Fortunately for you, you’ve found your way to my music blog! Let’s begin with a mission statement:
I am a student in Leeds studying sociology and also running my university’s Music Society which a friend and I established at the beginning of my final year at university. Music is my lifeblood and i can no longer sit idly by as musical analytics whizz through my brain, i’ve gotta write this down! With this blog i hope to be frequently writing up reviews for concerts and gigs i go to, my own take on anticipated albums as well as classics, alongside weekly reviews for new tracks and singles that are released. You can dig it.
The kind of stuff you’d expect to be covered on this blog can vary from post-punk to folk, Nick Cave to Nick Drake, Country to Hip-Hop and everything in between. Usually consisting of music from the underground, i aim to offer a unique perspective on some of these scenes with the added element of socio-political, historical and cultural context.
Jude and Tiggerligger have been so blown apart by the generous words of encouragement and support for their new joint venture offering montly tips on new music, that we are back to do it all again for the month of October. Well OK in truth, it is more that no one has yet told us to stop.
Tiggerligger’s choices this month generally have a harder more urgent tone to them, befitting for a month where we should be storing up nuts for winter (lads take care; he might be taking this nut harvesting thing too seriously, he is wandering the streets with a pair of pliers and a manic look in his eyes) while Jude is just focusing on the immediate new releases.
in earnest: in earnest EP (Tiggerligger)
Another new band whose music I’ve been enjoying getting to know over the past couple of months is from the sad folk indie sound of in earnest from Southend On Sea. Although this band regularly upsets my writing conventions by laughing in the face of a capital letter, that word earnest sums them up completely.
The threesome Tom Eatherton, Sarah Holburn and Toby Shaer are motivated to produce music which is honest, truthful and meaningful. The first two tracks have been inspired by Sarah’s long term anxiety and depression and Tom’s experiences as her long term partner. It can feel raw and intense but in earnest help share understanding and a path through these travails by sharing these experiences.
Currently pre-released from their forthcoming (now released, but forthcoming at the time of writing) 6 track EP due in October (also called in earnest) is come upstairs which documents Tom’s experiences in providing support when Sarah is struggling, and in being solid and positive for them both. Tom has the lyrics and vocals for this track, and they are equally hesitant but determined to do right. There’s a tidy bit of soothing delicate music on this track.
The lyric “I’m ill prepared and stone cold scared, same as you” cuts to the quick. Having mined a few of my own emotions and mental health scars for a book I’ve been writing, it takes a huge amount of effort to relive these feelings and to put it onto paper, although there is also some satisfaction in making some sense and order of it. in earnest are brave and honest in their approach.
put me under is sung by Sarah and gives her perspective of the twists and turns of her emotions and depression. As she says, she will never be lonley with her dog beside. Again this is a haunting and dare I say it, beautiful, description of mental health. Here Sarah has some control over those feelings, and the strength comes through.
The band have been described as sad indie and yes, they are kings and queens of the genre.
The latest released track is 29, a birthday which usually provokes some reflection on where you have been and where you are going. There is always a danger that we restrict ourselves because of what we think we should be doing at “our age” but it doesn’t stop us thinking about it. The song is a personal memo to Tom and it offers an interesting narrative. I almost get a Cat Stevens vibe to this tune. I’ll be looking out for the EP soon (released 7th October).
The Cry – New single releases (Jude)
Short lived 80s jangle pop group The Cry developed a cult status as a band through songs from their only album ‘Beautiful Reasons’ being used as the soundtrack for 1990 skateboard video ‘Hokus Pokus’ from H-Street Skateboards. Hokus Pokus is now considered one of the most iconic skateboard videos ever made, with the soundtrack consistently praised. An entire generation of skateboarders fell in love with the heartfelt vocals and jangly guitar sounds in the early 90s and now after over 30 years since their breakup, The Cry seem to have reformed. The Cry have been consistently dropping a few quality singles a year since 2018, the newest being ‘Everything and Nothing’ released on the 15th September. Since their reformation, The Cry have returned to form with their newest releases, retaining the wholesome jangle pop sound they gained popularity from initially, but now with an element of aged melancholic wisdom.
The 8 songs they have released since 2018, (4 songs they released last year in 2019, and the newest single being the third release of 2020) boast a strong return to form for The Cry, with quality pop rock song writing and strong performances in the vein of The Smiths and REM. These releases stand out to me as some of the best jangle pop I’ve heard this decade, and although this is not a huge statement considering this style hasn’t been very popular since the 80s, it is really great to see veterans of the genre come back after so long and still be able to kill it with some really beautiful music. I find it intriguing that they have chosen fit to just be releasing a few tracks a year over the span of a few years rather than releasing an album, but in a way it adds to the whole intriguing nature of this band, and it is definitely worth it considering each new track is so good.
The newest song Everything and Nothing, is a riffy jangle pop tune, with the trademark deep melancholic male vocals that they do so well. The previous release, ‘This Hazy Morning’ released earlier this year in March has got to be one of my favourite songs of the year, with the same bittersweet and heartfelt jangly sound. This October I’d encourage any fans of The Smiths, The The, The Field Mice, Teenage Fanclub, REM or the Go Betweens to check out all the songs from the last couple of years for a hit of quality jangly nostalgia.
Favourite songs: This Hazy Morning, It Is as It Seems, Why, The Other Day, Starting Again
The Radio Dept. – New Single Reviews (Jude)
Swedish dream pop duo The Radio Dept. have also been putting out some new material these past few months, another band who see fit to release random yearly singles without any intention of an album release; their last LP being 2016’s ‘Running Out of Love’, and a handful of non-album singles since 2018. There has been no official announcement for a new album from The Radio Dept. for 2020 either, however they have dropped 4 quality singles this year, the most recent being ‘You’re Lookin’ at My Guy’ released in July.
This song ‘You’re Lookin’ at My Guy’ is a beautifully dreamy but also noisy cut from them, with the distorted and shoegazy guitar tones really strongly complimented by the hazy warm vocals of Johan Duncansson. The song has an uplifting almost twee quality to it with a good energy, mixing a dreamy vibe with the dense intrumentals shows that the Radio Dept. are still at the top of their game releasing some of their best material to date after 25 years of being a band. The B side to this track ‘Could You be the One’ is another quality tune, a lot more mellow and relaxed than its predecessor stripping back the layer of noise which allows the calming instrumental work to shine through.
‘You Fear the Wrong Thing Baby’, the previous release to these songs back in March, is equally as lush as the others, if not more. It is more of a restrained dream pop ballad which also boasts beautiful atmospheric guitar work and a bittersweet melody. The song has a melancholic but reassuring romantic vibe that you’d want to hear while held by your girlfriend as the suns setting as you’re laying in a field. Definitely one to look out for if you’re into your dream pop and shoegaze in the vein of Slowdive and Alvvays.
