Archive for the ‘Singles and EPs’ Category

Bunny & the Invalid Singers – The Certainty Kids

Posted: 1 November 2020 in Singles and EPs
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Bearsuit Records – 31st October 2020

Christopher Nosnibor

Because life had been getting a bit predictable – y’know, with nothing happening but the same old same old, work / life at home / going nowhere schtick – it was without time to mix things up. A second lockdown and a new release from Bearsuit certainly fits the bill there, since after another half-arsed, muzzy bag of mumbling waffle from that tousle-haired tosser who probably couldn’t even give a straight answer to the question of whether or not he knew what a straight answer was, no-one really knows what the fuck’s happening, least of all half the government, a bewildering array of discombobulating sonic collage courtesy of Bunny & the Invalid Singers feels positively coherent by comparison.

This single – featuring a remarkably conventional A-side and B-side – comes as a taster of an album, The Flight of the Certainty Kids, scheduled to land in January.

Delicate, picked acoustic guitar that combines elements of classical and folk paves the way for a mellow, easy-listening vibe, with a meandering horn weaving its way across a slow, slouchy beat, and it comes on like latter-day JG Thirlwell compositions melting into Groove Armada. If that sounds like a curious and not altogether complimentary combo, think again: it’s a coming together of aspects of cinematographic vision and a breeziness of a bygone era, that bright, skippy 60s pop style with a subtle psychedelic twist. It’s mellow, and it’s well-executed, and lifts the listener towards a tranquil space.

It’s probably the distortion of history as played through the filters of 21st century retrospect – you know, all those ersatz Kodachrome-filtered scenes of joyful skipping around, weaving daisy chains and carefree living in microdresses, flares, flowing locks, beards and sideburns… How we idealise the past. The swinging 60s bypassed most of those there at the time, just as punk wasn’t the revolution that’s endlessly eulogised for the majority grinding away at day jobs or otherwise blissfully unaware in the suburbs. Nevertheless, a semi-fabricated 60s lounge and ultra-chill vibe is the main flavour of flipside ‘None of this Happened’, and maybe the clue is in the title: maybe it’s a wilful misremembrance, a distortion. It’s pleasant enough, of course, and perhaps appropriately, it all goes off in every direction toward the end, and we’re left in a sonic whirlpool of weird.

It’s another creative success for Bunny and Co, and augers well for the album, at least if you’re on the market for a full set of psychedelic pop strangeness.

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Argonaut – 13

Posted: 31 October 2020 in Singles and EPs
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31st October 2020

Christopher Nosnbor

While Lorna and Nathan have been keeping themselves occupied with their uber-lo-fi DIY side project Videostore during lockdown, their main vehicle, Argonaut have been on something of a backburner. As has been the case for so many bands, working remotely simply hasn’t been entirely feasible, or conducive to creativity and recording, although the band have been striving to pull together with virtual rehearsals and so on.

Consequently, after some nine months of effort (and eight years ager their formation) the London-based spiky indie-punk have delivered the first single written collectively (just before lockdown) by the whole band.

Less uptempo and energetic than previous releases, ‘13’ is a wistful, reflective song that’s more haunting post-punk than punk, and as much as it’s inspired by Nathan and Lorna’s son’s turning 13 and is a celebration of youth and that voyage of discovery, a song of encouragement and positivity, there’s a sad tinge coloured with a pang of loss and an awareness of the ageing process: the video illustrates the contrasting emotions, as elation and wonder are marked against the ticking clock.

It’s touching, and a great tune: understated, but effective and resonant on many levels, making it more than worth the wait.

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Muca & La Marquise – October Blues

Posted: 30 October 2020 in Singles and EPs
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The Secret Warehouse of Sound Recordings – 23rd September 2020

Christopher Nosnibor

Maybe it’s just me, perhaps I’m tired and emotional or perhaps I’m just feeling particularly sensitive as the long-term effects of an absence of live music and being generally cut off from people bites harder as the nights draw in and the days grow shorter, but I’ve started to feel a real heavy-hearted ache lately for the things I miss. Maybe these are my October Blues, which means the arrival of this single is perfectly timed – not to lift the spirits, but to reflect that inward-facing melancholy that comes with the urge to hibernate or hunker down by a log fire.

