One of the good things about Cold Culprits is that you never quite know what Andy is going to come up with. Switching it up is his thing, so to speak.

For ‘Light It Up’ he has gone full on angry raw gritty rock. Guitars roar, screech, that sort of thing. Wildly outrageous guitar breaks, riffs that pound into your head like hammers. It’s a bloody riot, heavy as hell.

This is a song about something, expressed in hard hitting words. “Light It Up is a wounded, paranoid anthem to internal confusion,” says Andy. “It’s all about making sense of a chaotic, uncontrollable world and trying to find your place in it. It’s packed with frustration, but then it’s also about thinking ‘what the hell’, and exploding your life into new areas and experiences.”

But another of the things that says ‘this is Cold Culprits track’ is here in spades, that sneery NYC punk vocal of his is taken to the edge and beyond on this track; becoming an angry aggressive frustrated scream. Lovely stuff.

In all this hard heavy sound there are the other things that say ‘Cold Culprits’. The contrast of bass driven dropout with the dense dense sound. The careful layering of meticulously made sounds for maximum impact. And even though you know it’s been carefully constructed by Andy recording each layer of sound, the track has a live band feel.

What I’m hearing in this track is his exploration of bands like Led Zeppelin, Stone Temple Pilots, System of a Down and Pearl Jam; the driving bass and drums with the out there guitar.

This, people, is a bloody joy. Play loud as you dare and wig out.

The info

“I started writing and recording Light It Up as soon as I’d finished my last tune, Renegade Days, back in June” says Andy, “but then work really started piling in on me – which was great, as I’m self-employed and I’d been through a bit of a drought, similar to many. Anyway, now I’m back on it.”

Cold Culprits isn’t a band, it’s the creative outlet for Yorkshire-based Andy Watson, a musician and freelance copywriter living on the outskirts of York.

When Andy was a child, he found an old cassette tape in the street and took it home to play on his dad’s tape player. The music on it blew his tiny head off and built the foundations of his musical tastes. It was years before he discovered that the band was The Skids.

Andy has been bashing around on guitars forever, but only started to write songs a couple of years ago. In summer 2019, the band he was in stopped making original music in favour of playing indie rock covers on the local pub circuit. This propelled Andy towards learning the drums and keyboards to complement his vocals and guitar, so he could focus on creating original music as Cold Culprits.

Cold Culprits is a sideways nod to The Germs, a 1970s LA punk rock band. It’s connected to germs being the culprits behind the common cold. The Germs were unstable, self-destructive and incoherent. They also wrote some beautifully poetic lyrics in the few short years before they imploded.

This just wasn’t what I was expecting. You see The Red Stains describe themselves as a post-punk band, and I just made an assumption about what I was going to hear. I was wrong, so wrong, and strangely I wasn’t unhappy about that at all.

‘Smile!’ is post-punk, but that doesn’t mean doom laden dark electronica, Goth or any of those other things I was expecting. Instead what I heard was the unholy utterly fantastic union of The Slits and The Creatures. And my heart leapt for joy, my feet drove me into a wild dance. THIS IS THE STUFF!

Sometimes it is so good to be oh-so wrong.

Sparse African drums setting a driving beat, funky bass, fast plucked guitar, warped guitar, vocals the like of which I have not heard in decades. It drives you to twist and sway like a crazy thing.

I didn’t realise that I missed music like this as much as I do. And while I’ve been taking a distinctively retro take on the sound – it is and it isn’t. It sounds like I remember The Slits sounding, which isn’t, as I’ve just found by taking a side trip to their album, how they actually sounded. The Red Stains come with a sharpness to their sound which I think is where that The Creatures/Siouxsie and The Banshees influence comes into it. But the closer I listen I hear things I can’t pin down exactly but sound more of now. But when it comes down to it, where great music comes from isn’t that important, and this is great music.

There’s more to this band than great music, like The Slits, The Red Stains’ songs are based in real life, on real issues. The band explain:

‘Smile! starts off by dreaming up a dizzying, suffocating suburbia with biting, ironic lyrics that paint a pretty picture “It’s a pastel dream, made of strawberries and cream”. There is an escalation lyrically with questions urging for domestic perfection before coming to the push in the central line “Smile! Smile! Smile! Smile! You’re on trial!”

‘The song is an acidic, tongue-in-cheek bite back at the idea that ‘a woman’s place is in the
kitchen.