Single Review – Stone – Stay Silent (Tiggerligger)
There are times where you just know a band is going to be huge. The music is massive, packed full of emotion, and the band can totally connect. I’m not the first to say it, but on the third single Stay Silent I’m as convinced about Stone as I ever have been about anyone.
I’m a total sucker for noisy, raucous shouty boys and girls (having been a shouty boy myself in my time) so Liverpool based Stone fully hit the buttons. In Stay Silent there’s a brooding intensity and while the music and vocal delivery is angry, there’s a rare sense of control too.
I would have Shame’s Charlie Steen’s babies were it physically possible (and of course the poor lad would have to be agreeable to the unlikely prospect), and fans of Shame, Idles and similar will feel very comfortable in Stone’s company. There’s a real sense that this band Stone have a very real view of the world, with their stories about insecurities, the crap of the everyday and their interactions with people. With three singles they are Stone and they will yet become as dependable as a rock.
The musical power of Elliot Gill (lead guitar), Sarah Surrage (bass) and Alex Smith (drums) behind Power makes me wonder why they don’t have the same surname too. There’s a real sense of the dramatic in the music and they have to be one of my early back in the world, must see live bands.
Looking at the band’s social media, it is not only the lyrics and punchy music which scores. They completely connect with their audience with lead singer Finlay Power recently dropping off local merch orders on his bike like an overgrown county lines seller. I would have asked Power for my own “fix” of Stone merch, but I didn’t want to be responsible for the charismatic frontman being totalled on the M62 by a juggernaut.
Likewise pre-covid, the band have conducted underground gigs for the folks who know, and currently have a mass WhatsApp group to keep everyone connected. For a band that released their blistering first single Leave It Out as recently as February, that’s some going.
The Elephant Trees – What Did You Do (single) – Tiggerligger
Following the Elephant Trees over a period of a few years is indeed a journey of exploration. I’ve tracked the ever expanding trails of Martha, Sam and Tom since their full on “Monster” days in Leeds and their subsequent more recent times as a refined (haha, slightly) Manchester based band.
In the Elephant Trees catalogue there’s been angry punkish moments, quiet reflective moments, and sweeping electronic majesty, all over a couple of years, and all of it top point. The journey led to the peak of electronic artistry The Monochopsis EP which was one of my favourite recordings from last year. Although some tracks from the EP are now sadly withdrawn from Spotify, the splendor of this EP can still be nabbed on CD from the band’s merch.
What I adore about The Elephant Trees is the sheer scope and quality of their ambition. As soon as one peak is conquered, they are off for the next adventure. Earlier on in lockdown, I won a competition, which was for the Elephant Trees to cover a song of my choosing. For personal reasons related to my mum’s long ongoing mental health travails, I chose Melanie Safka’s Brand New Key (more famously covered by the Wurzals about a Combine Harvester), and the Elephant Trees just smashed it, bringing it into their own style and arrangement. Professional to a tee.
This time the Elephant Trees present What Did You Do, a rather reflective swirling tune, with even a slightly gospel choral feel. Ever the egoist, I like to think my Melanie Safka choice was an influence in this more reflective style. What the Elephant Trees were always reflective about is their interest in current affairs and world issues, be that woman’s rights, mental health or equality, and here What Did You challenges the listener to reflect upon their contribution towards the environmental emergency, and a warning of the upheaval to come as resources collapse.
Martha Phillips‘ vocals on this track are as strong and soaring as always, while there is a nicely strong swirling back beat provided by Sam Hugh Jones and Tom Palmer.
Viagra Boys – Ain’t Nice Review (Jude)
Swedish gonzo post-punk rockers Viagra Boys are have released their latest single Ain’t Nice on Wednesday, with a new album – ‘Welfare Jazz’ set to release in January. Viagra Boys have wasted no time releasing music, coming hot on the heels of their ‘Common Sense’ EP released earlier this year.
Viagra Boys are back doing the sound that they do best, with a mucky bass driven riff and Sebastian Murphy ranting on, assumingly to a girl to whom wants a relationship with him, in a random way about the contentious ways he behaves in a relationship, with lyrics such as:
“Well, trust me honey, you don’t want me I’ll start screamin’ if you look at me funny I’ll borrow your stuff and never put it back I’m kinda hungry, can you get me a snack?”
The song is mixed amazingly, which is perfect for a bass driven post punk sound, and also includes your standard dose of electronics and saxophone solos to accompany the rest of the dirty cocophany that you’d expect from a Viagra Boys song. I’ll be looking forward to the album in January, in the meantime you can watch the music video for ‘Ain’t Nice’ below which captures the songs mood perfectly by aptly showing the gross way Sebastian is trying to represent himself in this song.
Happy October! Once again i’ve taken the liberty of curating a playlist of what i’ve been listening to most this past September. You’ll find i’ve been enjoying a lot of folky / country sounds this month, vintage, psychedelic and otherwise. You’ll also find your classic dose of post punk (to be expected), some vintage british psychedelia, art rock, britpop, garage punk and ska. Inject to your hearts content!
Welcome to a first on Jude’s music moods! Today we’re getting together with Tiggerligger for our first collaborating post to spill the beans on some great sounds for your September, this could prove to be fruitful!
I’m in my post punk mood (as per usual) so we’re reviewing a few punky records and an interesting experimental cloud rap record. Enjoy! Tiggerligger is in reflective autumn mode so expect mostly chilled lofi vibes. We both have different tastes and writing styles so it’s gonna be fun finding out how this goes.
Dogs bollox or Dogs breakfast, you decide.
MarionvilleModels: Punta Prima (album review) – Tiggerligger
If you want lo fi melody in spades, breathless low key vocals and a cool early Tame Impala/ War On Drugs vibe then Edinburgh duo (Jake Barry and Jack Davis) MarionvilleModels and their freshly released album Punta Prima will cheer up any weather challenged breezy wet day. This is a perfectly chilled album to watch leaves turn yellow to.
Punta Prima is one of those albums where you pick up something new to wonder at each play. National Joke is a short instrumental as is title track Punta Prima. They might be but gentle whispers of a song, but they set the moody tone of this album.
The quality shines through on tracks like the guitar tingly Over So Soon with a nice swirling riff which lingers in the brain like a sweet word from a loved one. Summer Fur meantime has indie credentials in spades. If Jesus and Mary Chain ever turned country, then it would sound like the delicious Summer Fur.
Hotel Lux – Barstool Preaching EP Review – Jude
British post-punk is really kicking off! Hotel Lux are a 5 piece post-punk group hailing from London and earlier on this year they released their debut EP Barstool Preaching, I was unaware of it at the time but it has really been catching my ear as I replay it more and more recently; and it’s become probably the most fun EP I’ve heard this year.
