Another night at 360 Club, another great line-up. One of my favourite bands supported by three I’ve never seen before. I never tire of seeing Purple Thread so I was, to say the least, excited to see them again in full band mode (the last time I saw them play was at Shuffle Shuttle playing in stripped down acoustic mode). But I was equally as excited to see three bands who I’ve never seen before – I love seeing new bands.

Why, oh why have I never seen Supermarket Police before? It’s a sort of punky raucous garage-y blast of sound. I was, to be honest, hooked seconds into their first song. Great guitars, great drums, fantastic vocals who could ask for anything more? Bloody hell this band are great.

I didn’t think I could ask for anything else but their second song has a hint of punky 2-Tone, and that’s a great thing, a joyous thing. There’s something of one of my fav bands from back in the day, The Ruts, in what Supermarket Police do. And I loved that hint of that in their sound. But they are capable of, what we might call, subtlety, kind of punky edged subtlety, as they play some hugely tuneful songs.

What I’m trying to say is that what they play crosses a whole of genre boundaries, it’s not easy to stick them into a simple niche, but there’s something that makes their songs hang together, something that is the ‘Supermarket Police’ Sound’.

And as they finish with a riff heavy garage-y song that rocks, it rocks big time, I am left with one simple thought. Supermarket Police are cool, way cool.

In contrast Paradas are in that indie/alt-rock vein. I was impressed, very impressed, by their first song as it had a great tune – I love a tune in a song, as you may know. And I love a great tune sang with great vocals, Paradas had that.

It’s their second song where I was suddenly able to put my finger on something that had nagged during their first, something that had bugged me. And that was there’s something of a hint, perhaps more than a hint, of retro soft-rock sound in what they do. It’s in the guitar sounds, it’s in the vocals and it’s in the vocal harmonies.

And this is a band who know how to play, that’s obvious. I was so into what they played and how they played it that I forgot to take notes. This is a good thing people. A band have to be good to do that when I go to review bands live, I have somewhat jaded ears, this just can’t be helped.

Paradas are a band I’d like to see again. I’m not big on that indie/alt-rock thing but Paradas’ take on it is something I really liked. Do try are catch them play live, you won’t be disappointed.

I am, and I have to be honest here, somewhat on the fence about Moretti. On the one hand I know that the playing was good, the vocals good – in fact very good, the songs good. There’s a great rock swagger going on in what they do. After some thought I wrote the phrase ‘they’re like a heavy Oasis, and sometimes out and out rock’ in my notes, you get the picture. But two songs in and I’m not that sure they’re for me.

Look it may have been the place, or even the time after two bands I really got into, but Moretti just didn’t click for me. This happens, I can’t like every band I see, that’s obvious isn’t it. But as I said I know objectively that what Moretti do is good, the crowd were really into them, they got the crowd up and dancing and even singing along. So what I’m going to say is check out the band for yourself.

So the page in my notebook headed Purple Thread is completely blank. From the moment they came on, it was a complete riot. It seemed Purple Thread were really on one that night. The songs came with something of a sleazy dirty edge, in fact more than a sleazy dirty edge. It was almost too much tearing my eyes away from them to take photos, let alone attempt to take notes, too exciting, too fucking good.

Liz was just all over the stage, throwing her guitar around. The chaos and noise revolved around her. And yet somehow she managed in that maelstrom of sound to produce those vocals, those great vocals, we know she’s capable of. And as crazy as it was the playing is just right, it’s incredibly impressive.

I’ve said it before, and I’m probably going to say it again, but there’s no fillers in their set. There’s no song that isn’t fucking fantastic.

And as their set went on, it got crazier and crazier, when Liz threw herself backwards onto the stage playing her guitar, so crazy had it got that this seemed an entirely right thing for her to do. I mean I’ve seen people do that before but it’s always seemed, with the odd exception, somewhat rehearsed. Her doing that seemed to be a spontaneous thing.

