Posts Tagged ‘indue’

Clue Records

Christopher Nosnibor

The impact of lockdown and social distancing remain a prevalent theme in the blurbs and press releases for artists who’ve found themselves at a loss in recent months. The story behind Yowl’s new vide single, then, is by no means exceptional in itself, although it does have something of a twist to the tale in that it highlights the levels of ingenuity lockdown boredom has inspired for some:

‘unable to play shows online like some of their peers who live in enviable artistic

communes, they hit on a flawless solution; in a Lilliputian masterstroke, they built a cardboard pub and filled it with self-styled miniatures. From this, the video for Sunken Boy took form as a parallel to the cyclical ennui of life in lockdown and a materialisation of an all-consuming desire for power over their fellow bandmates, all while providing an

opportunity for a nod to the seminal video for Nsync’s ‘Bye Bye Bye’.

After a solid but fairly middling indie jangler of an opening, with a largely forgettable crooning vocal, all of which invites Smiths comparisons – but for its confessional lyrics and a strong opening line, which finds Gabriel Byrde admit “I’ve convinced myself and others that I’m a decent person” – it unexpectedly erupts about three-quarters of the way through into a raw, jagged blast of furious alt-rock.

It tapers down to a bleak ending, and makes for quite the rollercoaster, both sonically end emotionally. In short, it’s a great single.


Babylon Pink – 23rd June 2017

James Wells

Ooh. This is actually quite nice. Heavy hints of Amplifier colour the album’s opener, ‘Salt in Our Veins’, but I’m equally reminded of subtly psych-tinged 90s alt rock merchants 8 Storey Window. Their sole album, produced by Terry Bickers of House of Love, stands as something of a lost classic.

It seems odd to be writing about 8 Storey Window and House of Love – both very much 90s bands – given that Nasher is the current musical project of Brian Nash, formerly of 80s giants Frankie Goes to Hollywood.

‘432-1 Open the Vein’ certainly pegs back the abrasion and aggression of Brian’s forebears. In fact, Nash’s provocative past is cast aside here, with the songs on Open the Vein ditching synths and dancefloor-friendly beats in favour of what one might describe as a more alt-rock / indie sound which is very much guitar-orientated.

There are so many easy but emotive melodies stashed away in the layers of ‘Open the Vein’, with the soft, supple acoustic-led ‘Whole’ calls to mind Oceansize’s softer moments, with its processed harmonies and subtle sense of the expansive.

‘Where Will the Kids Live’ is dark, claustrophobic and uncomfortable despite its melodic accessibility. ‘Prostitutes and Cocaine’ slips into Doves-y pop orientated territory, and ‘Just Sounds Like Noise’ is an accessible piece of 80s prog-pop that strums along easily in its acoustic-led way, with heavily processed, smoothed-out and massively layered vocals. It sounds less like noise than some lame, overproduced bollocks, but given that the majority of the album is strong and dynamic, I’ll let it pass.

Nasher – 432-1 Open the Vein