The best way I could describe hotel lux’s sound is pub-post-punk (a mix of pub punk and post punk). The vocals have an emphasis on speaking in a very classic English spoken word way but with a fun rhythmic edge to them, especially in cuts like ‘Charades’ and ‘The Loneliness Of The Stage Performer’. The trademark vocals are one of the standout things about Hotel Lux which sound classically English and are able to communicate a lot of emotion and feeling while having a very singalong quality to them also. The EP has a very fun feel to it, they’re not reinventing the post punk wheel here or anything but in this solid collection of 5 songs and 17 minutes they manage to deliver some enjoyable English post punk with some very catchy and memorable melodies and choruses. Clearly at this stage in Hotel Lux’s career, this being their debut EP, they want nothing more than to have a bit of fun and it definitely shows here.
This EP also marks themselves out from other British post punk bands most similar to them such as Shame who have a lot more of a darker gothic sound, Squid who have a more experimental sound, whereas Lux come across care free and happy – the essence of the pub aspect of their sound. The lyricism is very simple: from singing about the mundanities of their lives, them going about their days, to getting pissed and dancing in ‘Eddies Gaff’, their distaste for UK tabloid media, and just general musings about English life in a very humorous way. Hotel Lux, even in the least accessible songs of the bunch, manage to carve out a very memorable and catchy choruses which is a mark of talent in this early phase.
Overall a very fun debut EP which have made Hotel Lux a band to look out for if you’re into your English post-punk and your classic pub punk. Barstool Preaching is just an EP from a bunch of London Lads having a good time making some music, and the result is some very jolly and entertaining post-punk, whilst also maintaining that element of social criticism in there as any wry English post punk band should enjoy.
Favourite Tracks: Tabloid Newspaper, Eddies Gaff, Charades, Ballad Of You & I
Least Favourite Tracks: None 😊
San Francisco Just Friends (single review) – Tiggerligger
Although there is currently just one track to his name, another act that has captured my ears this past month or so is Leeds based SanFrancisco. Iwan is San Francisco and moved from North Wales to attend Leeds Conservatoire just last September.
While I might question the wisdom of using a name like San Francisco that makes him a beggar to find on the tinterweb, there’s nothing insensible about the quality of the sound he makes. I adore the complex but really banging guitar and the deep confident voice of Iwan. This is a lush soundscape but with a jaunty cutting edge. It’s hard to think this was a lockdown bedroom recorded track, although mixed and tidied up outside.
The track is called Just Friends, and you would have to be made from stone not to know about all the complexities of putting some distance into a once close relationship, particularly when one of the couple has feelings still greater than just friends. The lyrics give a beautifully real image of some of those confused thoughts. Did I misunderstand the relationship, did you mislead me, I’m not worthy of you anyway. The line “you were 17 I was the last thing you needed” hits me right in the heart every time.
Iwan describes plenty of fresh bright influences from Zuzu, Bloxx, The Skinner Brothers to the grander fuller sounds of the likes of Sunset Sons, Red Rum Club and Night Cafe. I predict a bright and interesting future for San Francisco, and I’m excited to hear more from him shortly.
No Age: Goons Be Gone Album Review – Jude
Prolific Californian noise pop / rock duo No Age released their fifth album in June titled Goons Be Gone. This album marks a shift from the more distorted shoegaze’y and noisy approach that no age have had on their previous 4 albums and instead have gone for a more polished approach to their song writing, particularly contrasting from the chaotic noisy approach they introduced to us on their debut Nouns just over a decade ago. The vocals on Goons Be Gone are much clearer and mixed more to the fore of the track than they have done previously, and this works out really well for them. The song writing is also still just as strong, with the more polished approach allowing us to hear their instrumental work more audibly which is one of the main strengths of this album. However don’t be under the impression that just because it’s polished it departs from their trademark sound, No Age still incorporate cool noisy backdrops to their songs and the song writing and structures are still in the punky noise pop style that they do so well. The guitars are noisy, but their textures sound soft, lush and detailed, with a tasteful use of layering which tantalises the listeners ears, uniquely hitting that spot between abrasive noise pop and ambient music. The contrasting use of language in the song titles reflect this in between spot as well, Working Stiff Takes a Break, War Dance, Agitating Moss in particular show a deliberate juxtaposition between tension and peace.
There is also a refreshing variety of tracks on this album, from the guitar riff focused cuts such as Sandalwood and Agitating Moss, the punky bangers such as War Dance and Turned To String whose guitarwork are highlights for me; there is also the slower songs like Smoothie which is a laid back restrained cut with a backdrop of soothing floaty noise which works really well, alongside quirky little interludes such as Working Stiff Takes A Break. The standout track for me – Head Sport Full Face, has an amazing driving noisy rhythm alongside relaxed Californian almost spoken word vocals, a combination that’s got to be one of my favourite tracks of the year.
Overall this albums strengths lie in the complementary combination of hard and soft sounds (can we say ambient punk?). No Age achieve the perfect middle ground between the beautifully textured and detailed ambient as well as noise from the guitar work whilst maintaining the strong song writing skills that they have perfected over their career.
Favourite Tracks: Head Sport Full Face, Sandalwood, Feeler, Smoothie, War Dance, Turned to String, Agitating Moss
Least Favourite: Toes In The Water, A Sigh Clicks
Sylvette – Stiller Than Still (album review) Tiggerligger
I have published a full review already, but I’ve played Manchester’s Sylvette and their recently released album Stiller Than Still to death over the past month and there’s plenty more for me to explore. It’s a rare artist that can achieve grand rather than the more overblown grandiose, and this majestic album glides effortlessly to that sweet spot.
Those into Radiohead, The War on Drugs (again) and the likes of Pink Floyd will be very persuaded by Sylvette.
I have to confess on first play I wasn’t quite sure that Stiller Than Still was for me. But aren’t those albums that demand unwrapping and exploring before it grabs your heart the best? The voice of Charlie Sinclair has warmth, range and elasticity. The music meanwhile has its own style and it isn’t going to age with the fashions. I can see a future generation discovering Sylvette.
Anyone wanting just a single taste of Sylvette to see what they are about could do far worse than to start with their single Kelpius. The song’s eponymous fellow was an early USA immigrant from Germany who founded a religious cult living in caves, meditating, studying botany, astronomy and the occult. You have to admit there’s worse hobbies. Kelpius and his followers believed the end of the world would happen in 1694. They were celibate and unsurprisingly died out; I guess they found their own end of the world.
The lyrics on Kelpius are magical: “On the other side the stream thickens and now there’s treacle on the bank” is beautifully poetic. The delicious part is that Kelpius is just one of any number of delights to disect and savour.
