personal and autobiographical. The mix of these upfront, to the point tales with slow baked and spaced out instrumentation work really well, especially when it hits hard on tracks like ‘Mike and Julie‘.

I’m often reminded of the recent BC Camplight record, which I played a lot last year, as both manage to inject some bombast against otherwise bleak lyrical topics. There are many shades buried beneath this record and for every progressive space rock ballad there’s usually an odd-ball pop tune waiting in the wings, the new wave punk stylings of ‘Rhetorical Figure‘ being a highlight.

‘Boy From Michigan‘ is still an album I’m trying to unravel and though its lengthy run time and drawn out tracks may seem a little off putting at first, this is an album that requires patience. But with it you are rewarded by an album that goes in depth – sonically, musically and lyrically – into the darkest depths of this one of a kind songwriting talent.

Lucy Dacus – Home Video
(Matador)

In the same year she released her critically acclaimed second album ‘Historian’, singer/songwriter Lucy Dacus linked up with fellow breakout stars Phoebe Bridgers and Julien Baker to form the incredible Boygenius. Although Lucy was an established artist to many already, this collaborative project really helped spread her name far and wide and finally onto the radar of this writer. As the title suggests, her third album ‘Home Video’ is a look back to her past, as we dive deep into memories of friendships, relationships and landmarks within Lucy’s adolescence.

What strikes me with this album is the immediacy of Lucy’s storytelling. Armed with a passionate delivery and loads of well formed rhyming couplets, I am suckered straight into the narrative themes that run the course of the LP. ‘Thumbs’ may be one of the album’s more hushed moments musically, but lyrically it’s soaked in emotion, as it details Lucy going along with a friend to meet her absent father. Vocally, this isn’t belted out, there is instead a very poised feeling of emotion that runs heavy, the chorus leading to the quietly menacing lyric of “I would kill him if you let me, I would kill him quick and easy”.

There are many moments like this that catch me off-guard. In total contrast, the track ‘VBS’ features a moment where Lucy talks about playing Slayer really loud, which is then followed by a total blast of fuzzy guitars. It genuinely made me shout YESSS when I first heard it! There’s also a really lovely candid moment at the end of ‘Going Going Gone’ where you can hear control room gratitude from Lucy and her group of backing singers that lead this country-tinged ballad. ‘Home Video’ is full of little twists like this that really elevate the overall album listening experience and everything feels well-binded together.

There’s been a slew of singer/songwriter records out recently, including the two other members in Lucy‘s band, but I honestly feel that this is one of its most sincere. In this past year of reflection, I’m sure many of us have thought about where we’re from and what it means to us and for ‘Home Video‘ to do that with such charm, grace, wit and emotion puts Lucy Dacus at the peak of her powers.

Kid Kin – Discompose
(Self Released)

Over the course of the last few months, Oxford based musician and producer Peter Lloyd has been teasing his latest EP under the Kid Kin moniker, with two excellent singles. Still blending lo-fi eletronica with a post-rock majesty (expertly delivered on opener ‘Under A Cloud Of Fret‘), it was the track ‘Control‘ that saw Peter work with vocalist The Bobo to add a new texture to his otherwise instrumentally driven sound. Wrapped in a glossy electro pop pulse, the vocals lift the track to new levels of dreaminess, bringing to mind the likes of Chvrches and M83 at the top of their respective games.

There’s a strong feeling of evolution that sweeps across the four tracks here that sees Kid Kin at its most breathtakingly beautiful, especially on the gorgeous orchestral breaks on centrepiece ‘Heron Sky‘. Sonically, this is the project at its most considered, with even more detail in the beats and overall arrangements.

The post rock sparkle is still present but there’s a much stronger electronica driven force that propels the Kid Kin sound into a whole new realm of euphoria. ‘Discompose‘ has the right levels of grace and ambition to be Kid Kin’s finest release to date.

Lucy Gooch – Rain’s Break
(Fire)

The second Lucy to feature in the rundown this week, this Bristol based musician presents her first release for the fantastic Fire Records. Following the release of her debut EP last year, Lucy Gooch has become a name to keep an eye on, thanks to her ethereal dream pop blend. ‘Rain’s Break‘ continues down this path, weaving sumptuous waves of synths in and out of choral vocal melodies.

Her voice feels very much a part of the soundscapes as she layers harmonies over the top of these dreamy electronica passages. I know the word ‘dream; is cropping up a lot, and these songs do feel like they were conceived in that subconscious state between dusk and dawn, often meditative but also looking for new spaces to push into.

