I really liked Cliché Cult’s debut release (read our review of ‘Common Ground’) but I’ve fallen head over heels for this, their second release.

It’s a hugely post-punk – think Joy Division, it’s got that bass feel, and also think Echo and The Bunnyman, and also kinda C86 – think big echoed voice, sparse drums and fuzzy guitars. The other thing that makes it kinda C86 is that at its heart it’s a pop song, it oozes pop sensibility – it has a tune people.

The playing is fantastic, the vocals are big, and the production, well it has that big big sound. There are some rather wonderful, almost playful, backing vocals. And it has words to adore.

I’ve made it sound, let’s say retro, and it is I guess. The thing when a band is drawing on stuff from back in the day it’s going to. But it’s not really, they are mixing stuff from different periods, and there’s stuff there that is ‘of now’. And with those ingredients they are making their own thing.

Cliché Cult are messing with my head, there were hints of this in their debut, but this, this is something else, something huge, joyous, gorgeous and glorious. Something the likes of which I’ve not heard in years. This, my dear readers, is something you must listen to, got that.

I love VENUS GRRRLS… Sorry I need to take a moment here to admit that to my eternal shame I failed to note the moment when they changed from being VENUS to being VENUS GRRRLS. Sometimes my finger isn’t as on the pulse as I’d like it to be.

Anyway back to what I was saying. I love VENUS GRRRLS, their music is fierce and their songs make me think, I respond emotionally to their music; basically the full package I look for in a band or artist.

What I’m going to say right here, and right now, is that this song bloody fucking rocks. It musically kicks arse, multiple arses. It has just the right amount of Goth sound in there to fit the song’s topic without going over the top. The playing is out there, way out there.

I’ve said that there because it’s likely that I may go off on all sorts of tangents now. The song struck a nerve, I relate to the topic. It made me think.

The song is a story, GK says ‘Goth Girl is most definitely a story, there is a running order to it. It begins painting a picture of two friends hanging out, who eventually realise their struggles for their choice of clothes and makeup’.

Now, I’ve said this before but it bears repeating, I was a Goth back in the day, or rather I should say I was into Goth in a big way. This was when ‘Goth’ was just one type of post-punk music. Visually I trod a fine line between Hippie, Metalhead and Goth; if you can imagine that.

Sorry, a tangential question – do you ever really stop being a Goth?

The early 80s was not a good time to be ‘non-normal’ or non-conformist’ and I suffered from a great deal of abuse – mainly verbal, although I was thrown into a hedge on a couple of occasions – when in mainly Goth mode. Now I’m not saying that Goths don’t get that now, they do. And the same assumptions about Goths are still being made – ‘you’re a Satan worshipper’, ‘you’re into witchcraft’, you know the sort of thing.

Time passed and I gradually moved away from the ‘Goth Scene’ – adult life gets in the way you know. I kinda kept in touch with it, and then I started to notice stuff – the way the Goth look got commercialised, the mainstreaming of the sexualisation of female Goths. This came to a head when I visited Whitby during the Goth Weekend a few years back. There were what seemed like hundreds of male photographers swarming around; look I may be exaggerating here in terms of numbers. But the thing is that these were people who were there just to take pictures of the female Goths. Just the sort of people who insulted me back in the day. I was sickened.

And I started to notice that people who clearly were not Goths in the full sense of the word were adopting the Goth look. Goth had become a style choice, rather than a lifestyle choice. I was both saddened by this and, to be honest, slightly jealous that it had become acceptable to ‘look like that’, be like that.

The song addresses all of this, GK says ‘t I quickly began to think about the strange and unique stereotypes people associate with alt/goth people. There are still struggles and strange interpretations of counter-culture, e.g. Witches/Goths ‘hexing’ people, but currently Goth has come more into fashion than it used to be, which is fine. Albeit, I imagine it to be difficult for those who were treated unfairly in the past to accept this, just because something was less socially acceptable at the time’.

If you’ve ‘studied’ the band’s songs this is something you’ll notice; the theme and the words are thought through. The songs are multi-faceted – they go from the personal to the societal, they address the issues raised by the personal.

Before I go on I want to thank GK who put up with the meandering thoughts of an aging Goth and answered my rather badly put questions and comments about the song in some late-ish night emails. Her answers really helped me get my thoughts for this review into some sort of order.

So this isn’t just a kick-arse song, it’s a song about something, something that makes you think, and in my case think a lot. And although it’s about one particular kind of ‘tribe’, extending the thoughts in the song to others isn’t a huge step. And that should make you think hard about some of the stereotypes you hold.

I’ve seen reviews of this song that say ‘this song cements VENUS GRRRLS’ position in alt music’ or something like that. I disagree, this release is another step up in their continuing mighty rise. It’s a big step up. but then again we should be used to them taking a big step up with each release, shouldn’t we? That position was cemented a long time ago, where have you been people?

‘Goth Girl’ is one huge fierce song. Absolutely fantastic musically, thought provoking.