Once again i’ve curated a spotify playlist for all the songs and artists i’ve been listening to most this month. This time you’ll find a lot less hardcore, ranging instead from some jangle pop, alt-rock, lots of acoustic singer / songwriter tunes, psychedelia, your classic dose of post punk and some cool hip hop bangers. Enjoy 🙂
Handle are a 3 piece Manchester band formed in part from the Castle Face signed 7 piece Manc post punk group DUDS. Bassist Giulio Erasmus and drummer Nirvana Heire are joined by self-described genderqueer multidisciplinary artist Leo Hermitt to form Handle: one of the newest and most intriguing post punk and no wave groups to come out of the UK. Fittingly signed to the experimental underground London label Upset the Rhythm, Handle’s debut album – In Threes, boasts an experimental art / post punk sound whose immediacy and urgency of sound and percussion demands your full attention from the get go.
Within the first few seconds of the opener track Vocal Exercise, Handle’s unusual use of rhythm and intense percussive sounds first shows itself. The song meanders along a loose tribal drum beat accompanied by the disorienting groans and ‘vocal exercises’ of the lead singer, while they incorporate a dissonant range of noises, guitar tunings and other electronic sounds to give the listener a taste of the kind of music to expect from the rest of the album. This track is definitely just used as a sort of musical muscle exercise, preparing the audience for the chaotic nature of the album to come, and it’s sound left me wanting more.
Following this is the track Punctured Time, which bursts into a attention demanding syncopated drum beat and the urgent sounds of an electronic organ as the vocals shout ‘Bicycle Wheel’ hypnotizingly repetitively. The vocals on this song, a trend that can be noticed on the rest of the album, are mixed quite lowly and roughly while the rest of the music, (drums, bass, cowbell and electro organ) are mixed and produced incredibly well and placed at the fore of the mix, creating a futuristic experimental sound but with the anxious vocal style of something that could be recognised on a piece of underground 80s no wave music. This combination is excitingly novel and one of the main attractions of the sound of this album for me. The lyrics are also equally peculiar as they shout obscure poetic language over the disjointed angular rhythm of the song. Being an album that’s only just under 25 minutes long, none of the tracks overstay their welcome and are usually finished within 2 minutes or less, with only a single song on the track list being above 3 minutes in length.
Following this, we are hit with the minute and a half banger What it Does, utilising the novel sound of the cowbell mixed with the deep but directing bass, the hyper sounding organ and the hypnotising repetitive drum pattern, this track is another example of how the disjointing and angular percussive sounds of the album work so well together. Despite being an unusual combination of sounds, the fast paced nature of the music alongside the intricate math rocky rhythms, everything seems to find its own place amongst the chaos and it works out really well.
The fourth track Lifes Work, is probably the most conventional post punk song of the bunch, with a riff that sounds worthy of something on a Minutemen album. The vocals on this track are much more audible than on the previous tracks, with less experimental instrumentation and less of an experimental arrangement drowning them out. This works really well, and the bass driven riff really creates a hypnotising effect, with the cowbells making a tasteful appearance in the final 10 seconds of the track.
The next track Coagulate, marks a slowing down of the albums pace with a much more spacey abstract sound which is much more like a classic no wave track than post punk. There is practically no rhythm or melody to this song, with a cacophony of experimental noises and the clattering of instruments while lead vocalist Leo reads out spoken word poetry which sounds classically no wave. While this track is one of my least favourites on the album, it’s change of pace is necessary for the album to slow itself down and for the audience to appreciate the nature of the groups sound without them coming at you full pace.
In direct contrast to the previous track, the next track Sunday Morning is a minute long art punk banger with the same concoction of ingredients. These ingredients being the deep driving bass guitar, the frantic cowbells and the impressively mesmerising drum patterns, and although the album uses these same ingredients on essentially every track, they manage to create a new and exciting sound every time that you are able to distinguish from the rest immediately. My favourite thing about this track is that due to its short length, it never attempts to create a chorus or something to fall back on that would give the song space to extend, instead it powers through 30 seconds, slows down slightly and then returns right back with the instrumentals sounding even more assertive and domineering than before with the vocal work having the perfect amount of spoken work energy to blast through the remainder of the song.
The next song Mhmm, has another perfectly angular futuristic post punk sound with another impressively syncopated drum pattern and sax passages whose time signatures will overwhelm your brain if you attempt to stay in time with them alongside the occasional complimentary cowbell. Hermitt’s charismatic performance on this track is another highlight.
The following track Rubber Necks fantastically harsh and jagged drum tempo accompanied with the anxious shouting of “CRASH! CRASH! CRASH! CRASH!” and the swirling background of noise makes for another energetic and experimental banger.
Another highlight is the experimental and futuristic sounds of an electronically modulated bass or electric organ passages during the song In Tension. Much like many tracks on this album, Handle has a way of incorporating sounds and noises into their songs in a way that makes a listener wonder what instruments are being used, how these sounds were even created or thought up, yet manage to create a really interesting sound which I haven’t heard the likes of before. This is mainly due to the brilliant nature of the production on this album which sounds like no other post punk group around these days.
Step by Step is the penultimate track, and wasting no time, they follow through with their formula of these fast paced repetitive geometric drum patterns, which takes the fore on this track while the bass and cowbell take a backseat. The explosive organ that splutters around 30 seconds in sounds like something from an ESG album, but if ESG were a firing squad using these space age dance punk rhythms to kill. This track is another highlight with a meaty noisy and percussive sound, there is no space amongst the chaotic percussive cacophony of noise for any weaknesses and the strength of the mixing of the vocals on this track really does it a lot of favours.
The final track Describe brings the pace right back down again with a stripped back sound of lowly mixed spoken word poetry of Leo Hermitt and a tinny drum pattern in the back and the slow sludgy bass. This track is much like the song Coagulate in the sense that it gives a little more clarity to the chaotic madness that unfolds throughout the album. I think the inclusion of these slower tracks are incorporated very tastefully given the length of the album, giving the listener some room amongst the claustrophobia of the frantic post punk surrounding it, with the first track being a slow but unnerving use of sound manipulation, followed by Coagulate in the centre of the track list and then 5 tracks and 10 minutes of mayhem later we get the final slower track which is the longest track here. I think the album ending in a slower and more focused way brings it to a nice end so you are able to reflect and appreciate everything that has unfolded in the previous 20 minutes or so.
Overall I would say that the albums strengths lie in the novel combination of intricate fast-paced drum-driven post-punk and awesome futuristic production which updates these old sounds of 80s post punk and no wave and grants it a new lease of life. My only criticism would be that although the tracks are all distinguishable in their own unique way, I would like to see some more variety on the track list with a wider range of song styles, however for a 25 minute album with not a minute wasted this is a very minor grievance. The tightness of the instrumentals really works wonders for this album whose sound would arguably not be achievable without the brilliant drumming, tasteful use of frantic cowbells and other elusive other-worldly electronic instrumentals.
