Geese - Projector
The avant-garde, prog-punk revolution continues apace.
The UK are spoilt for choice when it comes to acts who aren’t confined by traditional song structures; Black Country, New Road, black midi and, to a lesser extent, Squid are just a handful of young musicians who have risen to prominence over the last few years who fuse freeform jazz, post-punk, prog and art to create pieces of music that can better be described as movements rather than songs.
Whether or not they deserve the success very much depends on how one feels about the approach.
In the larger terrain that is the United States there haven’t been many bands that have made headway in the UK, but all that may be about to change.
Geese, a group of Brooklyn teenagers, have been snapped up by Partisan (home to IDLES and Fontaines D.C.), and this debut album was mixed by Speedy Underground stalwart Dan Carey. With such patronage behind them, big things are expected.
https://www.live4ever.uk.com/2021/11/album-review-geese-projector/
Paul Weller - Days Of Speed/Illumination
Cast your mind back, dear reader, to the British music scene of 20 years ago.
The Britpop bubble had well and truly burst, and maudlin music set to acoustic guitars was the order of the day. Travis and Coldplay were kings of the castle, with the likes of Starsailor and Turin Brakes clawing for their crowns, while The Strokes and The White Stripes had kicked open the door for a new generation of American groups to break hearts and blow minds.
While the Britpop generation were either hiding behind cartoons (Albarn), counting the cost of excess (the Gallagher brothers) or on their last legs (Pulp, Suede, et al), the so-called Godfather Of Britpop, who had seen it all before, was at yet another crossroads.
The 1990s had largely been kind to Paul Weller, with deference paid by the younger generation to the ‘elder statesman’ (in his 30s for most of the decade) alongside a trio of well-received albums.
Yet 2000’s Heliocentric came and went with little fanfare or praise (not a bad album – Paul Weller is incapable of that – but certainly not his best), and was the last of his deal with Island. Once again finding himself without a record contract, Weller took the opportunity to take stock of his career to-date.
And like most music obsessives, his way of taking stock was by touring; in the spring of 2001 Weller toured Europe armed only with his acoustic guitar, the results of which made up his second live album, Days Of Speed.
https://www.live4ever.uk.com/2021/11/review-paul-weller-vinyl-reissues/
Wïlderman - Never Ready
With such a strong musical heritage (son of Carleen Anderson and grandson of James Brown’s right-hand man, Bobby Byrd), it should come as no surprise that Wïlderman’s output oozes class. But ‘Never Ready’ doesn’t find Bobby Anderson (for it is he) relying on any favours.
It announces itself immediately with a marauding, fuzz-soaked riff which both intrigues and batters the ears. You’re not sure listening to the end is going to be good for you, but your mischievous side can’t help itself. From the second verse on, Wïlderman wails and emotionally implores the subject of the song. ‘You keep it righteous,’ he says, advice he himself follows before disappearing as abruptly as he arrived. Two minutes and ten seconds of mighty magnificence and one of the most compelling songs of the year.
Never Ready is released digitally on 19th November through Colorama Records
Kasabian - Live at the o2 Academy, Bristol - 31st October 2021
It’s been quite the time to be a Kasabian fan.
As well as releasing their first new music in four years last week (the rampaging ‘ALYGATYR’), former frontman Tom Meighan also released his first solo effort, a solemn ballad entitled ‘Would You Mind?’, the lyrical content of which is surely aimed at his old friends.
All the while a lengthy, month-long tour continues.
Channelling the same communal, hands-in-the-air spirit as their forebears Oasis, Kasabian have their detractors, but their electro-rock music has always been more interesting than their reputation dictates. The subtraction of Tom Meighan, asked to leave the band last year, means that this tour is certainly one of the more intriguing of the year.
Or it would have been, had the transition to Mark II not been so seamless; Serge Pizzorno has long been the sole mastermind behind their music, ever since the departure of Chris Karloff back in 2005 and, over the years, became more and more prominent both onstage and off.
Arguably, over the last decade they had co-frontmen, but no more. This is unquestionably The Serge Show now, best exemplified tonight by the rest of the band wearing all black to contrast his colourful jacket and white t-shirt.
Along with those years of gradual dominance, his first solo album (under the name The S.L.P.) and accompanying shows in 2019 have clearly given Pizzorno the confidence to step from stage left to front and centre, but he’s made the move appear effortless.
https://www.live4ever.uk.com/2021/11/live-review-kasabian-bristol/
Parquet Courts - Sympathy For Life
Over the course of their ten-year, six album career, Parquet Courts have largely been purveyors of New York garage/indie/punk/art/dance (delete as appropriate) rock, to varying levels of acclaim.