I went through a kind of epiphany with Apollo Junction; I started off liking their huge sounding indie – I am somewhat picky about indie bands, as you might have realised – and then I saw them live. It was at that gig that I fell hook, line and sinker for the band. From that moment on I’ve gushed about them at the drop of a hat.

I’ve fallen for this single big time, big big time. Look there’s big stabby synths, bass to die for, frankly gorgeous backing vocals. And then there’s the chorus. It’s heavy, guitar roars, drums pound. It comes with something of an 80s’ heavy electro-rock thing going on – vocal FXs, ringing guitar, huge drums.

It’s like an electro band doing indie or an indie band doing electro. Whatever you call it, it’s a huge stadium sized sound. It builds into something euphoric, it goes stratospheric.

I know, I gush, but I told you I would, didn’t I. The thing is that Apollo Junction do big indie right. Not only do they do it right but they bring their own twist to it, they throw stuff in the mix – it’s not cookie cutter indie.

This track is gorgeous. Play as loud as you dare (and then crank it up more). Go on, do it, do it now.

I am used to Cold Culprits (AKA Andy Watson) making New York sneery punky tinged sounding music. This is something different. It comes with a rock edge but with something of Celtic folky sound. It swirls and whirls, you get me. Whether Andy would thank me for this I have no idea, but it kinda reminds me of Runrig in some ways. Look don’t get me wrong, it’s not the full on Celtic Rock experience but it’s in the mix.

Being less raucous the words are upfront, and what fine words they are. The song is about children leaving their parents to make their own way in life. It’s fierce, my friends, it’s strong, it’s a call for independence.

I know from his recent EP that Andy’s music isn’t just about that sneery punky sound but I didn’t expect this. As well as the different sound, it’s looser, it’s sparser, it sounds more ‘live’ And this is all good, more than good.

And the other thing, as I have discovered, is that it’s a great example of music that you can raucously throw yourself around a room to, with a huge grin on your face.

Cold Culprits continue to impress hugely, I wonder what will come next?

Niall is somebody I am always both happy to hear about a new release from. and review. His music is always both unexpected and expected at the same time. What I mean by this is that although you might broadly describe what he does as, sometimes introspective, singer/songwriter, the exact form and sound of his releases isn’t something you can predict. Just when you think that you’ve got what he does, he goes and walks all over that. And this is very much the case with this split single release.

‘Going Under’ is a poignant and personal song about anxiety and self-doubt set to a slow waltzing rhythm. It builds from a gentle guitar and voice, and as undertones of grimness creep in, to something all the more raucous and hard edged. Both lyrically and musically it conveys the way anxiety and doubt gradually overwhelm, when life becomes difficult and doing the small and simple becomes something you have to make yourself do.

As someone who suffers from anxiety and self-doubt but at times finds it hard to describe to others in any useful way this song amazed me, the way it describes the feeling of the everyday overwhelming you, and that deep dark cloud it casts over you.

’Palm of Your Hand’ is a dreamy song – both musically and in it’s theme. It’s soothing and comforting. It takes you out of the everyday and into another, all together better, place. After ‘Going Under’ it’s like emerging into the light, or at least a happier place.

Niall might be in a different place now – both literally and mentally – but his songwriting and performing skills have’t diminished or changed in any way. These songs are quietly addictive – I find myself returning to them time and time again. They’re wonderful; emotionally and musically.

The info

Niall says:

‘Being trapped indoors for the better part of a year now has really brought some of the feelings of anxiety and questions of worth mentioned in ‘Going Under’ to the forefront of my mind. As well as the pandemic, this year has been very transitional for me; moving away from a creative bubble in my university house and from the buzz of Leeds city centre has been difficult.

‘It is a big change moving away from a house of 8 musicians to possibly being the only musician on your street. You have a constant validation from your friends that what you’re spending days at a time to create is worth the effort, but when you’re creating alone a lot can end up in the chasm of forgotten demos. These two songs are lucky to see the light of day.’

‘sleeping in the dark’ is Leeds based artist Wax Works debut single. I’m going to admit that the thing that made me take notice of this was Mollie Coddled’s involvement; I just love her vocals. But, hey, this is no bad thing; you see that there’s an artist who you really like involved and that might lead to you finding another you really like. You get me here.

The sound here is indie-pop, indie-pop with something of a dreamy bedroom beat feel. And that is a lovely thing, a really lovely thing. Wax Works’ vocals are another lovely thing, and the combination of Mollie Coddled’s voice and his is an absolute bloody joy.

We all need great pop sometimes – yes, even you who listens to raucous noise-rock, admit it now. This is fantastic, well put together pop. Pop with depth. Great tune – earwormy as hell, great vocals, fabulously played, and, it leaves you with a huge bloody grin on your face and a joy in your heart.

It really is that simple. Just go listen to this now.

