Midlands quartet Sunset Beach Hut last recorded in 2018, with ‘Comfort’ and ‘Upside-Down’ hitting many critical radars and most noticeably the much-streamed ‘Bury’. This distinctive track was simultaneously haunting and soothing with a flowing and busy guitar line and relaxed counterpoint vocals.
They have continued to play live to an appreciative following and now the excellent new single ‘Twenty//25\\five’ arrives, hinting at a renewed flourishing for the band. On this enigmatically named and punctuated track the guitar has continued to glitter in the mix, floating amiably through the song with reassuring echo and melodic depth as the vocals by Aphra Smith beguile and intrigue – lyrically cryptic and melancholic (‘…I’m a glass of champ that’s lost its fizz, a half empty bottle when it comes down to it…’) but always returning to the chorus line ‘….I came to dance my thoughts away…. out of your spotlights….’.
The lo-fi creative animation of the video combines effectively with the song to become strangely uplifting and thought-provoking, as the bass and drums drive the rhythm along with a relaxing confidence until the abrupt end; the two minutes ten passes all too quickly…
A big turnout for a Tuesday night at the Blue Moon, full of well-wishers for the upcoming appearance at the US ‘SXSW’ festival by Mammoth Penguins.
It was a cracking support bill too, started by Peterborough quartet SUDS. Opening with the catchy recent song ‘You’ll Feel Better’ the sound is immediately established; a warm, ethereal jangle-pop, topped with smooth vocals that float over jazz-infused guitar lines, a bass line that descends and garnishes reassuringly and drum playing that weaves everything together.
The breezy pop of ‘Evergreen’ was a highlight – this was their debut single and included on their EP ‘It Suits Me Well’, a fine collection soon to be added to with recordings of some of the new songs featured in this impressive set.
Last time I saw Goldblume they were playing live in a summer storm and as always generating enough energy to compete with the elements. Opening with ‘Fawning’, tonight they were showcasing the instrumental power and complexity when the ensemble lets loose, with math-rock time changes and the volume and dynamics of the trio constantly varying. A great communicator with an audience, singer/guitarist Jethro brings the lyrics to life with a vocal performance that cuts through the noisy wall of sound, especially on ‘Bleach’, one of their best songs.
Cambridge three-piece Mammoth Penguins have two excellent albums to draw songs from and they opened tonight with the compact and to-the-point ‘Propped Up’ and ‘Cries at the Movies’ from 2015. Emma Kupa’s vocals sound simultaneously disconnected yet right in the middle of the narrator’s viewpoint in the songs, especially on the more recent album tracks such as ‘I Wanna’, an uplifting and clear statement of love (‘….I wanna be waiting when your train arrives…I wanna save your life….’).
The tense longing of ‘Put It All on You’ with the lyric of contradicting pairs of phrases (‘….you filled me with confidence and then you drained it all out…’) is another highlight, especially when the band go into overdrive, as they also do on the power pop of ‘Cold and Lonely Place’.
Mid-set they perform ‘Closure’, one of my favourites and probably their definitive song in all areas, with the resigned melancholy of the vocal, the chorus that sounds suspended and unresolved and the bass and drums that alternately sit back then explode into action.
It was a standout set in an atmospheric venue…good luck at SXSW!
Derby based four-piece Pet Crow release a follow up to their 2017 debut long-player ‘A Simple Guide to Small and Medium Pond Life’ and the punching intro to opener ‘Limbo’ is a clear statement of intent. As on all of their tracks the band seem to extract depth and endless variety from the conventional bass/guitar/drums line-up as Danielle’s vocals soar and echo above.
Favourite track of mine and forthcoming single, the lively ‘Insomnia’ is B-52’s in full garage mode, with some of the busiest drumming on the album. ‘NOCD’ is a relentless groove with atmospheric guitar adornments and bass way up in the mix. ‘What We Doin’?’ maintains the power output level with an insistent chorus and unpredictable changes of pace.
‘One Whole Summer’ is a celebratory and creative three minutes with the drum kit flayed until it sounds like it is being thrown down the stairs and features the haunting refrain ‘….we can stay up all night…and the next day is a mess…’. ‘Controlling’ has some sparser passages and strange effects with a playful vocal driving the song. Title cut ‘Take The Edge Off’ is a sub two minute punk burst mainly built around the title phrase and still there are three more tracks to discover (including a surprise appearance of a frantic saxophone on ‘Scars’).
The album features excellent production, successfully capturing a ‘live’ sound – I was lucky enough to see them performing last year when they played a memorable standout set at the Leicester Indiepop half-dayer.
First recorded as a solo acoustic ballad in 2019 by folk country singer and composer Molly-Anne this stunning new version has reimagined and expanded the original and now stands as the first release from the new band Molly & The Moon.
Reassuringly the track has retained the subtlety and understatement; set to a gentle waltz time it is a simple expression of missing a loved one ‘…I think that I love you too much…you’d break my heart if you never came back…’ resolving into the perfectly balanced three-part harmony chorus, ‘….cold is the night without you here….the pain of my heartache as wild as the sea…I hope the wind blows you back to me….’.
The production and performance is relaxed and mellow – with the rich but delicate lead vocal hinting at the depth of emotion beneath the surface.
This new band line-up features acoustic bass, guitar, banjo and cajón and is featured in an atmospheric video recorded at a 10th Century Saxon Barn in Gloucestershire, an appropriately timeless and classic setting for this gorgeous song.