‘Overall, Smile! is expressing sharp, controlled and sour fury at the ever-present expectations placed on women to smile and obey.’

I love a song where while your feet and body are dancing, your head is working. And the words are so compelling it rewards a sit down and listen closely as well. Double the joy.

This is music with a message, music that will make you want to change things, and music that will make you go crazy wild. Your soundtrack to a riot. I bloody love it.

The info

The Red Stains take pride in smashing up gender stereotypes and scattering them in your face (and ears!) through a powerful, subversive style about shop mannequins, discount supermarkets and the Manchester Metrolink trams. They are a four piece contemporary post-punk group from Manchester consisting of Natalie Emslie on vocals, Sterling Kelly on bass, Cesca Henderson on keyboard and synths, and Ben Dutton on drums.

The Red Stains are fueled on chaos and resistance to the injustices in modern day society – social inequality, misogyny, political monotony. Opinionated and unafraid, this band brings a refreshing urgency that rips up the rulebook and throws glitter and spaghetti hoops over it.

Expect maximum chaos and get ready to dance your socks off!

The Red Stains take inspiration from a crazy collage of musical styles, from 70s post punk and experimental new wave to 90s Britpop. Their use of gritty bass and minimal, punchy drum lines combined with disconcerting synths and raw, powerful vocals gives them a unique and unpredictable sound.

Gig

The Red Stains + guests All Girls Arson Club + The Dolly Shakes + Pussy Stamina DJ set
Night & Day Cafe Manchester
24th September 2021 8pm
Tickets + info: https://tinyurl.com/TheRedStains

Hollow Doors are a band who like to do their own thing; this is something I like, I like a lot. For ‘Fake Style’ they are giving a tasty funky rock track. This people is rock but it’s also something you can throw outrageous shapes to, it’s cool as fuck.

And yes it comes with a 70s’ vibe, at least this is my marker for this sort of music. But somehow it sounds new and vital. They have taken that sound and made it new, for now.

The details are there. There’s a lovely cowbell, very much a thing of that funky 70s’ rock. The guitar could be described as ‘muscular’, and sometimes ‘stabby’ (this is something I don’t know how else to describe OK, but it’s that short high note thing). There’s some frankly wondrous backing vox – including a deep spoken voice at the start. The vocals sing with a bluesy soul. And the lyrics include ‘I’m talking bout’ – a key and very important thing.

Somehow I get the feeling I’d love these guys’ music collections. Funky rock is a thing for me.

The song comes with a message, the band explain ‘Connor’s lyrics are relatable to literally everyone living in the modern world. They highlight the concept of every mainstream media force feeding artificial stories and lifestyles down people’s throats. Though the premise behind the song is serious, the flow and delivery of the lyrics is light and playful… but it definitely gets the head banging’.

This song rocks, it rocks like fuck.

The info

Hollow Doors are a 4-piece band from Scunthorpe, North Lincolnshire. Since forming in 2017 the band have built strong ties with fans in their community performing at almost every music venue in their hometown. Believing that live music should sound as good as the studio recording, their high energy performances have caught the attention of supporters, quickly becoming a local favourite.

They are:

Connor Haggarty
Josh Follows
Corey Lockwood
Callum Frost

I have reviewed a number of Alice’s releases and I have rather fallen for her music; it’s quietly wonderful.

‘Dungarees II’ would seem to follow on from her release ‘Dungarees’; it has the same themes. These themes are about being in a comfortable and comforting relationship, and making plans for things they will do. But hang on, not all is as it seems. It’s unclear whether this is actually going to happen. The story is one that I think we’ll all have our interpretations of the outcome. The lyrics have what I’m going to describe as a certain retro charm.

It’s musically where this all comes together. It’s a musical through quiet and folk influenced uncertainty; where Alice’s vocal is wonderfully nervous about the future. And then it builds into something frankly full of the joys of a relationship. Sudden drop-outs, rich layers of sound this has it all.

She normally describes her music as pop, and one level it is; fantastically put together pop with a hint of bedroom-pop. But on the other hand it has elements of folk and singer/songwriter. And to return to that retro feel; it has something of being from the soundtrack of a quirky art-house movie. It’s so ‘visual’. I imagined this playing behind a montage of a couple doing the things she describes.