Amidst the bewildering soundscapes that consume tracks like ‘It Brings Me Back To You‘ and ‘6AM‘, you always feel like you’re building towards something. I love how Lucy has found so much space to live inside in these arrangements, but still fills it with an ear worm vocal melody or a memorable synth line. I think ambient pop would be an accurate description for this EP as it seems like a perfect marriage of glacial textures and reverb soaked atmosphere, with captivating vocal hooks that are happy to swim freely around your head.

There’s a lot of detail that has gone into both the writing and production of this EP and with arrangements this spellbinding, I have a strong feeling that the evolution of Lucy Gooch is going to be one worth watching out for.

Outlander – Sundowning / Unconditional
(Church Road)

We’ve been keeping an eye on this lot since we featured their debut release in these very pages back in 2016. In the five years that have followed that release, this Birmingham based outfit have continued to push forward with their slow-core brand of shoegaze, including the release of their debut LP ‘The Valium Machine‘ in 2019. Now signed to our faves at Church Road Records, Outlander come out of their lockdown haze with a new two track EP. A double A single this is not, as the quartet clock in 17 minutes of alt rock wonderment.

‘Sundowning‘ bursts in your ears with an urgent splash of sound with dreamy guitar chords floating on top of a fairly urgent sounding rhythm section. Hazy, distant vocals come in and we are very much back into that grunge-gaze sound I was obsessed with a few years back. It sounds so fresh though – combining softness with heft isn’t used so much these days, but Outlander have the knack of bringing you right into the heart of the melody whilst still crushing everything around you.

‘Unconditional‘ takes you even deeper into their beautiful sludge pit, bringing the tempo right down but not compromising on intensity and atmosphere. This is definitely a moment for the post metal heads. It’s a pretty taught ten minutes but the power and togetherness of the band really makes a totally enthralling piece to complete this brief but exhilarating release. Bold strides from a band that deserve more attention.

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Release Rundown – Architects, A Winged Victory For The Sullen, Blanck Mass, Cloud Nothings and Julien Baker

Words: Ben Forrester
(Photo Credit: Alysse Gafkjen)

It’s that time again for our release rundown for the week, reviewing some brand new records ready for your aural consumption. February has not only brought us a bit of optimism but also a bunch of ace records and it’s definitely saved the best till last! As always, we gently remind you that these releases are available to buy on the artists web stores as well as online at your favourite record shop. Pick up if you can.

Architects – For Those That Wish To Exist
(Epitaph)

Almost a decade ago, Brighton based outfit Architects released fourth album ‘The Here and Now’. Moving away from the tech infused metal-core of earlier material, the band pushed through with a more melodically focussed, post-hardcore inspired set which naturally divided fans. Personally, I dug it. The band have since spent the last 10 years building on the metal-core sound that made them, always moving forward both sonically and melodically. As much as I’ve enjoyed their recent output, I’ve been holding out for them to go against the grain once again. With 2018’s ‘Holy Hell’ acting as a fitting tribute to late guitarist and chief songwriter Tom Searle, his twin brother and drummer Dan Searle felt it was time to push Architects into a new phase.

‘For Those That Wish To Exist’ is almost an hour in length, consisting of 15 tracks – a blockbusting effort make no mistake. The first thing I got when I heard this record is that it still sounds like Architects, but it’s how they’ve approached the record that feels fresh. It’s still heavy, full of big chugs and beat downs, but this time it’s all about impact. Guitarist Josh Middleton had said that sometimes writing a simple, catchy riff can be a challenge but it’s one he has buoyantly accepted and very much achieved; recent single ‘Black Lungs’ being a frontrunner in serving up a chonky riff to get wedged in your noodle.

Probably the biggest impact this record has though is the vocal work of Sam Carter. Undoubtedly one of the finest in his field, Sam takes his vocal to the next level, hell, to the next several levels throughout the album, delivering big hitting chorus after big hitting chorus. We’ve already been belting out the hook on ‘Animals’ for months but ‘Giving Blood’, ‘Discourse is Dead’ and ‘An Ordinary Extinction’ are here to give it a run for its money, Sam giving it both barrels every time. And I mean, that’s just a few of the highlights, this thing is fully loaded with alt metal belters.