Overall this marks a fantastic debut for Handle, crafting a cohesive and focused album which boasts an incredibly unique and unpredictable sound which I have not heard anything like before, marking themselves out amongst the UK post punk scene. Appropriately self-described as a ‘collection of frenetic sounds for frenzied forms’- I look forward to hearing what Handle next have in store.
Favourite Tracks: Punctured Time, What It Does, Lifes Work, Sunday Morning, Mhmm, Step by Step
I’ve compiled a list of all my top played songs and artists of July 2020 and curated the ones I’ve injected most this month, 31 tracks for 31 days. I must’ve had an angsty month because you’ll find plenty of old school punk / hardcore, but not limited to that as you’ll also find some bubblegum bass, some newer post punk, 60s style psych, weirdo pop, some delta blues and some interesting new hip hop. Enjoy!
For those unfamiliar, Germs, or The Germs, were a Los Angeles punk band formed in 1976 and were only active until 1980, releasing only a single album in their short career before the lead singer Darby Crash was to commit suicide only a year after the release of their debut album: (GI) in 1979.
Germs singlehandedly created the blueprint of hardcore punk, capturing the pure essence and ferocity of punk, simultaneously birthing the genre and surpassing pretty much every other hardcore band that has existed with the exception of maybe VOID. (GI) is the first hardcore punk album, and achieves everything a hardcore punk album should, enough for an introduction and conclusion to the genre. Germs were a band I had always been aware of considering my interest in the punk rock scene, especially the scene in the late 70s and early 80s – the essential years in which the genre was born and came to acquire the meanings and associations it still has today, however, Germs had somehow passed me by. This might have been due to the album initially sounding essentially to me just like loud noise; the instruments are played ferociously fast, the vocals are growled and sloppy and the songs barely reached the 2 minute mark. It was only recently that I have come to appreciate the genius of Germs.
Germs are, in my opinion, one of the most unique and interesting punk rock bands in the history of punk music. At the time of the release of (GI), the band consisted of Darby Crash, Pat Smear, Lorna Doom and Don Bolles. Before the release of their album, a punk audience’s only familiarity with Germs was through their infamous raucous live shows in which lead singer Darby Crash was often seen thrashing about on stage heavily intoxicated by alcohol and hard drugs and barely attempting to sing into the microphone. One of Germs live performances was captured on the 1981 film ‘The Decline of Western Civilisation’, which chronicled the LA punk rock scene in the late 70s and early 80s, in which their performance was recognised by many as one of the ‘worst’ live performances ever recorded. Darby was often also seen cutting himself on stage and fighting with audiences; behaviour that gave Germs a reputation amongst LA venues and got them blacklisted from performing at almost all of these clubs. The album’s title – G.I., short for Germs Incognito, was a name used by the band to bypass this blacklisting in LA clubs.
For the release of their album (GI), Germs hired long-time friend Joan Jett, known from her own band The Runaways to produce for them. (GI) was released in late 1979, and what resulted was a hardcore masterpiece, solidifying Germs as a force to be reckoned with in the LA punk scene. The album also came as a shock to many fans, as the album proved the incredible instrumental proficiency of the band which was not apparent at their live shows. Another shock to the audiences was Darby Crash’s surprisingly profound and poetic lyrics that were equally almost non-existent at Germs live shows. Whilst the vocals on the record are still slurred and deliberately delivered in a very sloppy and disoriented manner, the printed lyrics inside the cover of the album gave fans a new idea of Crash’s brilliance and way of writing, covering topics such as feeling isolated in a world that didn’t understand him, issues of politics for example his perceived contradictions of doctrines such as communism, hints to his repressed homosexuality and poetic representations of his worldview as an outsider and an outcast.
In terms of the songs themselves, the songs are played very fast, utilising extreme metallic sounding power chords with the vocals of Crash slurring and shouting incoherently, which to some may sound messy, but I personally feel it captures the pure anger and rage of hardcore punk whilst maintaining the tight proficiency of instrumentation, not at all amateurish as was seen at the time by critics. No other 70s punk album sounds like this, no other band played as loud, fast and as aggressive as Germs; whose sound is incredibly impressive and forward thinking for 1979, the reason many believe that this to be the first hardcore punk album. To believe this album was released in the same decade that the Beatles were releasing music kind of blows my mind.
The song Richie Daggers Crime chronicles an outcast man, a living legend who “stomps and swaggers” and whose values and interests are in direct conflict to mainstream culture which leads to him to feeling rejected by society. The song is sung in majority in first person yet just before the end, the song changes to third person in which Crash switches the perspective from someone who is a self-professed reckless savage to a description of a character that is charming and intriguing and who can “set your mind ablaze”. Many see these lyrics as either an autobiographical account of Crash himself, who sees himself as misunderstood, or a description of his boyfriend of who he kept him and his repressed homosexuality a secret.
The following track – strange notes is one of the most unhinged songs on the track list, with each line ending with an emphasised growl on the final word making it feel like you as a listener need to throw your head up in the air like a deranged animal to sing along. The bass playing and drumming on this track is fantastic, perfectly in time and tight which makes a really great contrast to the animalistic vocals spat over this track.
Lexicon Devil is the biggest track off this album and has become a cult punk classic. No surprises on this one because this track is faultless. The drum beat and guitar work are so perfectly in time that you cannot help but thrash your head back and forth. Crash’s vocals work perfectly over this as well as he growls menacingly into the microphone as the initial head banging phase of the song fades out. Its basically a head banger and has the perfect rhythm for a hardcore punk song, maintaining a coherent memorable rhythm whilst keeping the speed of the track and the rawness of the vocals. Essentially by Lexicon Devil, Crash is boasting that he is using lexicon (or vocabulary) and charisma to manipulate people for his own personal gain. This is also backed up by accounts that maintain he manipulated the language of his influences such as Nietzsche, Charles Manson and the Church of Scientology using mind games and whose message ensnared many disaffected impressionable LA suburbanites who were to become his devout following. This track really sums up the essence of what Germs were really going for with their sound and shows they were clearly ahead of their time.