But most of all this is charming and beautiful. Gorgeously written, sang and put together; with a quiet original and inventive sound. Oh and I should say that you just can’t help but smile listening to it.

Another release, and Artio have perfected their very own mix of alternative rock and big pop. ‘I Can’t Sleep’ straddles those so perfectly that my very first listen left me speechless. Of course this comes with the understanding that this is not a pinnacle from which they will fall but merely a step up in what I’m sure is a continuing upward journey. The next step will be the second of their ‘Shapeshifter’ EPs. And this, if you need to be told, is the lead single from that.

When this is heavy it hits you with a power that is going to physically knock you over, and then it’s oh-so sweet as it becomes poppy. It’s seamless and sounds so right.

And it’s filled with the things you expect from Artio. Wonderful vocals . A sound that is dense (when it’s dense) with layer on layer of sound but rewards closer listening with those subtle and clever touches. I know you’d expect this from the band but I can confirm it’s here to max in this song.

Another thing we all have come to expect from the band is a song that is about something or has an emotional meaning. Here the song deals with the all too familiar human state of feeling overwhelmed in situations and the effects that those uncontrollable feelings can have on relationships and your own mental well being. It does this in a way that is so direct and clearly reflects personal experiences. Hearing these words is an intense experience. We’ve all been there, I know I have.

What we have here is a song that is words, meaning and music that is in perfect harmony. The music reflects that feeling of being trapped, of feeling battered by what is happening.

How to sum this release up? This is simply stunning. My breath is now held for EP.

MARKETPLACE are the latest band to be signed to the mighty Monomyth Records. And this is their frankly glorious debut release on the label.

Musically what we have is something that combines classic pop, hints of dream pop and a dose of indie into something that has a huge tune that is so bloody earmwormy it hurts and is going to make you want to dance your arse off.

But take a closer listen for this is music that has a depth. Yes you can hear up to date influences but to my, admittedly older, ears there’s something of a retro sound. I get something of that jangle of Twee (Google that people), and it’s not just the jangle but the vocals. Vocals that are joyful by the way.

And that leads me to the playing on this track; it’s ace. Just the right amount of pop fabulousness and quirky sounds to please both those of us who love a great pop song and those who are looking for something more inventive.

You may be wondering about the title and what the song is about. It isn’t, as I had rather wished for, a song about the wonders of condensed milk – which I happen to think is criminally under-rated foodstuff. I’ll let the band explain “’Condensed Milk’ was written at the beginning of Evie’s first year at uni during a time when she was homesick and the winter nights were drawing in. The track is about generally not being in the best place mentally at the time. The title is one of those that came about through not having a proper title and basically refers to The lyric in the chorus. Standard:)”

This is just the most fantastic blast of musical joy. It’s going to leave you with dancing feet and a wide wide grin.

The info

Monomyth Records latest band MARKETPLACE formed in Hartlepool during 2017.The 5-piece cite influences such as Grouplove, Mystery Jets, Hippo Campus and Talking Heads and have attracted wide acclaim during their time as a band. Their music has won fans such as Rianne Thompson from BBC Introducing on Radio Tees as well as press coverage from the likes of Dork Magazine and NARC Magazine.

Band Members

Joel O’Beirne
Evie Rhodes
Jack Purcell
Matthew Short
Ross Dixon

One question I had in my mind before clicking play (but after reading the press blurb) was where would this sit musical genre-wise. The answer is these are songs with a punk attitude to the max. Punk attitude can be measured in many ways – raw energy, delivery, lyrically content. SJA’s songs have that, boy do that have that.

So yes, while the songs are kind of saying ‘we were written on acoustic, and we’re proud of that’, the recorded result is kind of electro/acoustic punk. By this I mean they sometimes come with folk or singer/songwriter undertones. And lyrically his powerful lyrics are very much in that singer/songwriter vein. I guess by now you’re asking ‘but who does it sound like?’. Well there are hints of the focussed power of The Clash, A bit of The Alarm, sometimes The Pogues and there’s Headsticks somewhere in there as well. But at other times he combines the lyrical power of punk with a full on noisy raw folk sound.

Opening track ‘Outlaw’ is a track that takes an Americana lean on a punk sound. It’s a bit Clash like if you held a gun to my head. It has that stomping raging beat. Powerful, is my thought on this. It instantly provokes wild dancing around the room as well as providing food for thought lyrically. A fave.