As other staples of those genres have found, the boundaries can only be pushed so far before a complete divergence away. In addition, their last album – 2018’s Wide Awake – saw them achieve a level of acclaim and respect which had been well-earned and therefore foolish to sacrifice.
But trotting out the same thing album after album is surely as boring for the artist as it is for the listener (unless you’re an Adele/Ed Sheeran/Coldplay fan of course), so on Sympathy For Life, Parquet Courts have opted to showcase their ‘dancier’ aspects. Co-frontman Austin Brown confirmed as much recently: ‘The clubs are open again. It’s time to get back to dancing.’
Kudos for developing their sound, and indeed there are many new sounds and vibes contained within Sympathy For Life, but the problem is that it isn’t very…danceable. It’s a curious album that doesn’t quite know on which side of the fence it sits, with the sequencing reflecting that. Often a more experimental track (i.e. one driven by electronica rather than guitars) is followed by something much more recognisable.
https://www.live4ever.uk.com/2021/10/review-parquet-courts-sympathy-life/
Hayden Thorpe - Moondust For My Diamond
Wild Beasts went about things the ‘right’ way, gradually building up a following with successively better (chart-performing, at least) albums and then, following in the footsteps of The Maccabees, announcing their disbandment at the peak of their career.
Both Tom Fleming and Hayden Thorpe have released solo compositions since, and between the pair of them have siphoned off elements of the band that work for them.
Yet neither could be accused of regurgitating their former band’s sound (relatively eclectic in itself) and indeed, on Thorpe’s second solo album he pushes his personal envelope even further.
While his debut Diviner was defined by austere fragility, Moondust For My Diamond finds Thorpe moving into more electronic directions, but rather than an immediate foray onto the dancefloor, it’s all about soothing balms and humanising the machine where possible.
‘It is interesting to note that perhaps with the Arab spring, the change in music and analogue modes of receiving information, it might be possible that the internet will bring in a new era in the ideas of spirituality, that is digital mysticism,’ Thorpe declared recently, which gives an insight into his headspace and works well as modus operandi for the album.
https://www.live4ever.uk.com/2021/10/review-hayden-thorpe-moondust/
Fontaines D.C. - Live at the o2 Academy, Bristol - 13th October 2021
While all live music was eagerly anticipated during those long winter months, some tours were more so than others.
Fontaines D.C. were riding the crest of a wave in early 2020 with a well-received first album and live shows going down a storm, and with a fine second album in their back pocket, the time was theirs. Undeterred by the pandemic, they released A Hero’s Death in mid-2020 and sat back while further accolades were thrown their way.
Rather than stifling their momentum, the long wait to see the songs performed live has surely worked in their favour. The tour has seemingly been a roaring success, and the atmosphere and excitement before they take to the stage is electric at a very busy Academy.
The band know it too, and they throw flowers into the audience to sate the baying crowd for a few brief seconds before opening with the second album’s title-track, a lockdown anthem itself. The hook ‘life ain’t always empty’, so defining and hopeful in the darkness of spring 2020, is finally laid to rest as it’s belted out by Grian Chatten and the crowd while his colleagues supply the doo-wop backing vocals.
https://www.live4ever.uk.com/2021/10/review-fontaines-dc-bristol/
The Lounge Society - Live at Crofters Rights, Bristol -12th October
‘Our lyrics are a call-to-arms for people who share our dismay at the dismal future being carved out for people like us.’
So said The Lounge Society recently, and if that statement alone doesn’t get you on board with them then you’re on the wrong website.
Part of the burgeoning Hebden Bridge music scene, The Lounge Society (winners Live4ever’s track of 2020) demonstrably have a wealth of potential which has, thus far, been constrained.
On record, their blend of angular-but-hefty, danceable-but-serious offerings has shown great promise, even if the frustration on the parts of both the band and the listener has been palpable.
Finally they are able to tour and unleash their frustration and rage to like-minded souls around the country. Unlike seemingly all other gigs right now (we’re as relieved as you to be here, but your happiness isn’t unique so say something new, please), the quartet don’t gush, they just get down to business.
https://www.live4ever.uk.com/2021/10/review-the-lounge-society-bristol/
The Lathums - Live at the Trinity Centre, Bristol - 10th October 2021
The latest to wear the crown of ‘saviours of guitar music’, The Lathums can make their case better than most.