Manimal is another highlight for me and one of the most profound and angry songs on the album. Beginning with a slow deep guitar riff that could be seen on a Type O-Negative record, before bursting into a barrage of speedy punk guitars. The lyrics cover Crash likening his existence to that of a “puzzled panther waiting to be caged”, but something always stood in the way of this happening. Throughout the song Crash likens himself to that of an animal, but there is a fundamental difference between him and an animal that stops him from being able to live life in the reckless way that he wants to. The lyrics “evolution is a process to slow to save my soul, But I’ve got this creature on my back and it just won’t let go” shows Crash seeing himself as an individual that is similar to an animal, but the fact that he is an individual rather than an animal species means that the rules of evolution do not apply to him in the same way that they do to an animal, yet he feels there is something animalistic about his nature that he cannot escape. This is followed by unhinged animalistic growling in place of lyrics over this meaty riff which sounds so pained and full of anger. The final lyrics of the song “If I am only an animal then I can do no wrong, But they say I’m something better, So I’ve gotta hold on” are some of the most profound as they mark the difference most significantly between him and an animal. The laws of right and wrong do not exist in the animal kingdom so he wishes he was able live life in this way, unable to do wrong. However as people say he is a human, he must reconcile with this aspect of his animalistic and reckless aspect of his personality. The contrast between nature and societal norms of how people are expected to behave makes him very angry and depressed however there is nothing he can do and so he must hold on.
We Must Bleed follows this, a horror-esque hardcore song with a descending riff that sounds so menacing it could be on a film about a vampire punk. The lyrics seem to have an obscure meaning but you can read enough to understand the pain and anguish in Crash’s lyrics about being driven mad. The lyrics “The crash as the bottle breaks, Flashes it will through my veins, The pain, the colours, Making me sane (x4) We must bleed, We must bleed (x2)” could be a potential hint to the heroin addiction Crash had and the feeling of injecting the heroin into his veins and how he must bleed to achieve this ‘sanity’. The song ending depressingly with a repetition of “I want out now (x10)”
Media blitz is a simple song, yet effective. Lasting at just over a minute in length, the blistering guitar riffs are relentless in the background and have the more conventional qualities of a speed focused hardcore song you would expect to hear in a mid-80s hardcore song, a style they clearly ushered in. A significant thing I have also noticed about Germs, this song being a prime example, is despite the extremely short length of these tracks and without a discernible rhythm for most of the track, they manage to make the hook, or chorus of the song incredibly catchy. I think this is mostly achieved through a repetitive and memorable short phrase (for example ‘Media Blitz’) that is shouted over the riff giving the listener a bit of time and space get a hold of the super speedy instrumentals that lie behind it and get into the groove. A visionary technique that became the standard for hardcore punk in the following years.
Skipping to the final track of the record Shut Down (Annihilation Man), which was recorded live in the studio and a song which the band usually closed their live performances with using avant-garde improvisation at the end. The track is almost 10 minutes long, being longer than the average track on the album by at least 8 minutes, and features a slow repetitive riff with Crash reciting his poetic lyrics in his distinctive growled voice as the instrumentals become more and more abrasive and experimental as the song progresses. The song is also the only one on the track list to feature any piano on it. The lyrics feature crash speaking disparagingly and angrily about people in general, how people should turn away when they see him in the street, how sad that such a “smart man” JFK got “blowed away”, how people shouldn’t judge him for his heroin usage and pretty much feeling angry at everybody and that they should just leave him alone because they are so small compared to him.
In 1980, one year after the release of the album, Darby Crash committed suicide by intentional heroin overdose. Unfortunately Crash’s suicide was overshadowed by the murder of John Lennon just 24 hours later and so his death became a footnote to the death of a far more widely recognised anti-establishment musical visionary. Guitarist Pat Smear went on to have a successful career, recognised by Kurt Cobain as an influence and so played alongside Nirvana from 1993 – 94 as a touring guitarist and following Kurt’s suicide, played rhythm guitar for Dave Grohl of Nirvana’s own band Foo Fighters. Germs were immortalised by the independent 2007 film “What We Do Is Secret” in which the actor Shane West (who also helped finance the film) played Darby Crash. The other members of Germs were so impressed by West’s performance that they re-formed the band with West taking the deceased Crash’s place as lead vocalist.
Overall an extremely interesting punk album with an even more interesting backstory, the music is fierce, yet catchy as hell. This album is a hardcore punk classic before hardcore punk even existed and an extremely underrated contribution to the punk rock canon. Overall the albums strengths lie in the fact that something so sloppy and loose can sound so powerful and tight, equally, something that sounds so belligerent and chaotic can sound so poetic and profound. The contrast between the juvenile sound of the album and the mature and focused themes of the lyrics makes it stand out as an artistic masterpiece to me. Each song is a punk classic and represents a time for punk rock when chaos and noise were more important than craving success and the desire to be recognised. For something that was released over 40 years ago, it barely sounds dated, and you are able to hear the Germs punk formula used today by contemporary hardcore punk acts. Germs were hardcore pioneers that were well ahead of their time. RIP Darby Crash and Lorna Doom who died late 2019, the year of (GI)’s 40th anniversary.
Germs – (GI), a crucial point for hardcore music whose story is unmatched, plus that album cover is pretty iconic.
Jockstrap are a London duo that I had not previously been aware of before they came to my attention through an Injury Reserve feature on one of the tracks of this new EP, unfortunately Injury Reserve’s final feature (R.I.P GROGGS). This EP – Wicked City, is the duo’s second EP, released just after their recent signing to Warp Records earlier this year. Jockstrap consists of songwriter / vocalist / violinist Georgia Ellery and electronic producer Taylor Skye who have come together to release one of the most enjoyable and unique sounding records I’ve heard so far this year (and a little while before that). Jockstrap’s Wicked City EP blends some of the PC music wave’s experimental and glitchy production style with an opera-esque art pop sound who’s latter is achieved mainly through Georgia’s incredibly beautiful singing voice. In just 20 minutes, the dynamic duo cover a wide range of sounds and influences while boasting an incredibly unique musical style that sets them apart in the London underground scene.
The first track featuring Injury Reserve is actually my least favourite track of the bunch, beginning with a very slow trudging beat intermittently featuring an experimental electronic drum pattern and warped deadpan vocals before Injury Reserve unexpectedly exploding onto the track with their trademark rapping style seemingly not intimidated by the very glitchy and experimental beat they flow across. Their verses are the best part of the song in my opinion, before the song returns to its initial sludgy and experimental pace. Straight away from the first track you can tell that Skye is influenced by the production style of Dylan Brady from 100 gecs fame, with the very kitschy sounds they incorporate which often sounds like internet pop on crack. Again not my favourite track of the EP which is unfortunate as the injury reserve feature is good, however it fails to seem coherent and comes across as messy and like 2 separate tracks. However this song does stand testament to show how injury reserve were attempting to position themselves as hip hop artists in this new wave of deconstructed club / pop, PC Music and the experimental underground which is gaining more and more traction.
