As a prelude to his much-anticipated second long-player ‘The Last One’ Gavin Chappell-Bates releases this philosophical concoction inspired by French savant Jean-Paul Sartre and his reflections on how a person should aspire to authenticity and make free choices. Despite JP’s intellect I’m sure that while smoking his pipe in the salons of Paris that even he could not have predicted this satisfying combination of challenging lyric and punchy indie-rock.
Although Gavin could probably multi-track and loop the other instruments himself he has chosen to feature two of Cambridge’s top performers and session players, Neil Bruce of Bouquet Of Dead Crows on guitar and Fred’s House drummer Paul Richards (who has just launched a new drumming film project, see link below). The spiky words and edgy music encourage the listener to reflect on the profound issues carefully, or just dance along anyway.
The accompanying video consists of graphic interpretations of the lyric, no personal appearance this time, before bombarding us with the big question: ‘…bad faith, good faith, decide, this is your life…’. Deep stuff indeed, but ridiculously catchy too.
With this song and the previous single Gavin is enigmatically trailing the forthcoming album, hopefully due early 2018?
The historic town of St. Ives is sometimes in the musical shadow of its close neighbour Cambridge but there is much talent and creativity to be found there. Rockers Hollowstar and multi-faceted soloist Gavin Chappell-Bates spring to mind; now relative newcomers False Hearts stamp their mark with this superb hard-hitting single. This four piece band features twin guitars, bass and drums and recently scored the rare accolade of being the unshakeable favourites for 20 weeks on the New Music Generator unsigned chart, seeing off any Cambridge opposition effortlessly with their last release ‘Dream On’.
An exuberant local DJ described this track with the evocative lines ‘It’s an absolute screamer….it blew my ears off’. I see where he is coming from, the production and mix on this song is spectacular, it even sounds loud if you play it quiet.
The guitar and percussion introduction quickly gives way to full-on noise wall then vocalist Emma Hodgson delivers a powerful vocal with the twisted hook line ‘I despise you….but I love you’, a reflection of the ambiguity of the lyric overall. With no time for flamboyant solos it is belting guitars and pulsing beat all through; pure thunder and lightning for 2 minutes 50 seconds…
A cracking new two-headed single package from Cambridge trio Goldblume. Opening track ‘Fawning ‘ is a no holds barred rocker but becomes a bit of a mini-suite of varied movements included in the five minute running time, which is impressive given the theoretical limitations of guitar, bass and drums.
Singer/guitarist Jethro is at his confident best, from the edgy stop-start lines of the introduction, taking its time before the vocal works its way in. He sounds almost as if the story in the lyric is slipping away from him (…’you can do anything, look at your perfect skin’…) and the music undergoes a controlled disintegration too. The bass gets chance to shine, I greatly enjoy that sharp cutting deep sound they have achieved in the studio.
The accompanying track ‘Tomorrow’ is fully acoustic; a relentless climbing chord progression underpinning an impassioned vocal plea. The drums are held in check, just contributing some brushwork but the bass again is crucial to the mix.
The pastoral cover art shows a cat in an ethereal woodland glade meeting a fawn from the title track, though perhaps that fawn represents the white hart of legend, the harbinger of doom indicating that a terrible evil or judgement was imminent; this music does have its darker side…
The debut single from new Cambridge band Shyer is a summery concoction about the effects of a new relationship.
The lyric of ‘Hideout’ is a mosaic of references to perceptions all going a bit addled with some neat phrases threading through ‘….All the electrical output…the sudden surge of excitement and I’m charged for days…’ and my favourite ‘…. it’s like the sun’s under my skin ….’.. All assuredly sung by wordsmith Amanda George. The Marr to her Morrissey is guitarist/composer supremo Zak Tysoe, in this song he is always playing something interesting in jangly or full-on rock mode. Firm foundations are provided by the rhythm section of Chris How and Damiano Porcelli – and they are given their chance to shine in the middle eight section.
