Blackpool’s Jekyll are an alternative rock four piece, with an emphasis on rock. The band formed in 2011 and were initially a trio before a fourth member joined in 2013. Since then the band have been working hard, gigging throughout the North West with the likes of October Drift and Demob Happy. 2015 saw Jekyll get a BBC Introducing Live Session and a chance to record their first EP, ‘Wounds’.

From the first track, ‘The Wounds We’ve Ignored’, it’s clear that Muse are a big influence on Jekyll. Lead singer/guitarist Joel Foster shares Matt Bellamy’s fondness for vibrato and sky-rocketing vocals and the band are similarly not afraid to move from melodic indie to thunderous rock riffing at the drop of a hat. The opening track is quiet and restrained to start with but soon picks up pace with drummer Liam Singleton making his presence known early via a busy, insistent rhythm which carries the song along.

‘Cramp’ follows with a great jittery and anxious-sounding riff from Foster and his fellow guitarist, Johnny Chatterton, before falling into a thumping chorus – featuring a line which sent me running for the nearest dictionary. ‘Suckling on the breast of braggadocio’ was the line that threw me . For those wondering, the last word in that line means ‘boastful or arrogant behaviour’,. It’s not often that rock music broadens the listener’s vocabulary, so hats off to Jekyll. The newly released music video for this song can be seen below.

Third track ‘Unspoken’ gives the band a chance to showcase a lighter side with shimmering acoustic guitars in the intro and a more melancholy tone to Foster’s voice. The rhythm section of Singleton on drums and Lewis Armistead on bass keep things moving whilst Chatterton’s guitar, the echoing tone of which is reminiscent of Johnny Marr’s work with Modest Mouse, gives the song’s chorus a boost of energy as the harmonised vocals yearn for knowledge of a lover’s deepest thoughts.

Final track, ‘Othello’, is the highlight of the E.P in my opinion. It manages to neatly encapsulate the band’s sound with a dark, almost gothic tone in places, a sinister, spidery guitar melody, a rolling bass line and rumbling drums. Once again your intrepid reviewer found himself in need of literary assistance minutes into the song – ‘querulant’ and ‘monomaniac’ anyone? A huge chorus complete with a wall of distorted guitar gives way to a bridge that finds the group at their most dramatic. The music rises to a high pitched crescendo before suddenly breaking down into a satisfyingly chunky riff as the rest of the band join in and take the song home.

As an introduction to Jekyll, ‘Wounds’ works extremely well. The production is crisp and sharp and the band are obviously a well-honed unit after four years of playing together. You can find more evidence of this at their live shows, such as the gig at Night & Day in Manchester earlier in the year which was reviewed by LSF here. For me, not really a fan of the histrionics of Muse, I was initially hesitant about Jekyll’s music on first listen, but on repeated plays the EP really opens up and reveals a band who are much more than just the sum of their influences.

Digital copies of ‘Wound’ available at https://jekyllofficial.bandcamp.com/releases
Physical Copies of the E.P. available at http://jekyllofficial.bigcartel.com
Facebook: https://www.facebook.com/JEKYLL-128051990595652/
Twitter: https://twitter.com/jekyllband

Standing in a sea of people where almost every other person has a pint in their hand and is wearing dark clothing and moving to the heavy sound of alternative rock, forgive me for feeling a little out of place. As far as atmospheres go, I had never been to a gig quite like this one before.

After a string of festival slots over the summer, Don Broco – consisting of Rob Damiani (lead vocals), Matt Donnelly (drums and vocals), Simon Delaney (guitar) and Tom Doyle (bass) – took to the O2 Academy in Leeds as part of a line-up of intimate gigs in December.

The Bedford-based band was joined on tour by three support acts that each played about a 30 minute set. Symmetry took to the stage first, followed by Arcane Roots and finally Coasts. As each band came on, the crowd grew in size, making it clear who they had turned up to see. Saying that, each support act did their job well by warming up the crowd with their mix of pop-rock songs. I knew at that point that if they were anything to go by, we were in for something special with the headliners.

Don Broco most certainly didn’t disappoint. To kick off the set, they played ‘I Got Sick’ from their second studio album which was released in August 2015. Immediately bringing high volumes of energy, they most definitely rocked out on stage. It was difficult not to stand still as I found myself bobbing my head in time to the drum beat, guitar riffs and bass line.

Lead singer, Damiani, had the crowd in the palm of his hand throughout the show. Demonstrating his natural ability to control a room full of people as a good front-man should, he got the mass audience to crouch to their knees and jump up when the beat dropped during ‘Automatic’. Simultaneously, strobe lights bounced uncontrollably, reflecting the energy of the die-hard fans. I found myself singing along to the catchy lyrics of one of their biggest hits. Damiani later created a Mexican wave across the room, as well as encouraging a mob rave and a mosh pit.