(Molly & The Moon can be seen at the charity Frameshifter II Festival on 21st March, tickets available here )
The striking Love Hearts sweets artwork heralds a new single from Derby-based musician/performer/producer Emzae, a follow up to the contrasting ‘As This Day Fades To Another’ and ‘Another Lesson Learnt’ from last year.
Like all of her recorded work this new track is immaculately constructed, with the combination of lyric and music beguiling and inviting the listener in. Reflecting the sentiment of the title, Emzae’s vocal kicks in at the one second mark and then it is all action for the brief duration of the track as it packs in verses, spoken word, bridges and a double chorus ‘….if we get into it you have to be sure, don’t wanna be restless no more….’ and of course ‘…we don’t wanna waste our time…’.
The phrases roll over each other as the voices take on different characteristics; the brilliance of this song is that all of this meshes together so effectively, expressing the fun and urgency of a possible relationship.
This lyrical dance takes place over some sharp and sparse electronic beats, percussion interruptions and possibly an acoustic piano in there too, all adding up to a sparkling two minutes.
A new solo EP from JEDRIK, the singer from Cambridge pioneering dreampop trio Carolyns Fingers, who appeared on the scene in 2017 with some choice live shows and single releases. These four exquisitely crafted tracks blend electronic sounds and voice creating something very special…
1. Unfettered. Sung random-ish phrases roll over each other as a classically influenced chord sequence and bass move sedately on. It is an outpouring of emotion and love; uplifting, celebratory and fun ‘.…so happy I feel I don’t weigh anything at all….’ and winningly ‘… I’m a pair of trousers shy from true paradise….’
2. More Drreamscape. The bass keys and pure vocal start this off as a contemporary pop song but the foreboding atmosphere builds with insistent guitar notes and percussion until the track changes direction and becomes more of the dream of the title. Conjuring that half-awake drifting in and out of consciousness feeling other treated voices intrude, but the chorus dominates towards the end before a sinister coda unsettles the listener…
3. Seamsplitter. Structurally ambitious and ambiguous, this one is built around a descending guitar riff and features an addictive mix of claustrophobic beats and lyrical fragments. The turmoil of the music echoes the aspirations and feelings that don’t go as planned ‘….you say you’ll make me whole….’
4. Special. My favourite on the EP, a lo-fi gem of gentle percussion, low register guitar and a sultry, slinking melody beautifully sung. The chorus hooks will stay in your head ‘….what can I do to be someone you always find special…’
A welcome and wistful mix of melancholy and fun on the new album from Glasgow indie song-crafters The Just Joans, maintaining the high standard since their formation in 2005. Before you even listen to the songs the titles tell a story…
1. Hey Ho, Let’s Not Go A burst of brass is used to counteract the ennui as we become more reluctant to make the effort to have a night out when ‘…I’d rather get a takeaway…I’d rather get an early night….’. There is still a regret in the playout, ‘…when we were young we took the bus to town…’
2. Who Does Susan Think She Is? This one rolls along nicely and as in many of the tracks it is a wistful tale of life moving on and the inevitable leavings behind. Great piano solo!
3. Wee Guys (Bobby’s Got A Punctured Lung) A pre-released single; an instrumentally upbeat and succinct commentary on some of the probable mundane reasons for knife crime.
4. Dear Diary, I Died Again Today Katie Pope delivers a touching vocal performance, backed by a string quartet and featuring the memorable couplet ‘…a comment so inept, Frank Spencer would have wept…’
5. My Undying Love For You Is Beginning To Die Definitely one of many highlight of the album, lo-fi synth and percussion for David Pope’s sad reminiscence ‘….once upon a time long gone you held me in your thrall…but now I find I’m less inclined to bother much at all….’. It sort of resolves with the twist of ‘…perhaps that’s why you left two years ago with your new beau…’
6. When Nietzsche Calls A sombre mood pervades this one, but the affecting vocal and distant strings still wins you over.
7. The Older I Get, The More I Don’t Know Opening with ‘…the past has passed me…..the future’s ghastly….’ the song sounds more optimistic than it should be as the driving rhythm section pushes it along.
8. The One I Loathe The Least Lyrically, musically and in the vocal performances this is another big highlight. All together now! ‘….when everyone’s subhuman scum…it’s hard to find some peace…thank heavens I found you…the one I loathe the least…’
9. Another Doomed Relationship Sounding like an early poppy Depeche Mode single the synths are back for this mini-masterpiece, the narrator knowing that even as ‘…we dream of true love…but the outcome’s the same…..’ that still ‘…. we cling on by our fingertips…’ and ultimately ‘…it’s the hope that kills you…’
10. Holiday Acknowledging the musical influence of Blur in the lyric for this song, this one really hits the sad reality ‘…two weeks in the sun but then you come back and it’s all the same…and you’ve got twelve months to count down again…’
11. People I Once Knew The strange compulsion to retread the past that started with website ‘FriendsReunited’ set to a sinister clock ticking beat ‘….I’m quite content with my life and how it went…so, why do they call to me? that strange menagerie…’
12. Like Yesterday Again A dark coda to the album; lyrically sparse with lush but lo-fi orchestration ‘…in this room there’s no view…all there is are memories of you…’. A thoughtful ending to a brilliant album.