Admittedly, it’s been a long time since I spent lazy evenings in basement bars listening to live blues, and it’s perhaps precisely because of that that Muca & La Marquise’s latest single, fills me with pangs of nostalgia.

Stripped-back and simple, primarily an acoustic guitar and voice, it evokes simpler times – while at the same time being absolutely timeless – of late-night smoky basement bars, with its jazz-tinged blues and laid back laconic delivery. La Marquise has a magnificent voice – timeless, classic, smooth. The guitar-playing is similarly understated, but follows a nice, chilled slow blues chord sequence and there’s an exquisite break, too, that draws you in and drifts away on a magnificent wave of melancholy.

All Runs Red – What Good Would That Do?

Posted: 28 October 2020 in Singles and EPs
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Christopher Nosnibor

A collective of international origins spanning Belgium, Italy, and New Zealand, All Runs Red’s debut is a stylistic hybrid, too, beginning with a drifting picked intro that’s a bit prog, a bit post-rock. It’s one of those tracks that makes a series of rapid transitions and leaves you feeling a shade dazed, but also confused and confounded, as you sit, stunned, just three minutes or so later, wondering how you got from A to B.

Initially, it packs a simmering tension, but one infused with a certain slickness, even a light funk groove before hinting at something else. I’m on the fence here, then between loving and loathing, because that smoothness reminds me of insipid cack like Maroon 5, but then there’s something building beneath the surface… and then the chorus breaks and it’s got ‘stadium’ written all over it – or at least arena. It’s sonically immense, and big on emotion, too, then there are howling backing vocals and a huge guitar workout breaks forth and then…it fades out? What? How? Who would do this, and why? I feel a little short-changed, and like I should perhaps complain – but what good would that do?

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Single Cover

From Ashes To New – Panic

Posted: 19 October 2020 in Singles and EPs
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Better Noise Music – 28th August 2020

Christopher Nosnibor

This may be a little belated, but then arguably, so are the band: From Ashes To New trade in melodic alt-rock that crashes in with the blustery force of post-metal before petering out into some middle ground that’s rooted in the turn-of-the-millennium tats ‘n’ haircuts trend. It’s hard to feel the fire and fury of such angst-by-numbers.

Don’t get me wrong: I feel a genuine sympathy for these guys: the scrolling text at the start of the video reminds me of all of the cancellations I’ve had to witness this year, from gigs and holidays, to conferences to recording sessions to…well, absolutely fucking everything. The office setting for the video hauls me back to the day I was required to return to the office – closed for the foreseeable future, possibly permanently – to collect my personal belongings. It felt like an ending, and a weak one that sputter out to nothing at that. The hangar-like empty space could, under different circumstances, have been quite exciting, even exhilarating, but under the eye of a gloved and masked security guard who watched as I separated out personal and company belongings from my desk, bagging up the items that were my own and separating out stationery, IT kit (although I regret not squirreling away a spare mouse now) and paperwork for recycling before leaving the gloomy open-plan building, the blinds half drawn and the lights off for what was probably the last time. It didn’t occur to me that maybe this would be the setting for recording a rock video: much as I wanted to capture the bleakness of the empty space, I was more preoccupied with making sure I’d loaded up and was off the premises in my allotted twenty minutes, and while the security guard was nothing but friendly, I felt tense and pressured, and yes, maybe the pressure was of my own making but I felt like an intruder and like I needed to get out before I cold relax and breathe properly again.

On departing, it struck me that with more of us being designated permanent home workers as the company looks to finding ways to recoup the immense costs of providing everyone with a laptop, the cost savings of not paying for electricity, cleaners, maintenance, and all of the other things associated with an office housing around 80 staff, I may not see many, if any, of the people I’d spent the last few years working with, in close proximity, ever again. Granted, half of them I could take or leave, some of them were cunts, but they all contributed to the fabric of life. I miss life, and I may even miss some of the people.

But it doesn’t change fact that this is some fairly generic and somewhat dated-sounding Limp Bizkit / Linkin Park lift, and while I feel their pain and panic, it’s all downhill from the intro: the video, likewise, as we move away from the TV screen, the source of the panic, to the empty office, something they seem to revel in but which carries quite different connotations for me and no doubt many.

This isn’t clear-cut, and this is personal, and sometimes, the personal does not lie within the universal. ‘Panic’ will no doubt speak to some, even many, and maybe it’s a matter of demographic, but it certainly doesn’t speak to me.