Long touted for great things, when their debut album How Beautiful Life Can Be hit the top spot on the UK chart recently it was a surprise to all but those who were paying attention.
To be clear, they have an advantage in major label backing, who weren’t above pulling a few stunts; releasing one version of the album on the Friday, and then a deluxe version three days later undoubtedly helped, as did an appearance on BBC Breakfast.
However, no matter how calculated or strategic an album campaign is, it can’t control the reaction the art receives. Judging by the reaction in Bristol (hardly a hotbed of traditional ‘indie’ music) on a Sunday night, no less, it’s little wonder they are clearly having the time of their lives.
It’s a shrewd playlist over the PA in the half-hour before they take to the stage; The La’s, The Jam, The Smiths (obviously) and Arctic Monkeys all warm the crowd’s vocal cords nicely, and are all bands The Lathums are attempting to emulate.
https://www.live4ever.uk.com/2021/10/review-the-lathums-bristol-trinity/
Tiny Dyno - Still
True talent lies in making the new seem familiar.
While knowing it’s impossible, you’ll feel like you’ve heard ‘Still’ by Tiny Dyno before. It may be the gorgeous, angelic harmonies. It may be the simple but succinct melody line. It may be the evocative guitar solo, or it might be the overall air of swooning heartbreak. Either way, before you’ve had a chance to draw breath the song has embedded itself into your psyche, so much so that you’ll be singing along before the end of your first listen.
An immaculate slice of guitar pop that may seem effortless, so light that it is, but is the result of perfecting and honing from the talented duo. Hard and work and talent should always go hand in hand, and when it works as effectively as it does here, one’s life is enriched.
Still is released digitally everywhere on Friday 12th November 2021 through Colorama Records, the brainchild of Andy Crofts (The Moons, Paul Weller).
Maximo Park - Live at the Trinity Centre, Bristol - 7th October 2021
While not yet at the ‘elder states-people’ stage of the game, Maximo Park are surely by now in ‘veteran’ territory, with seven albums and fifteen years under their belt.
The latest album, Nature Always Wins, was regarded as one of their stronger efforts and as such a ‘return to form’ which, as anyone who has been paying attention to their career will know, is questionable – their consistency is their greatest asset.
On both record and live, they have evolved at their own pace. To those less informed, it can appear as the same old schtick, whereas it’s in fact been a calculated effort to add textures and broaden the sound, while at the same time not alienating their loyal fanbase. As with everything to do with Maximo Park, the approach to their evolution combines intelligence and heart effectively.
Amidst the sound of birdsong the band, bar singer Paul Smith, take to the stage and commence playing ‘All Of Me’ before the frontman swaggers onstage with mischief and madness in his eyes.
https://www.live4ever.uk.com/2021/10/review-maximo-park-bristol-trinity/
The Subways - Live at the O2 Academy, Bristol - 1st October
Young For Eternity, The Subways’ debut album, was a pulsating one of pop-rock anthems which, while not exactly taking the chart by storm back in 2005, certainly left an impression.
After winning the Glastonbury Unsigned competition in 2004, there was a certain degree of hype and consequent expectation placed on the trio to deliver the goods, which they were able to do with success, the singles featuring on Radio One and high-profile support slots with Foo Fighters.
Through changing winds – even in 2005 The Subways’ form of rock music was out of kilter with the art-pop of Franz Ferdinand, Bloc Party etc – they maintained a loyal fanbase, as proved by the reception on this tour.
And lo, as bands are wont to do, this tour is to commemorate 15 (now 16, for reasons you are boringly familiar with) years of the debut album, it being played in full before a run of other tracks.
https://www.live4ever.uk.com/2021/10/review-the-subways-bristol/
Gustaf - Audio Drag For Ego Slobs
Despite the seemingly endless conveyor belt of bands crammed together under the title of post-punk, the world’s hottest of beds for new music (New York) has been noticeably resistant to the phrase (with a few exceptions, such as Bodega).
Regardless, the City That Never Sleeps has firmly and comprehensively joined the party now. Gustaf, comprised of Tine Hill (bass), Vram Kherlopian (guitar), Melissa Lucciola (drums), Tarra Thiessen (vocals, percussion) and Lydia Gammill (lead vocals) are, having built -p a head of steam in the live arena since their formation at SXSW in 2018, here to rattle bones and shake souls.