As expected,, the band exited the stage after their main set, leaving everybody wanting more. Shortly returning for an encore, they ended the show with a slightly tamer track (in comparison to favourites like ‘Money Power and Fame’ and ‘You Wanna Know’). Purposely playing their newest single last, with the synth vibe on ‘Nerve’ blending well with their high vocal range, Don Broco demonstrated just how talented they are.

So although I arrived at the gig with barely any knowledge on this popular 4-piece (having only listened to a couple of preview tracks) I left with a new found love for a band that will certainly be making an appearance on my iTunes.

On a cold December evening we make our way to the Union, we’re running late as per usual and miss the support band – the old Union is already busy and we notice a distinct lack of hipster beards, compared to Manchester, but many more ‘student dreads’. Think CUD and Chumbawamba!

Django Django take to the stage and open with the delightful experimental, neo-classical strains of ‘Hail Bop’ and I’m in heaven … it’s been too long!

The band play most of their eponymous debut album, interchanging instruments throughout, and with a saxophone  player coming on to add depth to the sound. My own personal favourite ‘Storm’ sounds absolutely massive tonight…

We notice a second smaller drum kit set up at the side of drummer David Maclean’s main kit – with none other than a cardboard box for the snare drum that gets an outing for the rhythmical low fi of ‘Love Dart’. A cardboard box!

Their biggest hit to date ‘Default’, gets the Leeds crowd out of their stupor for a little movement, but they’re not dancing like us Mancs, not a sniff,  as the usual ‘YORKSHIRE YORKSHIRE YORKSHIRE!’ chant goes around. ‘Firewater’ also goes down really well, with its big stomping beat.  The band are very rhythmical and carnival-esque (even the coconut shells come out to play) and they’d be perfect for a decent festival. They also have a ‘New Wave’ synth edge too.

It’s time for the final song of the night, and it couldn’t be more apt as singer Vincent Neff announces ‘WOR’. The track’s air raid siren intro breaks out around the venue and the guitar riff kicks in. And the whole place goes up!

and that my friends is your lot.

It’s a crying shame that bands as daring and courageous as Django Django are not bigger than they are.

New album ‘Born Under Saturn’ is out now and the band are still on their nationwide tour

Brudenell Social Club hosted the young, four-piece group, VITAMIN, for their final date on the Brothers and Sisters UK tour. According to their Twitter account they “couldn’t have asked for a better night” and I don’t think their fans could either. The local venue, only 10 minutes down the road from VITAMIN’s usual place of residence, provided the band and the eager fans with an atmospheric and personal venue for the boys’ final send off for the year.

Everyone needs a good warm up before going in to full on fan girl mode, and support act Actor had just the sound to get people moving. The fresh-faced female lead singer worked the venue like it was her own, bringing strong personality and even stronger vocals to the gig. I found myself immediately making a comparison with Nanna Bryndís Hilmarsdóttir, lead singer from Of Monsters and Men. However, the varying sounds from song to song defied any attempt at comparisons, and the band stood on its own as an original act.

The female lead vocals were backed by two males on the guitar and drums that created a sound which perfectly accompanied the singer and set the beat for the steady foot tap of the crowd. An Apple Mac also played a role in the band, adding mellow electronics to the beat. I can’t say it had much stage presence, but the encapsulating sound makes up for that.

Now the buzz began as the crowd gathered, ready to stare up in awe at the four-piece band and sing their throats sore. I took my place at the back ready to silently judge and compare them to every other indie band on the music scene, but as the music started playing I was pleasantly surprised. With countless bands entering the music scene each day, sending out hourly tweets of their Soundcloud it’s become all too easy for bands to sound the same and genres to just become one big mash up.VITAMIN, however, had a refreshingly new sound and just like that I became one of their fans!

Rock, Indie, Pop, Electronic – each different song managed to incorporate a new aspect from a variety of genres. The only label I can be confident about putting on it is ‘good music’. The whole crowd were openly enjoying themselves. As constant encouragement from the band’s foot taps turned into head bobs which in turn became clapping hands, it wasn’t long before everyone was dancing along to the fresh beat.

In such a small venue as Brudenell Social Club it’s essential for the crowd to feel engaged, but VITAMIN once again surprised me and went one step further. Front man Jared instantly urged the crowd forward – making sure his fans got the personal experience small venues allow for. The band were having as much fun on stage as we were in the crowd. Everyone felt included and the whole experience was more like partying with some cool people playing some enjoyable songs. In fact we were all having so much fun the lead singer came and joined us in the crowd. With his arm around the nearest fan’s shoulder and his mic in my ear, the atmosphere lifted to the next level.

With such a fresh and positive attitude towards their music, VITAMIN are definitely one to watch out for in the future. They could go far if they keep collecting fans as easily as they have to date. The band may seem a bit thrown together at the moment, with an awkward comical stage presence that just wouldn’t work for a crowd at the O2, but fortunately it’s what’s going to work for them as they find their way up the ladder. In a few years time I could very possibly be standing at the back of a crowd at Leeds Fest telling people how “I saw them first”. Take the opportunity to go party with them while you still can!