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Corrupt Moral Altar – Patiently Waiting For Wonderful Things

Posted: 18 October 2020 in Singles and EPs
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APF Records – 27th November 2020

James Wells

Sometimes, there’s just no substitute for a full-tilt, balls-out, gut-churning sludgy grindcore for providing that release. There’s something strangely soothing in the relentless blastbeats, the mangled-to-fuck guitar attack, the guttural growls of pain, anguish, and all-out fury. Corrupt Moral Altar get catharsis, channelling every last ounce of rage into fast and furious sonic blitzkriegs, and three years on from their second album, Eunoia, this five-track EP suggests they’ve distilled and bottled three years of fury into seventeen minutes of brutality.

For the most part, it’s pretty much business as usual, in that everything is a pulverizing blast whereby everything thunders and pounds away at a hundred miles an hour, each song leaving you feeling like you’ve been used as a punching speedbag for three and a half minutes. Five songs may not sound like much, but when punishment is delivered at this pace, and with this much force, it’s exhausting. You only have to hope that ‘Cathedral of Porn’ isn’t intended as a tune to wank to.

The intro to ‘Spirit Breaker’ marks a distinct change in tone and tempo, with chiming, post-rocky guitar, before, perhaps inevitably, it gets grimy and nasty and completely full-on. There’s a grand swathe of semi-choral vocals which ring out over the punishing double-pedal drumming and heavy-grind guitars, and it’s a surprising but rather moving shift, and it closes in a more contemplative that returns to the atmosphere of the opening. It’s by no means wimpy, but does abundantly demonstrate that CMA are far more than one-dimensional rage-merchants.

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Ben Wood & The Bad Ideas – You’re The Crash I Needed

Posted: 13 October 2020 in Singles and EPs
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30th September 2020

Christopher Nosnibor

Ben Wood & The Bad Ideas return to follow up on August’s ‘Black’ with ‘You’re The Crash I Needed’, and of this release Ben says, “We wanted the lyrics to reflect an awakening, a coming-to after a period of being insular and unaware of one’s own actions but for that to be entirely forced upon you by someone else. Musically ‘You’re The Crash I Needed’ was composed to mirror that sensation of when you fall asleep in front of the TV and then it seems explosively loud and totally overwhelms the senses when you wake up.”

That jolt… to nab the line penned by Editors, it kicks like a sleep twitch. We’re all guilty of sleepwalking through life at some point or another, oblivious of ourselves and the potential repercussions of our actions, and such somnambulance has become the characteristic behaviour in 2020 as we drift from one day to the next. The kick will happen, and no doubt the jolt will provide a real shock to many.

‘You’re The Crash I Needed’ is an indie-goth gut-punch of a song, with hell-for-leather drumming and interweaving guitars reminiscent of Rosetta Stone and early Mission and it’s got a vibrant energy and a kind of sweeping openness that’s simply not commonplace in contemporary music. Then again, nor is that kind of chorused guitar sound.

Balancing breeziness and shade, this is a tight and tense rack and a clear single choice, and while it’s retro it’s anything but cheesy. I for one am excited.

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Single artwork

Listen: ‘It Falls Apart’ from the ‘Dark Days’ EP by GHXST

Posted: 12 October 2020 in Singles and EPs
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Grunge-noise duo GHXST have recently announced the release of their new EP ‘Dark Days’ on 16th November.

Following up the release of ‘P.U.R.R’ back in September, the duo has now shared a second track from EP. ‘It Falls Apart’ was written when GHXST drove out to California leaving New York behind, after having lived there for over a decade. Hazy vocals are mixed with the downtuned riffs of a Marshall cab, a loving reference to two of their all-time heroes Jimi and Iommi.

Melody Fields – Broken Horse

Posted: 10 October 2020 in Singles and EPs
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19th September 2020

James Wells

We love an unsolicited approach from bands who just bung all the press blurb and links on a message via FB. Because we’re not already so swamped we can’t read even a quarter of the emails we get sent, which means in terms of listening and coverage – maybe 10% on a good month.

We’ll forgive Swedish psychedelic act Melody Fields, though, since their brand of swirling, paced-out psychedelic shoegaze has heavy hints of early Ride and Chapterhouse as well as more recent acts like The Early Years, but then there are also vaguely baggy hints that call to mind early Charlatans. So when they describe themselves as ‘No retro, no seeking for effects’, and as a band with ‘a depth and a substance in their song writing, that feels unique in an ontherwise effect seeking scene’, my instinct is to ask if they’ve really done their research.