They even find the time to bring in a few (massive) guest slots that escalates things further. Winston McCall (Parkway Drive) and Simon Neil (Biffy Clyro) both bring ferocious, feral vocal work into the earth shattering tracks ‘Impermanence’ and ‘Goliath‘ respectively, while Mike Kerr (Royal Blood) adds in some sass to electro-rock monster ‘Little Wonder’. Even still, there is still room to go even further.

‘Flight Without Feathers’ is an exploration into the expansive, electronica textures that have felt very much like undertones in previous material, while ‘Dying Is Absolutely Safe’ offers something completely new. Closing on an acoustically driven ballad feels very apt for an album that just continues to pull out all the stops. Swelling into a crescendo of strings, brass and choirs is such a breath taking end, ramping up the level of ambition that runs right across the LP. Simply put, ‘For Those That Wish To Exist’ is a HUGE sounding metal record and is the level up we’ve all been waiting for.

A Winged Victory For The Sullen – Invisible Cities
(Artificial Pinearch Manufacturing)

This year will mark the tenth anniversary since composers Adam Wiltzie and Dustin O’Halloran released their debut album as neoclassical super group A Winged Victory For The Sullen. The duo have since toured the world in various set ups of the project while releasing a series of game changing records within the ambient/neo-classic scene. 2019’s ‘The Undivided Five’ LP was one of my most listened to records of the year and I was very lucky to see the project perform in Manchester in support of the record at the start of last year. So, it is most definitely an exciting prospect to already be receiving new music from A Winged Victory For The Sullen. Their sixth release is a re-edited version of their soundtrack to the critically acclaimed theatre production of the same name, which premiered at Manchester International Festival in 2019.

Initially a 90-minute piece that soundtracked a multimedia piece fusing theatre, music, dance, architectural design and visuals, the duo have transformed it into a succinct 45-minute album that moves through many emotive and textual shapes. Although this is beautifully steeped in the rich, orchestral swirls they are known for, there is most definitely a narrative that runs through the record that brings a new level of theatrics into their sound. Amongst warm washes of synths and strings, post-rock style guitars are cranked through a wall of reverb, electronics are manipulated to sound like ear splitting interference and the ethereal voices of a choir hauntingly surround lilting pianos and synth throbs.

I feel like this is a record that needs to be ingested as a whole and though it’s split into tracks, melodic themes recur throughout the piece as it all breathes together as one living organism. It’s really exciting to hear A Winged Victory For The Sullen take on such a mammoth project. They have certainly put their own stamp on the story but this is still probably some of the most ambitious work they’ve done; when these soundscapes reach their crescendos, it can be almost overwhelmingly transcendent. ‘Invisible Cities’ is an enthralling piece of sonic theatre from the masters of their craft.

Blanck Mass – In Ferneaux
(Sacred Bones)

It’s been quite something to see Benjamin John Power twist and bend his Blanck Mass project into many different shapes over the years. Across four full lengths, the producer has gone from noise fuelled soundscapes to full on electro, with smatterings of k-pop, black metal and techno. It’s been quite the journey but as always, Blanck Mass is ever ready to take things to the next level. His fifth LP ‘In Ferneaux’ is split into two phases consisting of around 20 minutes a piece, comprising an arsenal of field recordings taken across Benjamin’s many years of touring.

Created in the midst of lockdown last year, this is the deepest and darkest this project has gone as we move through distorted samples, stretched out conversations and bursts of the intense electronica he is known for. Having found myself submersed in a lot of ambient, drone and noise music recently I find this an extremely enticing release. This is not to say I found it an easy listen, but that’s its point, this is an album that comes from deep seated feelings of grief and isolation. For this, it is completely cathartic.

Although both phases hit you with a plethora of different sounds, I found ‘Phase I’ to be quite a dynamic piece that can go from industrial beat stomps to droned out noise in the blink of an eye. ‘Phase II’ is a bit more fluid in its approach, slowly building into hard hitting distorted moments to gradually simmer back down into glistening synths and airier textures.

I’ve always thought that Blanck Mass was an incredibly forward thinking project but Benjamin has really out done himself on ‘In Ferneaux’. This is a fully absorbing and all-consuming piece that encapsulates everything this project has done whilst going further than before in both its light and shade. This is definitely not for the faint hearted and requires much patience, but with that patience comes great reward and there is no doubting what an astounding piece of work this is.

