Whilst working on the album, the band were also busy on the live circuit. They shared bills with the likes of The Cribs, Cloud Nothings, Menace Beach, Joanna Gruesome, WOAHNOWS and PAWS. They have just come to the end of a short autumn tour in support of the album which was released at the end of last month.

All this hard work has definitely paid off. The album is a catchy, chaotic triumph, full of ragged charm. The band’s sound is firmly rooted in American indie rock with Californian slacker-legends Pavement being their most obvious influence. On songs like ‘Waste and Pine’, ‘Hidden Blood’ and ‘Pepper’s Ghost’ the laid back drawl and noodling guitar of singer/guitarist Rob Slater immediately brings to mind Stephen Malkmus. Elsewhere, the lurching rhythm, discordant guitars and half spoken vocals of ‘Stopper’ give off a distinct Modest Mouse vibe – which is no bad thing, in my book.

One of the album’s highlights, the rip-roaring ‘Broken Guts,’ starts with the ferocity of Cardiff noise-merchants McClusky, all squealing guitars and throat-shredding vocals, before changing pace completely at the end as the fuzzy guitars slowly sway to a halt. This more sedate side of the band can also be seen in the fragile melodies of instrumentals ‘I Shot an Arrow into the Air’ and the brilliantly misleadingly-titled ‘Atomic Arabian Skullcrusher’.

The gentle start of ‘Flash Floods’ gives way to a skipping beat and solid Pixies-style bass line which powers the song along. It builds to a Radiohead-esque breakdown at the end, the guitars sprawling in feedback. The songs are short and punchy, with ‘Rust’ the closest it gets to an epic here, coming in at a relatively lengthy four and a half minutes.

‘Nothing’s Gonna Kill Me (Tonight)’ is the one lone misstep on the album. At only a minute long, and with scratchy production and half-hearted guitar and vocals it gives the impression of a sketch or demo rather than a finished album track. It just seems like an unnecessary addition.

‘Floyd’ is, to my mind, the track most obviously suitable for release as a single. It shows off the band’s pop sensibilities with its chugging guitars and big sing-a-long chorus. The actual first single from the album, ‘A Film and a Frame’, is another of the highlights featuring a driving, chunky rhythm over which Slater’s voice hollers and soars. Here the band bear a striking resemblance to The Frames, one of the best bands to come out of Ireland, with the impassioned vocals and sad-eyed melodies often heard in Glen Hansard’s work.

This band have been described in the press as ‘Yorkshire’s best kept secret’ and whilst that might have been true in the past, that should all change for The Spills with the release of ‘Collecting Dust’

Spills website: http://www.thespills.co.uk/
Spills on Twitter: https://twitter.com/thespillsband
Spills on Bandcamp: http://thespills.bandcamp.com/

I won’t lie, I was pretty bleary-eyed despite a freezing and crisp Saturday night in Sheffield. However, I started to perk up once I got inside the Plug, with its weird and wonderful décor and minimal lighting. First band on were In Ransom (not In Hanson which is what I originally heard – that would have been a different show altogether!), a last-minute stand in for Mohawk Radio, whose drummer had been struck down by illness.

As soon as this 2-piece guitarist/drummer duo started playing, the cobwebs adorning my eyelashes were blown away. The sound of their pounding drums, shouts and roars thrust me right into the evening. Even if I wasn’t quite ready for it.

In Ransom are seriously entertaining and reminded me of Ugly Kid Joe with their amusing banter across tracks. They bounced off each other, building up an energy which culminated in the guitarist smashing a cymbal – positioned at the front of the stage – in time to the drums.

The next band on were Back to Verona, a 5-piece hard rock band known for their explosive live shows and onstage shenanigans. The band are brilliant at getting the audience involved in their show and the big crowd they played to evidently enjoyed the party. This isn’t my sort of music I have to say, but it seemed I was definitely in the minority that night.

Having seen their set at Wakefield’s Long Division festival earlier this year, I was wondering what these headliners would be presenting. The band have already moved their sound on since the summer and their set was more varied in terms of genre and as a result, more interesting.

It’s obvious how hard this band works when you see them live. Their performance wasn’t perfect – there were flat notes here and there – but the overall level of Stop Drop Robot’s ability and effort is noticeably high. Highlight of the set for me was a funky little number entitled ‘White Cot, Sweat Shop, Grave Plot’.

This is very much a band in transition – a good band on their way to becoming a really good band. I for one am looking forward to seeing what they bring to the table once they have settled. But for now they are certainly a great choice to see live; their delivery is engrossing, and they make sure you leave feeling thoroughly entertained, and buzzing with energy.

In Ransom’s Facebook page
Back To Verona’s Facebook page
Stop Drop Robot’s Facebook page

You can read our interview with Stop Drop Robot

Late in the day we decide that we’re going to make the trip from Manchester to Hebden Bridge Trades Club to see Jane Weaver – with The Sundowners supporting; With no ticket, no guest list entry sorted and no real knowledge that the show isn’t sold out or will be by the time we get there, we go any way.

As we arrive there’s already a buzz outside the venue with people milling around. “Straight in, straight in,” I say to my companion and up the stairs we march. Eye spy with my little eye and who do I spy? I spy Alfie Skelly (guitarist with The Sundowners and brother of Fiona, singer in The Sundowners)and brother of James and Ian Skelly from The Coral. Incidentally, Ian Skelly is here tonight to give his brother support and his own band Serpent Power are ace, and going places in their own right).

