A super-long EP or mini-album from East Anglia’s finest power-rock trio Gaffa Tape Sandy. It is a follow-up to their acclaimed collection ‘Spring Killing’ from 2017 and builds on their reputation for brilliant live shows, which has been captured in the excellent ‘as-live’ production here.
After an insightful spoken introduction from young Isaac (‘…banging tunes!!…’), the opener ‘Beehive’ pushes all before it; unbearably catchy vocal lines, a descending chord sequence, an impassioned natural history lyric and guitar noise that could not be bettered. With the flexibility of two strong and contrasting singers the band can keep the momentum going with the excellent ‘Meat Head’, a timely reminder of attitudes to personal rights.
Both of these tracks have been previously released and are familiar live favourites but the newer ‘My Desperate House’ maintains the high standard. After the deceptive calm intro and the band raise the fireworks to full volume there is no doubt that this is another fine tune.
‘Headlights’ has a syncopated, choppy rhythm and with the dual vocals trading exchanges it refers to the mental health issues that cloud the lives of so many people. As on the rest of the album the production and mix on this track blend the basic trio of instruments into something really special.
Departing into the quick waltz time of ‘So Dry’ the band show their prowess when stretched into a song of contrasting light and dark sound levels, as also ‘Dinner Jacket’ which is a more sedate outing…..until the trio suddenly burst into full flight near the end!
‘Turnstile’ has an anthemic quality with explosive drumming and spiky bass playing, then the finale ‘Kill The Chord’ is a protest song about cuts to the arts and the closure of small venues. It is a reminder that the lifeblood of creativity is flowing through the veins of emerging bands, captured at their best in an intimate, packed performance space playing the sort of show at which Gaffa Tape Sandy excel…
Appropriately self-described as ‘…the sounds dreams make…’, this is a five track EP from electropop auteur Bug Teeth, originally digitally available in 2018 and now released as a CD version to tie in with various live dates including the Latitude Festival.
1. Confetti Death This starts with an insistent cello-like tone undulating in intensity that provides the key reference point for the track, other layers join then finally a distant voice appears, treated into an otherworldly, ghostly instrument. The overall effect is haunting and powerful, pulling the listener into a strange world.
2. Serotonin My favourite song on the EP, Bug Teeth garnishes the electronics with a guitar loop; this one glistens in the sunshine before it is joined by some persuasive percussion beats that take it to another level. Again the voice tantalises with parts of lines and words revealed, then disappearing into the ether.
3. Raspberry The synthesisers have an analogue eighties sound here with waves of sound washing invitingly over the listener before the inquiring, plaintive voice arrives. Like the other tracks there is a feeling of timeless and limitless space.
4. Forests on the Way There A short guitar-driven intro with a small jump in the loop to unsettle the sound, before other themes and lines interweave. While the strings are relatively untreated the vocal is echoing and weaving through the dark trees in this evocatively named track.
5. Moth (Jasmine’s Song) A pulsing synthesiser with slowly descending electric piano is the musical core of the finale. Bug Teeth does not compromise the sound and ideas, breaking conventions of song structure and vocal presentation every time to create something magical, involving and enduring….
A new EP from Cambridge bluesman Richard Archer, a favourite on this site and now recording as the trio R.J. Archer & The Painful Memories, bringing the welcome addition of a neglected style to the Cambridge music scene.
1. It’s Snowing in Hell A song that first surfaced on his 2017 EP, this is now given the full band treatment, adding an extra energy to the insistent riff, always returning to that great title line,‘…you tell me that you’re doing well, it must be snowing in hell…..’ With the gradually increasing desolation of the vocal it is a mini Tarantino movie soundtrack. Roger James on bass and Ben Kingsbury on drums make their presence felt at the end of this excellent track.
2. Bad Guys Always Win A more free-form track with RJ’s best vocal performance and lots of instrumental embellishments and nuance. The lyric is of course a tale of woe but with a twist away from the personal heartache to more general and bleak regard of the human condition ‘……comeuppance never comes along and where it’s gone nobody knows….they used to end up in jail, now it seems they can’t fail…‘.