This is a classy and lovingly crafted single, with so much going on in one track you wonder if they have any more to offer, but don’t worry, the follow-up single ‘Bad Company’, a more rocky piece is finished (complete with ominous chord sequence and angry guitar but another catchy chorus line) and waiting to be formally released in a few weeks.
And there is plenty more to come; I recently saw them play outdoors as the sun went down (see picture below…) over the picturesque Three Tuns Beer Festival outside Cambridge, where they delivered a sparkling twelve song set of upbeat originals to an appreciative audience.
The band’s memorable name reflects the conflict that is common in many performers between the urge to reach out with their creativity balanced against lack of confidence and shyness during the process.
Look out for this energetic four-piece, they are developing as a force to be reckoned with on the Cambridge scene.
In the movies we had Vincent Price, Charlton Heston, Will Smith….and now Gavin Chappell-Bates will empathise with being the last person alive on Earth on his much-anticipated second album ‘The Last One’, due out later this year. As a precursor to that we have ‘Lovely Day’, an acoustic guitar-driven romp that is presumably an early track on the album, full of exuberance lyrically and musically, before the ‘end of the world’ scenario kicks in.
A folk-rocky vibe from the backing band glides along nicely underneath while a multi-voiced and blissfully unaware Gavin projects endless optimism about what is to come, with a nice mellow middle eight too. Recorded with an as-live production, the mix is spot-on.
I always enjoy his videos; this one is filmed at Cambridge tree-filled beauty spot Wandlebury and features some of Gavin’s musical comrades portraying woodland animals. It is all satisfyingly bonkers and reminiscent of those late 1960s promo films for the psychedelic leanings of Pink Floyd’s ‘Arnold Layne’ and mid-period Beatles, with lots of speeded-up movement and quick jump-cuts, what’s not to like?
(admire the beautiful original artwork on the sleeve too, drawn by Ali Chappell-Bates…)
As once-famous retail names disappear from the High Street they are rarely celebrated in popular song, although we do have ‘…Saturday’s girls work in Tescos and Woolworths..’ by The Jam, ‘Man At C&A’ by The Specials, ‘Freeman Hardy & Willis Acid’ by SquarePusher and Van Morrison sang ‘…the orange boxes are scattered against the Safeway Supermarket in the rain…’ as he gazed out on ‘St Dominics’s Preview’.
On a release from their forthcoming album ‘English Tapas’, The Sleaford Mods commemorate the demise of department store stalwart British Home Stores last year with a combination of low-fi electrobeat and a lyric of personal paranoia. Starting near the bins in an alleyway (sounds a bit like the back area near the Cambridge BHS?) our hero is weighed down with problems ‘…we’re going down like BHS, while the abled bodied vultures monitor and pick at us…’. Peppered with subtle references as to the causes ‘…Laying on a boat mate look at you (Look at you!)…’ we even get a namecheck for TV sitcom royalty ‘…we are the Baldricks son, and Blackadders….’
A fitting tribute to the end of an era, check out the video too…
Gavin Chappell-Bates returns to his musical roots for this rocking new single, the opening track from the 2016 album ‘We Are The Ones’,
The video version begins with birdsong in a quintessential English churchyard, then the shock…a gravestone cross commemorating the demise of Gavin? But don’t worry, he is firing on all cylinders as the guitars crash in for an all-out celebration of his musical influences and the simply stated logic of the importance of ‘rock and roll’.
Like many tracks on the album the hookline is strong and the relentless pace of the song still allows time for a guitar solo and bass break. The Manic Street Preachers get a reference ‘All I learnt was from my own Holy Bible…’, made explicit in the video as the priest flicks through some influential CDs, also including Suede, Led Zep and the Beatles. Definitely not a conventional priest, rolling pages of the prayer book for a use probably not sanctioned by the Church as well as ending up with a non-traditional twist on clerical garb….it is all great fun and in these enlightened times not likely to cause the controversy of Madonna and her ‘Like A Prayer’ video??
But back to the music, it is a compact, gutsy track and it sounds great live!