Cloud Nothings – The Shadow I Remember
(Carpark)

‘The Shadow I Remember’ sees the alt rock quartet Cloud Nothings head back to Chicago where they laid down their first record together, re-enlisting the help of everyone’s favourite engineer Steve Albini. It’s this feeling of going back to where this project grew from the solo bedroom project of guitarist/vocalist Dylan that really does breathe an air of new energy into the band. Not that it really needed it as 2018’s ‘Last Building Burning’ was a full pelt rock record that had me exhausted by the first track alone. Still loud, fast and swimming in compassion, this definitely focusses on bringing the hooks front and centre and on first listen I found myself singing along to almost every chorus by the track’s end.

Dylan had said that he wanted to get out of the character he felt he’d become when writing lyrics and start to write on a more personal level. Lyrically, I think this is a triumphantly heart on sleeve record that felt relevant to me on quite a surreal level when I first heard it. The chorus on ‘Oslo’ asks “Am I older now or am I just another age? Am I at the end or will there be another change?” and with that line alone I am floored. It’s how Dylan takes these bigger, often melancholic questions and turns them around into something hopeful that is really special.

‘Nothing Without You’ and ‘Only Light’ are heart racing punk rock love songs, the latter proclaiming “I can hardly wait to be the one you need tonight”. There’s a strong feeling of wanting to feel needed throughout the record, (‘Am I Something’ even asks directly “Does anybody living out there really need me?”) but this is always counteracted with finding that hope that is just so joyous when it kicks in.

The fact these lyrical notions are backed by a band that never misses a beat really brings home the sincerity and passion this record exudes. I’ve always liked Cloud Nothings, I think they’re a solid, consistent unit but they’ve really struck a chord with me this time round. The lyrics are so poignant and a lot of what Dylan wrestles with throughout this record l hope will resonate with many at this time. ‘The Shadow I Remember’ pushes forward into being their snappiest, catchiest and most genuine record so far.

Julien Baker – Little Oblivions
(Matador)

I remember hearing the track ‘Tokyo’ by Julien Baker late in 2019 and it blew me away. It had the same heart-aching intimacy that we’re used to but with a push into bigger, bolder production, getting us excited for the anticipated third LP from the singer/songwriter. The wait has been a little bit longer than expected, with Julien since forming new band Boygenius with Phoebe Bridgers and Lucy Dacus, as well as going back to college to complete a degree. ‘Little Oblivions’ is here now though and sees Julien moving away from the stripped back frailty of her previous albums in favour of something that manages to be full bodied in both sound and delivery.

Her voice is still definitely the focus point with ever impassioned lyrics, but now featuring more instrumentation and extra sheen in the production department, the songs lifted into almost FM rock territory. I mean this in a good way of course; opening track ‘Hardline’ is a blockbusting piece of indie pop, full of heart swelling builds, while ‘Relative Fiction’ has the same tear-jerking beauty that could well be lifted off Death Cab For Cutie’s ‘Transatlanticism’ LP. Even some of the slightly more understated moments are given a little life with this extra layer of studio gloss; the hazy alt rock stomp of ‘Heatwave’ being a highlight.

I’ll admit, I do wish that some of these songs would go bigger and really let the production soar, but I guess it’s not time for that just yet. After all, this is an artist that has handed in two pretty raw acoustic records, so I think in comparison this is a fair shift in sound for Julien. But with a voice that is so versatile, I think many of us were ready to hear the songwriter expand her horizons a little more musically which I think ‘Little Oblivions’ achieves. If you are a fan of that whole emo inflected indie rock like Phoebe Bridgers, Manchester Orchestra and the aforementioned Death Cab, this is sure to grab you by the hand. But ultimately this serves as a firm nudge into a broader sonic palette and whilst still being lyrically open and honest, Julien Baker keeps it real on this well crafted indie rock set.

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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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Dick Straightener Of The Week: Fucked Up – The Other Shoe

This always gets an outing when the sun is shining (much like last week’s ‘False Jesii Part 2′), even though it has been pointed out to me the repeated “Dying On The Inside” isn’t the most joyous and sunny of statements… Regardless, there’s just something about ‘The Other Shoe’ that evokes such joy, lighting a fire within this young man – five minutes of brutal beauty.

Taken from the 2011 Fucked Up LP ‘David Comes To Life’, it was their first charting album over there in the States and one that was shortlisted for the 2012 Polaris Music Prize in Canada (an honour they’d previously received in 2009!)

If that build up to the chorus doesn’t make your spine-tingle, brother – check your pulse!

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