I’m going straight to track two here, although this is not a track by track review. I’m doing this because suddenly we are thrown into a song that features a violin – ‘The Anchor’. This exchanges a raging beat for a throbbing hypnotic pulse. Dense layers of sound provide a power that is overwhelming. The violin, by the way, does something distinctly folky. And over this Steve’s vocals demand your attention. It’s a heady mix.

‘Lotus Eaters’ introduces us to a gentler musical feel – acoustic. While the lyrics – great words – tell of the pressures and failings of modern life. At least that’s my reading. These are words, to be honest, that are worth spending way more time than I have on. It’s a heartfelt lament on the state of modern life.

Another song, another musical feel. ‘Old Friend’ is joyous, danceable and has a tune to die for. All that with a raw energy you can feel.

‘Slap In The Face’ is a track with something of an old-style indie feel – surprisingly. Beat to dance to, tune that induces smiles. Need anything else? Yes, well there’s something of a madcap somewhat 60s’ pop song. ‘Indistinct Chatter’ feels like ‘Slap In The Face Pt 2’. It continues the same sound and feel. A great couple of songs.

And then ‘Means To And End’ crashes in. Raucous, raw, noisy, angry. Pounding acoustic. And then there’s the added bonus of the gentle guitar dropouts. Lovely stuff.

The album closes with ‘Other World’. A song I keep returning to over and over again. Brooding and dark. Lyrics that compel; more poetry than pure song lyrics. The power of this song, unbelievable.

‘Contrast’ is an album that I had no expectations about. It isn’t the first punk influenced singer/songwriter or singer/songwriter influenced punk set of songs I’ve had in front of my ears. This is one, one of the few, that I have ground to love. As I listened and experienced the stylistically varying songs that all came with the same care musically and lyrically I was at first won over, and then addicted. The main reason for this is that Steve lays bare his soul in these songs, and that draws you in, and compels you to listen. These are serious songs to listen to, ponder over, to be engrossed in.

The info

STEVE J. ALLEN is working on his music in his own uncompromising way and he has no intention of being tied down or held back by anyone else’s expectations of him. He grew up in Peterborough, toured with punk bands from a young age and musically came of age in Sheffield, where he worked and lived for over 10 years before moving temporarily to South East Asia.

His debut record “Wreck The Place”, released in 2014 via Righteous Anger Records/Labelship fell mostly into the punk category.

On this album the sentiment of raw and angry energy has evolved into a wider range of emotions.

The songs were written over many years, during epic tours and wanderings across the globe. Possessing both the spirit of a troubadour and a fierce performer, on this album SJA combines the two worlds of singer-songwriter introspection and furious punk energy.

It’s an upbeat and straightforward record consisting of short and catchy tunes. Acoustic guitars still shape most of SJA’s sound and the majority of the songs were tracked live in a three-piece band setting. It was recorded mostly in sporadic sessions and finished with an array of guest musicians from the Sheffield scene. A couple of home recordings co-written and co-produced by Matt Hardouin were added to the mix to round off this publication.

“To me, this album is organic, imperfect and open to suggestion. I enjoy it, and that’s all I really care about.”

All songs written, arranged and performed by Steve J. Allen except The Anchor and Other World, written by Steve J. Allen & Matt Hardouin

Recorded and mixed by Thomas Lebioda at The Laundry Rooms, Sheffield
The Anchor and Other World recorded at Steve’s flat by Matt Hardouin
Mastered by Karsten Deutschmann at Gentle Art, Hamburg, Germany
Lacquers cut by Noel Summerville, London
Cover art by Steve J. Allen
Sleeve design and layout by Lauren Kelley

Additional musicians:

ALLY FRASER; drums (Outlaw, No Time, Old Friend, For Joe, Slap In The Face, Indistinct Chatter, Means To An End), backing vocals (Old Friend, Indistinct Chatter)
LIZ HANLEY; violin (The Anchor)
MATT HARDOUIN; guitar (The Anchor, Other World), vocals / percussion (The Anchor)
STEFANO ESPOSITO; bass (Mystery Interlude II)
STEPHEN MOSEL; bass (No Time, For Joe, Slap In The Face)
THOMAS LEBIODA; bass (The Anchor, Old Friend, Indistinct Chatter), backing vocals (Outlaw, Means To An End), percussion (The Anchor), piano (For Joe)
TOM JARVIS; guitar / percussion (The Anchor)