Look, I’m a fan – as you might have realised – but Purple Thread are a band you have to see, you must see. Every time I see I see them I become more and more of a fan, but that night that moved up a whole load. If you weren’t there you missed something special. They rock, they rock fucking big time, but their songs are great to dance to. Seeing them live is an experience, a thrill filled experience.

All photos on this page © Frank Roper Photography

I am, as you’ll know if you’ve been keeping up (and you better have), a fan of what Everyday People do. Their releases are consistently so damn good. And they have a song that’s become one of my favourite songs ever, the wonderful ‘Princess Blues’. So don’t expect any objectivity.

I was lucky enough to hear the stripped to the core Everyday People (they lost two band members a while back, but chatting to them they promised a full band for their next gig at 360 Club Leeds on 18th October) play this track at Shuffle Shuttle recently. It sounded sweeeeet people.

So the key thing about this song is that it is so damn smooth and soulful. It kinda oozes wonderfully out of the speakers. It is mellow to the max. And it’s sparse people, that typical Everyday People arrangement that does the maximum with the minimum amount of layers of sounds.

And it’s loose and dynamic, after that mellow start it changes all the time. It has at one point – or more exactly the end – the most wonderful organ backed section. I’m picking out something here but to be honest the playing on this track is great.

And over this damn wonderful music Maeve sings. She sings in the most wonderful way, the words and that voice conjure up something idyllic in your mind’s eye – an escape from the pressures of living. As you may have realised I am a fan of Maeve’s voice, but this song really showcases that. And it leaves you in a really good place.

This release from the band is something special. They seem to get better and better with each release. But this, this is a huge step up. I’m going to put aside ‘Princess Blues’ – that song holds a special place deep in my heart, and it’s my all time favourite from the band. But this is my favourite of their other releases. I have grown hugely addicted to it.

Look, people out there, this track from Everyday People is lovely. It’s beautiful. It’s so damn good and wonderful. Are you getting the picture here? Go listen to this right now.

The info

‘Small Islands’. Recorded at Beat Street Studios by Oliver Sekunda, highlights Everyday People’s soulful sound, providing some catharsis for those dreaming of a better place. However, despite the meditative exterior, the song aims to subtly portray the struggles of depression and anxiety. It taps into a somewhat familiar want and need to escape from your current struggles start over somewhere better. All of this is tackled with smooth guitar riffs, wistful organ and talk of strolling along beaches, under palm trees, in the Pacific Ocean.

Oh boy, why I have I never heard anything by this band before? It’s a fucking riot of garage-y punky riotous guitar-led rock (mostly it’s this but as we will see this a band who switch it up). But there’s more than this – although this would be enough, more than enough – there’s a hint of quiet/loud, and sometimes more than a hint if I’m honest, going on (well the band describe themselves as ‘alternative’) and sometimes a hint of post-punkiness going on. That’s not to mention something of an indie thing going on at times. It’s a heady mix that makes you want to throw yourself around the room wildly.

Look I’m not going to do a track-by-track but just pick some tracks that tell you what the band do. ‘Smorgasbord’ – the album’s opening track – is a prime example of that ‘ garage-y punky riotous guitar-led rock’ thing. It explodes into life, all pounding drums and guitar. It does the quiet – although that’s pretty loud – and then loud – even louder and rawer – thing. It has great vocals and fantastic ragged backing vocals. It has fucking brilliant lead guitar. It leaves you feeling exhausted but excited.

‘Bury Me’ is kinda garage-y post-punk – you just have to listen to this to know what I mean – and is all stalky and scary. It does the quiet/loud thing, and it’s in the quieter bits that the band show they’re capable of, what I’m going to describe as, subtlety.

And now to something with a hint of indie – ‘Only Human’. Yeah sure this is garage-y but it’s very indie. It’s also quite punky in that old style punk way.

The big surprise for me was song called ‘Winston Smith’. For this is a touching big ballad, sure a Box Jellys’ style ballad but a big slow song all the same. And yep it builds to a searing end in that alternative rock way. Very much an album highlight for me.