I ask Alfie if he has any spares (I’ve known and worked with Alfie and The Sundowners a few times over the years). He sorts us out and we’re into the main room…  Wow, I’ve never seen the room looking so good. It was like a lorry of 60’s oil wheels, lazers and FX had crashed into the venue!

The Sundowners take to the stage and blow away the crowd with their double-barrelled female-fronted vocals, soaring over the band’s sound. It’s part The Byrds, part 70’s Fleetwood Mac. And it’s over almost as soon as it’s begun.

It’s been a while since I last saw the band; they seem heavier and more psychedelic tonight. I mention this to Alfie after the show and he says: “Yeah I can afford a few more FX pedals now”.

Search out their eponymous debut album on Skeleton Key records. I guarantee you won’t regret it.

By now the place is heaving and the crowd are eager to get near the front or a good vantage point of the stage, with chairs and tables being the order of the day. As the band take to the stage and start up their sonic assault of white noise and electronic sqewlch ambiance, we’re all revved up! Jane takes to the stage with shimmerin’, glitterin’ cool – and delivers!

https://youtu.be/Pe1Dz5hCwZA

Coming on like a naughties Krautrock roundhouse kick to the head (think Can or Neu and you won’t be far off), the music for ‘Argent’ cranks out of the PA. This music is throbbing and the walls are vibrating too, not just from the music I might add, but also from the exquisite visuals on offer tonight. (I’d take a guess that quite a few of them were Jane’s tour lights). The beat is a strict motorik 4/4 that is closer to a drum machine than a living, breathing live band…and thank God for that too. There’s nothing worse in my book than a sloppy, greedy drummer (less is more and keep it tight, drummers) …but none of that tonight.

The band are so tight, one would struggle to get a blue Rizla paper between them!  Jane begins her glorious whailing singing style over the top and we’re hooked, lined and sinkered. We’re pushing our way to the front, we’re dancing and not giving a f***! Song after song flash by… I can’t really remember what was played, but that doesn’t matter a jot, as we were having a ball.

I remember the new single ‘Don’t Take My Soul’ getting an airing, with it’s crazy guitar and keyboard riff getting right in my head like a snake charmers flute. Around this point I remember I need to take a picture – which I duly get, but local smashed dancing man (you know the type) says, “Did you manage to send it? Now get dancing!” I don’t need anybody telling me to dance… I am dancing my heart and soul out already!

Somebody shouts, “Nice Converse!” to Jane, regarding her trainer boots – to which Jane replies, “They’re not Converse, they’re Adidas” to laughs all round!

And that lovely reader is pretty much it, just enough time for set closer (if my memory serves me correct!) – ‘Your Time In This Life Is Just Temporary’. (But if all nights were that good it doesn’t matter – Ed.)

…which in a word is incredible. Jane and the band are on fire tonight, seriously good and off into the night we shake, rattle and roll.

Jane Weaver’s October tour  is still ongoing and her latest album The Silver Globe available now at finderskeepersrecords.com is out now on husbands Andy Votel’s Finders Keeper Records (please buy it it’s simply beautiful).

The night began with a tremendous performance from yields, who for this appearance were Simon Connor on acoustic guitar/lead vocals and Chris Briden on bass/backing vocals. The set featured the group’s winning formula of intricate melodies plus spellbinding harmonies with a cheeky Roy Orbison cover at the end for good measure. The slow-building intensity of ‘Frequent Flyer’, the deceptive simplicity of the mantra-like ‘Rope’ and the looping, hypnotic guitar and percussion of ‘Alarm’ all serve as reminders of just how great this band are live – with both musicians perfectly in sync. This was the first Manchester gig for yields in a while and it was a very welcome return.

I wasn’t aware of The Migrant’s music before this gig and so wasn’t too sure what to expect from them. I’m happy to report that what we got was an intoxicating blend of shimmering guitar-led melodies and Bjarke Bendtsen’s impressive voice (which ranged from fragile whisper to trilling falsetto) all backed by a tight three-piece band. I’ve since read that Bendtsen has a touring band from Austin, Texas whilst playing in the US and a completely different band from Copenhagen accompanying him on any European dates. So it seems this version of The Migrant was 100% Danish.

The set seemed to focus on material from ‘Flood,’ The Migrant’s fourth album in five years. Tracks such as ‘Water’, is a rousing, jittery song with a very strong Radiohead feel to it, not least because Bendtsen’s voice bears a striking resemblance to that of Thom Yorke. ‘The Fixer’ saw the band let loose with the exhilarating, driving rhythm building to the closest thing to a drum solo that has ever happened in Fuel. Some of the more psychedelic songs, like ‘Belly of A Man’, ‘Silence’ or ‘The Hurricane’ brought to mind the more recent work of Black Keys frontman Dan Auerbach, with a hazy laid back feel. Whereas ‘Climbers’ had a distinct ‘Laurel Canyon’ feel, with its chugging country rhythm and close Crosby Stills & Nash harmonies.

The crowd upstairs in Fuel seemed very happy with our Danish visitors and, raising a drink together with the band, joined them in a loud “Skal!” With that, The Migrant packed up and moved on to the next town, leaving behind a roomful of new friends.

The Migrant website: http://themigrant.net/
The Migrant on Facebook: https://www.facebook.com/themigrant
The Migrant on Twitter: https://twitter.com/themigrantmusic

yields website: http://www.yieldsmusic.com/
yields on Twitter: https://twitter.com/yieldsmusic