But the question lingers; in an already crowded field, can they differentiate themselves to stand apart? Based on the contents of this (finely-named, it has to be said) album, the answer is: not yet.
https://www.live4ever.uk.com/2021/10/review-gustaf-audio-drag/
The Magic Roundabout - Up
Third Man Records may have hit the headlines last week because of founder Jack White performing a short set in Soho, Beatles-style, to launch the opening of their UK store, but the label isn’t just about show; following on from archive releases from The Stooges, Screamin’ Jay Hawkins and White’s first band, they’ve dusted down a long-lost gem, albeit indirectly.
The only offering from Mancunians Magic Roundabout was discovered by Pale Saints’ Ian Masters who, enthralled by the contents of the master, handed it over to Third Man to remaster, studio hiss and all.
For the uninitiated (which is likely to be all of us, considering the ‘lost’ factor), Magic Roundabout were a cult band who, in the late 1980s, supported Inspiral Carpets, My Bloody Valentine, Spacemen 3 and The Pastels among others. One Noel Gallagher was rumoured to have been the roadie for their last ever gig.
https://www.live4ever.uk.com/2021/09/review-magic-roundabout/
The Blinders - Live at The Thekla, Bristol - 27th September 2021
Momentum is a tricky thing. Barely noticeable when you’re embroiled in a wave of it, but much harder to get back when you’re not.
Back in 2018/2019, The Blinders had momentum. Debut album Columbia, packed as it was with twisted tales of an alternative world, was positively received and their incendiary live shows were garnering them high word-of-mouth praise before several unrelated issues bumped them slightly off-course.
Their conflicted decision to allow the use of early single ‘Brave New World’ in a William Hill commercial was frowned upon in some quarters (by those not appreciative of the lack of money in the music industry, mainly) and, by their own admission, it sparked a series of internal conversations that nearly split the band up.
Then, in mid-2020, original drummer Matt Neale left shortly after the release of second album Fantasies Of A Stay At Home Psychopath, which itself was met with a more muted response than their debut.
https://www.live4ever.uk.com/2021/09/review-the-blinders-thekla/
Dot To Dot Festival - Bristol, 25th September 2021
Having been running since 2005, the Dot To Dot Festival – with the majority of the bill performing in Bristol on Saturday before decamping up the M5 to Nottingham the following day – has become a staple of the cities’ respective music calendars and, judging by the warm response (and being sold out long in advance), the pandemic has not hindered its momentum.
Of course, the main issue with city festivals (like most festivals) is that the punters are spoilt for choice. Although it’s not the same size as one of the major cities, Bristol is still a city, and while several of the venues are in close proximity, several others occupy the outskirts.
In addition, the itinerary is so packed (with circa 12 venues participating) that the timetable simply doesn’t allow any margin for travel. For much of the day, the bands get a half-hour stage time with no let-up, ergo if you want to watch one band at 3pm then another at 3.30pm in another venue, one runs the risk of missing a chunk of one or either band.
Such is life, so the best tactic is often to stay in one location. The O2 Academy had the luxury of two ‘venues’, with a short walk upstairs to see the next band. Wych Elm had the honour of kicking off the day’s…festivities, and while their brand of slacker-grunge doesn’t exactly get the already-busy crowd dancing, they certainly blow away any cobwebs to start the day in bracing fashion.
https://www.live4ever.uk.com/2021/09/review-dot-to-dot-festival-2021/
Ash - Live at O2 Academy, Bristol - 18th September 2021
At the fourth time of asking, Ash finally get to tour last year’s Greatest Hits album, Teenage Wildlife. Fortunately, the album was ostensibly to commemorate 25 years of the trio but with their debut album celebrating it’s silver anniversary this year, the celebrations are still valid.
Not that they wouldn’t be anyway. Hugely under-rated as a singles band, Ash have long specialised in pop music disguised as rock, which tonight’s setlist aptly conveys. Hit after hit, with a few exceptions.