The second track – Acid is a highlight of the EP and marks a completely different sound than the first track. It begins with Ellery’s violin playing enhanced by the production of Skye creating a sound you don’t often hear in this type of music. Ellery’s voice shines in this track, creating an art-opera type lounge pop with a voice so angelic and smooth it sounds like it’s been in the industry for years alongside the likes of Amy Winehouse. Her voice on its own would be a beautiful ballad style track in itself, but alongside the amazing futuristic production supplied by Skye this takes it to another level making this song an absolute gem. This track also has an amazingly twinkly outro which is achieved through this forward thinking production and sounds like little twinkling electronic stars. The third track – Yellow in Green, continues with the opera / ballad style of lounge, with Ellery singing over an arpeggio of angelic sounding piano keys. This track is also a lot like a classical ballad type track, but the added subtle hints of glitchy and experimental production gives it more character and marks it out among a lot of other songs in this style. The maturity of Ellery’s singing voice equally stands out in this track and ends with the piano keys blending into electronic glitchy arpeggios giving Jockstrap’s other half his chance to shine.
The beginning of The City starts like a slow ballad that I can imagine being in a Broadway musical play, Ellery’s voice sounding beautiful as ever. The lyrics give off a bit of a 30s noire vibe through singing about the city in a very elegant and poetic way. This is a very elegant part of the song, however about half way through the song, the very light stripped back elements of the song disappear and the song then busts into a glitchy electronic interlude with Ellery’s vocalising mixed way into the back back it before finding a hard hitting glitchy drum beat which you could find featuring on an 100 gecs song. After this disorienting electronic interlude, the song completely switches into something completely different, with both Georgia and Taylor speaking avant-garde poetry with warped vocal effects about a hideous monster and a beaver that had invaded their home. They talk in a very comedic and English way about sitting on the beavers face, the monster cooking all different types of food in a big black frying pan and the beaver taking a shower without a shower curtain. The way these lyrics are written seem to be quite profound in a sense, spoken in partly the same poetic way that the initial part of the song was and with quite an obscure meaning, potentially with metaphorical meaning behind it. The song ends with the monster addressing the showering beaver: “So it’s all power, power, power can’t sleep – Or think or dream of anything else – I hate you and I hate your money” and throwing itself against the door.
The final track City Hell, begins with a much more conventional sound for this type of electronic PC experimental music with autotuned vocals, yet maintaining the opera type sound with electronically produced organ sounds, giving the song a bit of a glamorous finale type feel. The lyrics maintain the noire theme of discussing a city and life within it, this one seeming to be a little more melancholic to begin with, touching on themes of a lost lover and a lost city. Throughout the song, beautiful theatrical melodic interlude with trap style hi hats are woven through the track which sounds amazing. The production exhibited on this track City Hell is extremely impressive and showcases Skye’s talent the most out of the tracks on this EP. Ellery’s autotuned vocals are then swapped for her own angelic opera style voice which complement the background production immensely and sound like a Beatles inspired outro show them both to be true innovators in this style.
Through their introduction of the Amy Winehouse influenced art pop blended with this new style of deconstructed club and glitch hop, for me, marks Jockstrap’s Wicked City EP as an instant classic in the underground and leftfield PC music scene. My only hope for the future is that they can create a more cohesive project that doesn’t have the disorienting contrast that the first two tracks on the EP have. However overall I feel like Jockstrap have touched upon an extremely unique style, marrying these different sounds of 100 gecs style bangers and opera inspired art pop. Their extremely mature and unique sound for such new young artists showcases the possibilities of what can be done with the new wave of experimental electronic production and makes Jockstrap one of the most interesting and exciting up and coming groups to look out for, not just in the London scene, but as Injury Reserve recognised in their potential, in the global underground scene.
Legendary 90’s indie rock band Built To Spill are to make a return with a new album, the focus of this one being covers of the genius lo-fi innovator Daniel Johnston following his death late last year. This song ‘Bloody Rainbow’ is a very simple melodic twee tune just over 2 minutes in length and is a great return for Built to Spill. Their very distinctive sound translates very well into covering this kind of material, with Doug’s voice sounding just as impressive as it did in the 90’s. Looking forward to this album!
Texas Drums pt 1 & 2 – Pottery:
Pottery are a new Canadian / UK band I am just becoming familiar with through the release of this double track: Texas Drums Pt 1 & 2. In this song, Pottery show us their light and almost comedic spin on a post punk sound that could be compared to early talking heads, but with an extra element of dance. As demonstrated by the title, this track has 2 parts to it; the first being a driving dance punk beat accompanied with gang vocals, which eventually progresses into a longer more slowed down instrumental passage with more drowned out incoherent vocals. I have seen a few modern post punk bands do this kind of progressive 2 part tracks, cautiously leading me to call this phenomenon: Prog-post-punk? Either way Pottery have come through with a great sound, definitely looking out for their album in April.
I am not maternal – otoboke beaver:
Otoboke Beaver, female fronted Japanese hardcore punk band, have released a new song titled ‘I am not maternal’ following their highly praised ITEKOMA HITS last year. This track does not go as hard as some of the songs on their last album but has a very catchy hook and is a total banger.
What Kinda Music – Tom Misch Yussef Dayes:
Tom Misch and Yussef Dayes, two prominent artists from the London scene have come together for a collaborative project combining Toms distinctive style of easygoing alternative rnb / neo-soul with Yussef Dayes, one of the most innovative in London’s thriving jazz scene. This track ‘What Kinda Music’ is a standout for Tom Misch for me as I usually find the production and instrumentals do not stand out as much for me but Yussef’s drumming and percussion sounds fits perfectly with his style and the pace of the song with Tom even sounding like Thom Yorke in parts of the song. Very interesting collaboration and am looking forward to what their album sounds like together.
We Will Always Love You – Avalanches & Blood Orange:
The Avalanches are back! Prolific experimental plunderphonics group the avalanches had their comeback album in 2016, their first album in over 15 years and now they are back again with an upcoming album. This new track titled ‘We Will Always Love You’ features the one and only Blood Orange (aka Devonte Hynes) and it is fantastic, maybe my favourite track of the month. It is like a psychedelic trip-hop track and features very dreamy production, beginning with a lowkey rap verse from Blood Orange followed by a beautifully blissful chorus which features blood orange distinctive singing style accompanied with avalanches choir type female vocals, ecstasy.
BALD! – JPEGMAFIA:
JPEGMAFIA is back doing what he does best, following his critically acclaimed sophomore album ‘All my Heroes are Cornballs’ released late last year, he is already back releasing his own unique brand of forward thinking experimental hip hop. The theme of this song ‘BALD!’ being a reference to his new hairstyle with the video that accompanied this showing that he has shaved his head bald. The dreamy ethereal production is still present, without some of the more abrasive aspects of some of the cuts on his last album. Not sure if this is being released as a single to an upcoming album as Peggy usually just drops his material when he wants to and often comes across like he doesn’t give a shit. Great track either way!