An anthem for our mixed-up times…
3. In The Wrong The other two tracks were sparser in their sharpness; this one is full-on blues rock with unashamedly distorted guitar smeared across the mix creating a triumphant ‘as-live’ sound. The powerfully delivered declaiming lyric pulls no punches in its meaning, ‘….you’re in the wrong, there will be hell to pay….’.
A speeded up ending reminds us that there is something invincible and addictive about a bluesy rock trio in full flight.
An interesting four-track EP from two musicians who have never met; Christian Gustafsson from Forshaga in Sweden and Tony Jenkins from Cambridge unite to form Kammahav showing how words and music can be united across the internet, creative processes that have now been happening for many years in various fruitful collaborations across the world.
1. Everlasting: The most immediate song on the EP, an instrumental compendium of guitars, Hammond organ and percussion – all unprocessed and with a refreshing 60s jangling clarity. The vocal and harmonies follow a strong melody, especially on the soaring hookline.
2. A Magical Place: A widescreen, epic track densely filling its eight and a half minutes. Starting with a mandolin forlornly strumming over a distant but slowly building electric guitar figure, eventually the slowly delivered and questioning words arrive. We are in prog rock territory here – but the music and words work their spell as much of the genre does, becoming an immersive, theatrical experience. It is a bit like one of those mid-period Pink Floyd tracks with a haunting personal alienation lyric, eventually consumed by a big, echoing guitar solo.
3. Repeat: The whole EP has a retro feel; ‘Repeat’ is firmly embedded in the sixties sounds of The Byrds and early Moody Blues. Evocative images float in and out of the narrative ‘……I could be a poet writing sonnets to the girl of my dreams….I could be in politics…I’ve got the honest face….’; these are tempered by a more downbeat middle eight with the overall effect making a good stand-alone single.
4. The Moment: With a ticking clock (metronome?) setting the beat, this pastoral interlude has some sweet-sounding acoustic guitar arpeggios, a connection to the EP title and a detailed description of an abandoned room ‘….fraying edge of the linoleum…books unopened…words redundant…’. Ending with ‘…..just a memory…just a picture…just a fading photograph….people smiling to catch the magic of the moment’. The sentiment and instrumentation could be an outtake from early Genesis album and gothic minor classic ‘Nursery Cryme’.
An excellent new four-track EP from London duo Panic Pocket . Cast adrift through the inconsistencies of modern life the pair sum it all up with dry wit and bittersweet irony tempered with an undercurrent of warmth….
1. The Boss After a harp glissando to start, the usual live line up of lo-fi guitar and mini-keyboard gets a kicking drumbeat and bass too behind the tale of unfair power structures in the workplace. With the cutting ‘…congratulations on your masculine power trip, save me a seat because it looks like I am coming too…’ and ‘…when will you listen to a single word I say, not gonna happen before close of play….’ the only answer to the irritations seems to be in the middle eight; ‘….got my P45, HR was never on my side….’.
Lyrically addictive, the word lines are duetted and interplayed between Sophie and Natalie into a frenetic and sparkling two and a quarter minutes.
2. You Have to Laugh There is a real melancholy underneath this description of non-compatibility and decline in a relationship. It is full of wryly crafted lines like ‘….we’ve been hanging out a while but I’m yet to see you crack a smile….’ as the music strolls along with the analogue keys filling out the sound. The despairing and repeating line ‘….you have to laugh, otherwise I’ll cry…’ sums it all up.
3. Pizza In My Pants Perceptive and fun tune celebrating escape from external pressures to succeed and endless planning ahead ‘….Emma’s got a house in the suburbs, she bought it with her banker husband, wonder if he has a brother?…’ ‘….Hannah’s baby’s due in the summer, she will be a brilliant mother, I’m not fussed about procreation, I prefer my PlayStation…’.