Launching into early single ‘Goldfinger’, for those of a certain vintage it actually generates the (possibly unwelcome) feeling of teenage angst, which builds until the final note in line with the song’s structure. It also works well as an opener in that it plays to each member’s strengths; bassist Mark Hamilton struts and cavorts, doing his best to steal the limelight from the evergreen Tim Wheeler (looking more like Peter Pan as the years go by) who, with trademark flying V guitar present and correct, delivers his not insignificant axeman chops. Meanwhile age (even though they are all in their early 40s) has done nothing to compromise Rick McMurray’s beast-like clattering on the drums. For a trio (no touring musicians), they still pack one hell of a punch.
https://www.live4ever.uk.com/2021/09/live-review-ash-at-bristol-o2-academy/
Larry Pink The Human - M1xtape
Full disclaimer – your reviewer is not sure what makes a mixtape a mixtape and not an EP. This compilation of songs doesn’t feature any tracks segueing into each other, or mixed together, therefore it’s hard to quantify what defines it as such. Perhaps it’s just the title of the release. Regardless, it’s a fine collection of songs.
Confusingly, LARRY PINK THE HUMAN is not a solo act but a collaborative project between Laurie Vincent (guitarist and songwriter of punk duo Slaves) and Jolyon Thomas, best known as a producer with a diverse list of credits including U2, Royal Blood and Kendrick Lamar. Born out of a desire to make music ‘for people to cook their eggs to’ rather than the incendiary rock music Vincent was known for, the pair released a string of singles in 2020 which immediately managed expectations. Sadly, the best of those singles, ‘WASTED DAYS (INBETWEEN)’ doesn’t make the cut.
Unfortunately, nothing on M1XTAPE quite hits the same heights, with the possible exception of ‘ELEVEN11_GTR-SONG’ (I don’t know why everything is capitalised either, apart from perhaps to make reviewers’ lives more difficult), but the intention of emotional connection is still conveyed. Tragically, Vincent’s girlfriend and mother to his two children passed away last year (Slaves’ winter tour of 2019 was cancelled so the guitarist could spend time with her) and, while it’s absolutely not for us to say that it informs the songs included (the press release refers to Thomas also having suffered profound grief), it’s hard to think otherwise.
As you will have ascertained by now, anyone expecting a re-tread of Slaves’ finest moments will be disappointed. This is unashamedly emotional pop music, with all the bells and whistles. Of course, Slaves are conveyors of emotion too, but frustration and anger is replaced with melancholia and yearning.
Afflecks Palace - Live at The Fleece, Bristol - 8th September 2021
The inaugural night of the Spirit Of Spike Island tour takes place in Bristol, a couple of hundred miles south of the legendary venue – the independent label makes no bones about its influences, and nor do the two bands on the bill.
5-piece Pastel, who hail from Manchester (of course), Dublin and south Wales have all the hallmarks of the dance-fuelled 1990s, with an undercurrent of epic groove running throughout their tunes.
Closing track ‘Deeper Than Holy’ also fuses some of the early hypnotic Kasabian work (singer Jack Yates does a very good Tom Meighan impersonation), with a bassline reminiscent of those featured on Urban Hymans. Pastel also bring to mind The Music, although that may be down to Yates’ Robert Harvey-esque mop of wavy hair, which works well as he sways to his bandmates’ powerful funk-grooves.
Headliners Afflecks Palace, named after an infamous shopping arcade in their hometown of Manchester, are the purest example of DIY; frontman James Fender informs the crowd midway through the gig that everything is coordinated by the band, including artwork, production of merchandise and the booking of this, their first headline tour. Their commitment and enthusiasm makes this readily apparent.
https://www.live4ever.uk.com/2021/09/review-afflecks-palace-bristol/
Interview - Alex Moore, The Lathums
Hyperbole is a huge part of the music business; how many times have music fans been promised a ‘band that will change your life’ or that said band are ‘the best since the Beatles/Bowie/Smiths/Oasis’ etc?
Overblown praise and expectation is such a part of the process that a healthy immunity and scepticism has been built up because of it. Yet every now and again, a band delivers.
For fans of British indie, the examples are increasingly few and far between, the phenomenal rise of the Arctic Monkeys being the most recent example of a band who delivered on their potential and word-of-mouth hype.
Finally, a decade-and-a-half on, we have a truly worthy new act upon which hopes can be pinned. The expectation around The Lathums, heroes of Wigan, is nearly fit to burst as they ready the release of their debut album How Beautiful Life Can Be in a few short weeks, to be followed by an extensive and nearly-sold-out autumn/winter UK tour.
Not that Alex Moore, singer and lead songwriter, is letting any pressure get to him: “I’m a bit of a hermit in some ways. I try and keep my head down and focus on what I need to do. The odd things I do see, people are always praising us and being really supportive, so that always makes me smile.”