There are heavy far eastern influences in the serpentine guitar lines which they describe as ‘LA meets mystic Far East meets melancholy North’, as much reminiscent of The Mission’s drawing on Led Zeppelin as anything else and it’s not shit it’s just derivative.

The title track captures a hazy 60s vibe – a blandly generic assimilation of the era and the style, there’s a hippy-trippy wide-eyed wonderment spun into its folk-infused pickings, before the pleasant but predicable and somewhat turgid ‘Painted Sky’ brings Black Angels drone into a slow-mo collision with plodding Kula Shaker indie. There are some nice harmonies, but not nearly enough to make Melody Fields special.

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ReMission International – TOS2020

Posted: 3 October 2020 in Singles and EPs
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SPV Records – 2 October 2020

Christopher Nosnibor

It’s easy to forget just how absolutely massive The Mission were at their peak, packing out headline shows at Wembley Arena, Finsbury Park, and Reading Festival.

There was a time when Wayne Hussey looked like being the new Bono. Or something. And now he’s gone and done Band Aid for goths, with a rerecording of ‘Tower of Strength’ featuring a truly immense roll-call of luminaries from the gothier end of the alternative / post-punk scene to raise funds for covid charities around the world.

The press release reports that alongside Mission frontman Hussey, the project involves Andy Rourke (The Smiths), Billy Duffy (The Cult), Evi Vine, Budgie (Siouxsie and The Banshees), Gary Numan, James Alexander Graham (The Twilight Sad), Julianne Regan (All About Eve), Kevin Haskins (Bauhaus, Love & Rockets), Kirk Brandon (Theatre of Hate, Spear of Destiny), Lol Tolhurst (The Cure), Martin Gore (Depeche Mode), Michael Aston (Gene Loves Jezebel), Michael Ciravolo (Beauty in Chaos), Midge Ure (Ultravox), Miles Hunt (The Wonder Stuff), Rachel Goswell (Slowdive, The Soft Cavalry), Richard Fortus (Guns N’ Roses, The Psychedelic Furs, Love Spit Love), Robin Finck (Nine Inch Nails, Gary Numan, Guns N’ Roses), Jay Aston (Gene Loves Jezebel), Steve Clarke (The Soft Cavalry), Tim Palmer and Trentemøller, the latter of whom has provided a remix of the new recording.

Having properly got into The Mission by hearing ‘Tower of Strength’ during the weekly top 40 (I was 11 and my exposure to ‘alternative’ music had been quite limited at that point), the song has a certain special place on a personal level, and the likelihood is that it’s the same for many fans. Reworking a classic is risky, potentially an act of desecration or sacrilege (referential word-choice half-intended).

The EP contains four 2020 versions in total, with the regular single version, a radio edit, and three remixes.

In term of the instrumental backing tracking track, the single-version sound very like the original, only with some additional extraneous details and the meat where the bass and extra layers kick in stripped out. Meaning it’s ok, but while one of the major criticisms of The Mission has ben that they lean toward the bloated and bombastic, the fact is that was always a part of the appeal. But overall, it’s nicely done: the guest contributions, both instrumental and musical weave into one another pretty seamlessly, and there are no instances of any one person stealing the limelight with their overstepping delivery of a line. There’s no ‘tonight thank God it’s them instead of yoooouuuu’ moment, and this feels very much like a collective, collaborative, egalitarian effort, and I almost feel as if I could give it a virtual hug for that.

The nine-and-a-bit ‘Beholden to the Front Line Workers of the World’ mix comes closest to the basking, expansive glory of the original. It’s a song that’s meant to just keep going, and this version does just that.

Trentemøller goes technoambient with his reworking, and kudos for breaking the mould, and double for the fact that it works. It’s all in the strings, of course. The Albie Mischenzingerzen remix is drummy but doesn’t seem to bring quite as much to the party.

It might not quite pack the power of the original, but it’s not far off: the people playing on it are worth hearing, and it would be churlish to criticise a release made with such positive intentions. In bleak times, Hussey and his pals aren’t only a tower of strength, but a beacon of humanity, and it’s a powerful thing.

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ReMission International (cover artwork)

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