The info

Wax Works is a self-produced, bedroom-pop artist based in Leeds. With influences from Easy Life to Wallows, Dayglow to The Night Cafe, his sound is a blend of indie guitar licks and vocal hooks, with bedroom beats.

https://www.instagram.com/waxworksnoise/
https://www.facebook.com/waxworksnoise

So before I start the review proper, some information. Internet Raised are Oliver Pinder – who’s released some wonderful stuff – and Vanessa Maria- whose EP ‘Overslept’ we reviewed some years back.

They describe what they do as indie/pop; whether that’s the same as indie-pop I can’t be sure (look I can’t know everything, can I?) It’s kind of a mix of electro indie-pop, trip-hop; that’s my take.

This is pop with depth, music with a message. You need to think of the song as two people telling their stories, describing their issues – in Oliver’s case it’s the loss of his father, and for Vanessa she asks questions regarding her sexuality, habits and life choices. I have to be honest that I didn’t get that the first time I listened to it; I needed to read the press release. But the message of the song is that things will get better.

So the important thing is does this work musically. It does, it does so bloody well. Musically this is a trip through different styles that are woven together into something brilliantly epic. The two stories come with their own musical signature – Oliver’s is indie-pop singer/songwriter and Vanessa’s is trip-hoppy, dreamy. The message that things will get better is strong and poppy. And it’s all tied together by two great vocal performances – but you’d expect that.

The thing about this track is that it rewards closer listening; there are touches of sounds – a backing vocal there, a synth here – that add magic and sparkle. And the lyrics are compelling.

The whole is something that has crept into my head and lodged itself there. It’s the combination of all the great things I’ve told you about, it’s not one thing. For a debut release this is something incredibly accomplished and special. Internet Raised are one’s to watch.

The info

Internet Raised are a fresh, innovative Indie/Pop Duo. Members Oliver Pinder (from Wakefield) and Vanessa Maria (from Manchester) have been writing this “project” for around four years, with “Better” celebrating the birth of Internet Raised.

“Better” was written during the first wave of the coronavirus pandemic, courtesy of a writing session over Zoom.

Later in 2020, the duo then took the original demo to James Kenosha, a producer, known for his works with Birdy and Rhodes. This then expanded on Oliver’s existing production.

The song “Better” draws on themes of loss and questioning. Whilst Vanessa asks questions regarding her sexuality, habits and life choices, Oliver discusses the death of his Father at
such a young age. The chorus emits positivity and optimism, with the crucial, truthful lyric that if you “give yourself a little time”, then things will only get “Better”.

“Better is a reflection on our past with a strong focus on developing to be ready for the future. It draws on a lot of the difficult things we have experienced in our past but is about moving on and learning to be your true self”, the duo explain.

I have become quietly obsessed with Lewis’ music. It’s compelling, full of emotion and, interesting and inventive musically. And you never quite know what it’s going to be like; you know that it’s going to have that thing that makes it his music, but you never quite know exactly what it’s going to sound like. And this my friends is a good thing.

‘Where Are You?’ is kind of Americana with more than a hint of folk, or perhaps folk with more than a hint of Americana. It’s basically his voice and a guitar. It’s quietly intimate. It charms with melody, a sweet vocal tone and compelling words.

But there’s more to it than his – it starts kind of bluegrass becoming richer with a layer of vocals added. I hesitate to call this a build but there’s a change of feel and musical mood.

I want to come back to how intimate this sounds. How I really want to hear this is in a small darkened room, sitting – perhaps cross legged – right in front of Lewis while he sings this song (sorry I am apt to do this at times given the chance). That’s the feel it has.

It’s the kind of song you can just listen to time after time, with no sign of boredom, it’s that compelling. This song is an object lesson in how sometimes the best songs are simple and unadorned;. letting the writing shine through.

Lewis told me he’s working on an EP; that’s something to wait for, something to look forward to. In the meantime do check this song out (and his previous work. If you want a treat for your ears).

The first – and sadly the last – time I saw Pretty Addicted play I was left speechless, amazed and grinning inanely. It was, as you may have realised, an incredible experience.

They do… well that’s actually quite difficult to pin down to be honest. I could try dance-punk, possibly an unholy mix of Marilyn Manson and hard rave, or at a push electro dance goth. Whatever it is it’s dark, stomping beats and scary in places. It’s fabulousssss!

‘Phobia’ could be considered, either intentionally or not, a kind of extended mix; it’s long, there are over 5½ minutes of wonderfulness. It kind of has stops and starts; there are pauses in the madness, the stomping compulsive beat, when you are given the chance to recover, to ready yourself for the next manic dance inducing section.

And over this compulsive beat, the sounds that make your body twitch and jerk, Vicious Precious chants out, sings out, screams out, words. Words that are scary and dark.

This is an experience, a whole body, mind and heart experience. For full effect you need to crank it up way way loud, put it on repeat, and just let yourself go. Each play merges into the next until you have no idea where you are in the track. Musical oblivion, beautiful musical oblivion.

Watch the video here https://youtu.be/Q5jHnNykmOs (this is age restricted and you’ll need to be signed to watch it.