Schemin – Inner Wave:
Inner Wave are a group I am not massively familiar with, only being aware of one other of their tracks before hearing this. However it seems like inner wave are taking a new approach based on the contrast I noticed from their indie psychedelic pop past to this new song. Titled Schemin, this track sees inner wave try their luck with a druggy hypnagogic rap track. Obviously pulling from their arsenal of previously used psychedelic and hypnagogic production techniques, this bouncy but equally low key track suits their style and sounds a lot more original than the material they have made previously.
Describe – Perfume Genius:
Art pop innovator Perfume Genius is returning with a new album in May ‘Set My Heart On Fire Immediately’, and has come out with a new song titled Describe. This song shows Perfume Genius trying his luck (successfully) with a very noisy and distorted shoegaze track. What I love about this track is the unique modern twist on noise pop / shoegaze with the forward thinking production making the wall of sound all the more enveloping and engaging, combined with Hadreas’ lush vocals that you would not often hear in a song from this genre. Excited to see what Perfume Genius has in store for us next!
Turned To String – No Age:
Prolific shoegaze punk outfit No Age return from a 2 year hiatus following their 2018 Snares Like a Haircut (their first album in 5 years). This new track Turned to String follows much more of a simple post-punk / alt rock song structure without featuring much feedback or other shoegazey production techniques on vocals that you would often expect to find in their music. No Age taking a more direct approach works out though, a straightforward punky banger with some of the sludgy lofi instrumentals remaining.
Here’s The Thing – Sports Team:
Cambridge indie rockers / post punk revivalists Sports Team have released a new single titled ‘Here’s the Thing’ for their upcoming debut album in June. The song features a political message covering all the modern myths and misconceptions about general life, employment and social issues that are often said and brands them all as lies that the listener should take no note of. The jerky vocal style of the singer Alex Rice, a crucial part of their distinctive sound, sounds as great here as ever.
All is Lost – Wasted Shirt (Ty Segall & Black Pus):
Wasted Shirt are a new collaborative project from two of the most prolific people in the noise rock scene today, Ty segall with his countless genre bending discography boasting 15 albums since 2010, alongside Brian Chippendale, also known as Black pus: the drummer of legendary experimental noise rock duo Lighting Bolt. I wasn’t an enormous fan of the album due to its slight derivativity and experimental noise without enough melody for my tastes but the one track that stood out to me was All is Lost. A noisy off kilter track, featuring both ty and brian on vocals. The track follows a simple structure, one half featuring lo fi shouting over Brians drumming, the other part only distinguishable by a repeating crushing noisy riff. The track maintains a lot of the experimental sounds of lightning bolts music as well as the tone of many of Ty’s own work.
On Saturday I went to see our good friends Shaku, the Leeds based Jazz fusion/prog band to celebrate the release of their debut album ‘Maku’, released just a day prior. Shaku have their own style of Prog-Jazz that they like to consider “Frog Rock”, this element of comedy is very prominent in Shaku’s work, one of the things that make them so fun to watch. I had only seen Shaku once previously, at our music society’s Christmas party in which he had the pleasure of booking them as the headlining act, I knew of Shaku before through knowing the lead singer of the band but the first time I saw them they absolutely blew me away, I can say confidently however that this time surpassed that experience and all other expectations.
First thing I can say is that for all who know of Shaku’s music through Spotify or other streaming services, you do not know them until you see them live, they are the definition of a live band. They have their own style of jamming which seems so improvised until you realise it has all been meticulously rehearsed and planned out its almost unbelievable.
They started off playing the intro track to their album, Explosive. This track is an explosive opener, for lack of a better word; much unlike the jazz influences on the rest of this album, this song opens much like a very early motorhead or other 70’s heavy metal track through the sound of the guitar tones and driving drum beat. After the heavy intro, the soft vocals of Noiak Bedirian come through making the song sound much more reminiscent of a 70’s prog rock group. This 6 minute opening track is phenomenal and the perfect opener for the concert and also for the album. Following this first track, is potentially my favourite track of the album and so far one of my favourite tracks of the year, ‘Scraps’. To me this track seems very reminiscent of Frank Zappa’s 70’s jazz rock work, especially ‘Apostrophe’, beginning with a fantastic riff which grows and grows in volume with each layer of instrumentation being added through the first couple minutes of track. The track then calms down as soon as the vocals come through accompanied solely by a soft guitar in the background, then followed by a smooth saxophone passage. The mix of rocky jazz and Avant-Garde on this track with the multiple switch-ups throughout its length was even more impressive in its live version.
After the third track on the album, the band decided to have an interlude with a few new tracks which weren’t on the album. They invited a female Italian singer on stage to do a jazz rock song which had a Spanish / Italian sound achieved through their use of European styled Spanish guitar tones, as well a Spanish flute, which the saxophonist of the band swapped out for his sax. This song was incredible and I hope to hear it on their next album! The next song saw Noiak try his luck at jazzy hip hop as he burst into a rap about a girl he’d met for the first time who had asked to use his tooth brush, which he had rudely denied. The best thing about this part of the gig was the comedy and stage presence of Noiak which was so engaging as he tried to be as inclusive as possible getting the audience to sing along with him and trying to make them laugh. The song started off almost like a novelty track just for the purpose of some comedy relief and audience engagement but transformed into a jazz freak-out worthy of Zappa, definitely a highlight of the gig.
Often I found myself staring at the six piece band and all of them playing their individual instruments during their hugely impressive jazz jamming and wondering how they were actually creating the sound that I was hearing, I was amazed at their talent for a relatively new band which sounded extremely professional and mature.
They continued playing the remainder of the album in its entirety, equally as impressive as the rest. After their encore, the final song played was the final song on the album ‘Runnin’ With My Baby’, this song is famed as a Shaku gig highlight for those who have seen them in previous live shows. This track features an acoustic style guitar in a very bluesy fashion with a flute creating a very danceable tune for the audience. The chorus which is just ‘Runnin’ with my baby’ repeated, is perfect for audience inclusion as during live shows Noiak tries to get the whole audience involved singing it. This being the final song ends the concert in a really happy communal atmosphere.
Overall, the unbelievable talent of this band amazed me to a level I did not expect at all. The whole band is incredibly tight musically, despite their being 6 members all playing their own instruments, it almost sounded like the songs were coming out of a speaker because I was so amazed by the sound created by them all playing together and how they could even achieve that sound; not to even mention the remarkably skilled song writing that went into the tracks performed. The sound is incredibly original, despite employing a range of influences, most notably Frank Zappa, they transform this avante-garde jazz rock sound into something creatively unique through the use of different vocal styles, mixtures of alternate genres such as hip hop, blues and funk making it a unique sound of their own. It seems a shame to me that such a talented band are so small and I can only hope that through this release of their first album they can become recognised in these underground circles and begin to make a name for themselves. The concert was thoroughly entertaining through audience engagement as well as the contagious fun energy that Noiak supplied to the audience, this also proved very successful through the constant whooping and cheering from the audience throughout the set.
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