Curated by the inimitable White Rabbit, the gig fell on promoter Richard Walker’s birthday, lending the evening a warm and heady atmosphere before the first notes had even sounded.

Radar Men From The Moon had travelled from their native Eindhoven that morning and, understandably, seemed a little groggy as they took to the stage. They hit their flow early however, the cobwebs almost tangibly being blown away.

From talking to the band it was clear to me that they didn’t wish to be pigeonholed as ‘psych’ – a sentiment that sat well with me – and, happily, they justified the separation. Their songs were extensive, explorative and trippy, yes, but playfully experimental with structure and vibe. Even getting a little funky at points.

It hadn’t been long since I’d seen Carlton Melton at the ‘Lion – another band that revelled in the ethereal side of sound – and I’m happy to say that, tonight, I heard another intriguing take on ‘space rock’. Where the Californians were decidedly guitar-led, the Radar Men shared a more equal standing, seeming to place more emphasis on ‘groove’ and tone, than instrumental virtuosity.

Musically though, they were no slouches, and special mention should be made of the drummer whose thrifty style was as inventive as it was lively. I really enjoyed RMFTM. So much so that I bought their most recent vinyl. You can name your price for the digital version of Subversive I on their Bandcamp page.

Next up were German instrumental rockers, Camera.

Instantly the sound became darker, more intense and introspective, which was echoed in the way the band presented themselves. The drummer was perhaps the main focal point, standing up to play, his face hidden behind a mop of hair. As with the previous percussionist, his style was truly imaginative, reassigning the duties that each limb would perform if playing seated.

Jazz-tinged synth parts were to the fore with Camera – a statement that might make some cringe, but for all the wrong reasons. If you’ve heard Herbie Hancock’s seminal crossover albums, ‘Sextant’ and ‘Crossings’, where immense thought went into coaxing not just the right melody but also the right sound from these alien new instruments, you’ll know what I mean.

That isn’t to say Camera didn’t have their moments of self-indulgence. I heard more than one comment about “losing the crowd” as people retreated to the smoking area during a mid-set soundscape lacking rhythm or melody. Its place on the album may be thoroughly well deserved, but tonight this soundscape just seemed to break the momentum – a shame really, as the rest I found challenging and entertaining in equal measure.

All in all though, this was another great night, and testament to the winning formula that The Golden Lion, Crazy 8 and White Rabbit have hit upon: talented bands with unusual styles, quality sound, and an infectious atmosphere. It’s not only artists but fans too that are making the trip to Todmorden, and long may it continue!

Evil Blizzard are: Side – drums & vocals, Kav – bass & noises, Prowler – bass & leather, Stomper – bass, Filthydirty – bass, keyboards & ranting

The room is dark and packed with people making a buzz, patiently waiting for Prestonian psychedelic rock group, Evil Blizzard, to come on. Faces keep glancing up at the stage expectantly, hoping the band is about appear.

When they finally arrive, to the roar of the crowd, I have to do a double take. The band are famed for wearing grotesque masks and I’ve seen plenty of pictures of them but in real life they look pretty bloody scary…the stuff of nightmares.

They begin. The sound these four bass guitarists and their singing drummer create is heavy psych rock – they’ve been frequently compared to Hawkwind; although they do tend to mix genres. The tracks often naturally adopt a dance, trance and krautrock feel. Their music pulls you in and hypnotises you into the beat; you can’t help but move in time to it.

This is a brilliantly innovative band who I’ve been trying to see since I chanced upon a song called ‘Clones’ last year from the band’s debut album, ‘The Dangers of Evil Blizzard’. Happily, they played this track, as well as a few others, from the first album. When I say innovative, I mean they are really good at manipulating their instruments, but the music the produce isn’t new, and it has been done before. However, the standard of what they are putting forward is quality.

I never felt completely at ease at the gig and I think that’s the idea. You feel slightly better that the weird unnerving masked people are ‘over there on the stage’. That’s all ok until they randomly start coming into the crowd to mop your face… Don’t ask!

This was performance art at its best. During the last track of the set, the dude wearing the pink glitter cat suit picked out an audience member, invited him on stage, handed him the bass guitar and went off into the crowd, leaving the bemused-looking lad staring out after him. The band got more and more people onto the stage and the gig climaxed in heavy psych, bass driven anarchy… absolutely brilliant!

Check out Timbo’s recent review of the new album; ‘Everybody Come To Church’, (incidentally produced by Richard McNamara from West Yorkshire indie band Embrace) which can be purchased here.

Tour dates:Evil Blizzard play Saturday 19 December at Manchester Club Academy

For future gigs, go to Evil Blizzard’s Facebook page or their website.