The only way I can think of describing ‘Seizure Later’ is alternative rock as played by the Libertines. Yep it does that, in a slow way for it’s a slower track, quiet/loud thing but it’s all loose and all a bit ragged. And just for good measure it throws in a Love-ish build right at the end. Absolutely lovely stuff.

Yet another surprise ‘Sirens’. It starts all slow and grinding before dropping out to something that is actually quite beautiful in a weird way. In fact there’s something weirdly beautiful about this whole track – the way it builds, the backing vocals, the epic quality. ‘Surf Cop Chase Bwstard’ sounds a bit, and only a bit, like The Fall. That’s The Fall doing mutant punky surf. It’s bloody riot people.

Album closer – ‘Sleep’ is an epic – look it’s 6 minutes long – track. Look this thing has to be heard. It’s another of those weirdly beautiful songs. It’s gentle. It’s complex. And yes it builds – you’d expect it to – but it retains that feel.

I love this album, it has enough variety and things that surprise, to keep you listening (and going back and back to your favourites). Much more, in my case, than was strictly needed for the review, it’s actually become a current favourite of mine. The playing is great and there’s no fillers on the album at all. It shows that Box Jellys are not just a one-trick pony, An album full of ‘ Smorgasbord’ type tracks would be great, but the variety of styles and feels make it fantastic. I love a band who switch it up, and Box Jellys do that. Lovely stuff.

The info

Box Jellys are a four piece alternative garage rock band from Keighley. Having regularly appeared on their local music scene, Box Jellys have gone on to perform in Leeds, Huddersfield and Bradford as well as making appearances at Beatherder and Moor Music (later becoming Beacons) Festivals.

Box Jellys are:

Oliver Farnell – Vocals, Guitar
Bryn Price – Guitar, Vocals, Keys
Danny Payne – Bass
Luke Parker – Drums, Vocals

They play an album launch gig on 4th October from 19:30-23:30 at Studio 5 Live, Jam on Top, Melbourne House, Chesham Street, BD21 4LG Keighley

I caught Bloodhound opening Rifffest at the Lending Room in Leeds back in January this year and was mightily impressed. So news of a single release was greeted with a certain amount of joy here at LSF Towers – whooping was involved if I’m honest. Of course there’s always the risk that you’re disappointed by recorded material from a band you’ve seen live and liked. Was I disappointed? No way people.

This is loud, it’s doomy, it’s grunge-y, it’s riffy. It blasts its way into your ears with scant regard for their safety. There are surprisingly tuneful vocals – at least it was surprising to me, I didn’t quite expect them – and screamed vocals. And buried in there is a tune, honest there is, something that after repeated plays is earwormy. The track would be great if it did this for all of it’s nearly 3 minutes. But it doesn’t, it seamlessly turns into something that has a decidedly spacey and psychedelic thing going on before dropping out to something that’s almost just vocals before riffing out to the end. This turns it from something great to something that is fucking fantastic. That switch adds the thing that makes this song brilliant.

And the playing on this is great. I have developed a particular fondness for the drumming during the spacey and psychedelic section – I’m like that, I like good drumming. The way it changes makes it sound longer – in a very good way – than it actually is. There’s a lot going on in this track, this makes it something you can listen to again and again.

If you like grunge-y riffy loud music that is cleverly put together you should listen to this, it’s incredibly impressive. And you should catch the band live, they’re great live.

The info

Bloodhound are a grunge/rock three piece band from Hull formed in October 2015.

Speaking about the song, the band explain: “Again is a song that we wrote about the boredom of being stuck in the middle of the same argument over and over again. It’s a Groundhog Day-esque song for arguments”.

Bloodhound are:

Max Lilley – Guitar/Vocals
Will Biggs – Bass Guitar
Bex Probert – Drums

Facebook: https://www.facebook.com/bloodhoundhull/