Featuring cool harmonies and percussion the song finally resolves into the defiant ‘…I’m not saving for a rainy day, I’m just doing it my way…’.
4. OK Cupid Another sadder track, the timeless idea of unrequited adoration set into the anonymity of social media. The music is as plaintive as the message, with yearning keyboard lines intertwined with the frustrated vocal.
This may be a low key, lo-fi song but like the rest of the EP it leaves a big impression….
Following on from her debut solo album ‘My Name Is Safe In your Mouth’ in November last year Liela Moss releases an excellent new EP of cover versions, with each song sharing the theme of rain and its various connections to the emotions.
1. Here Comes The Rain Again The most well-known track on the EP, a major hit for Eurythmics in 1984 and was always one of their more enigmatic mainstream works.
This new version explores the darker side with sparse distant keyboards surging into lush strings and dense instrumental textures as the vocal turns the emotions inside out. At times the multi-tracked voices echo through the track like a stormy wind that accompanies the rain.
2. I Can’t Stand The Rain Soul classic written and recorded by Ann Peebles in 1973 and then made a bigger hit in an electro-disco version by Eruption in 1978, Liela has focussed on the power of the simple lyric of reminders of loss and regret, while the music has a percussive urgency as a strange repeating note fades in and out.
3. It’s Raining Today With the death this week of Scott Walker this track (from his 1969 LP ‘Scott 3’) has additional poignancy and prominence but it was always going to be the standout cover on this collection.
Starting with a gentle, thoughtful vocal it is at times a sweeping big ballad but still retaining an emotional intimacy, helped by lyrics such as ‘….it’s raining today, but once there was summer and you….those moments descend on my windowpane…’. A full orchestral sound is unleashed in the second half of the song, with a show-stopping performance from Liela.
4. Prayers For Rain The original 1989 Cure song was described as ‘an evocative, wounding portrayal of emotional desolation. Water serves as a metaphor for the feeling of hope and enthusiasm toward life’.
A bold choice to include on the EP, and with lines like ‘…infectious sense of hopelessness and prayers for rain, I suffocate, I breathe in dirt and nowhere shines but desolate and drab…’ this could be quite a challenge.
The resulting cover is bleakly powerful and satisfying, maintaining a pace and relentless stately energy through the song, with the band allowing plenty of space for the vocal to cut through.
A new EP from Benz, the performing name of Swedish composer and singer Ebba Salomonsson. Moving easily between dense, layered instrumentation and a sparser sound these three tracks represent some of the diversity and range of her ideas.
1. Swing My Soul A distant undulating keyboard, echoing drum beat and the song begins with the cryptic lyric ‘….I guess the light blew up in my face…..I couldn’t turn away…’. The loose tempo and beguiling vocal is a heady concoction, before we reach the big title hookline. A languid trumpet sound interweaves with an avalanche of guitar noise for the climatic last third of the song, as the words turn to regret ‘…we used to live like moments would come back….now I got no more to give…’
2. Erazor The deceptively loud introduction gives way to a lighter than air vocal on a joyous pop song with a tune that sounds so perfect and natural you wonder why nobody has thought of it before.
There is some tension in the lyrical sentiment though; the doubts of ‘….I fear your heart is going numb…..love me until your heart breaks…love me until it don’t…’ soon give way to the frustrations of ‘…keep on falling apart, keep on heading the wall…’. The guitar keeps bursting back into the mix and the whole thing motors along like a War On Drugs A-side. This gem of a song is released simultaneously as a single.
3. The Smile The dissonant mellotron heralds a lush, sensuous soundscape of synthesisers and a smooth, rich voice over a stately pace set by an insistent but muted drum. Another classy melody and words revolving around the ‘smile’ of the title. ‘…keep her head in the breeze…in hope she’ll feel alive and see what’s left of me… oh, that smile she gave to me…’. The extended instrumental coda features the smoky trumpet sound again.
This is a lovingly-crafted set of songs, brought to life by top quality musicians. Excellent!