Look I know this release has been out a short while, and some of you out there will already be grooving to it. But the thing is that when I got to know ‘Favourite Gold’ had been released and I’d had one listen to it, I knew I had to tell you about it.

This thing is pop to the max, it mixes something of an indie-pop sound and a distinctly 80s’ feel. It’s beaty – way beaty, synths bubble, blare out. And it has just lovely vocals.

I described this as pop, and it is, but it’s pop with an edge, an edge of occasional strangeness – odd sounds abound, an edge of cleverness – there’s a sense of ‘we might be doing pop, we know we are, but we’re doing it our way’. It has what I call a Classic Pop feel. Classic Pop is what I call those incredibly well produced pop singles that came out in the 80s – ABC, ‘Dare’ period Human League, Scritti Politti – pop that is crafted, not throw away.

And this may be a ‘pop’ release and the Sound of Summer in 3½ minutes but it’s something that’s going to stick with you, become a fav track far into the future. If you’re not already grooving to this, start now, it’s a joy.

A while ago I reviewed, and really got into, Hunter-Gatherer’s last release ‘Killjoy’. So with this release the band again give us alt-rock, alt-rock to the max people.

Like ‘Killjoy’ this has a tune, a tune that bores its way into your head and sticks there. There are guitars that growl, guitars that make strange beguiling sounds, guitars that riff, you get the picture, this has guitar and it’s not afraid to show it. And it does that quiet/loud thing, it does that building to a fantastic subtle and melodic guitar break. But there’s more musically – this has fantastic drums – they’re sparse and clever, they have something of a funkiness to them. And this is good because those drums are right up front in the mix.

I’m used to good vocals from the band, and this has that. In fact, it has great vocals – melodic and you can hear the words. And hearing the words is something you’ll want to do. The band say this about the song:

‘The current state of affairs has influenced ‘Turn Me Down’, we’re fed up with people that think they’re above everyone else in the political world – “Greta hung out your dirty laundry, still you’re dancing on the ceiling”.

‘Turn Me Down’ is a fierce politically fuelled rock song, not explicit lyrically, but it paints a picture of how angry people are with the ruling classes. Wake up, change the story.’

And as the band say, it’s not explicit in the words, but it’s there. This is a song to listen to, as well as rocking out to.

With every release Hunter-Gatherer impress me more and more, this release doesn’t disappoint, it’s a huge step up. Get to it right now.

First a little bit of background. As well as being a solo artist, George is also the guitarist from Mondo Bizarre – who’s release I reviewed late last year. I reviewed that single because Mondo’s drummer – Sam – is also in DENSE, a band I adore. I met George briefly, along with other members of Mondo Bizarre, at DENSE’s gig at Hyde Park Book Club. And just to tie everything up Freya is also in Mondo Bizarre. So that’s how I got here, reviewing this release from George.

I guess I’d describe this as a spacey, slightly psychedelic, slightly jazzy, slightly soul-y sound. It kinda floats in that area of Jazz/Nu Soul sound that, as I said in a previous review, seems to be gently sweeping across Leeds. But as I said this is spacey and psychedelic – there are odd analog sounding keyboards that float in reverb and echo. But it has more to it than this, there are odd bits that have something of a Portishead sound. It’s kinda timeless, people.

And it has, as you’d probably expect, some rather tasty guitar. This is gentle, somewhat jazzy, guitar. But this isn’t jarring, it’s part of the track, this no excuse to show off his guitar skills.

Look I could go on forever telling you how good musically this is, the sheer wonderfulness of the way this is put together. But I’m not, I want you to discover for yourselves quite how beautiful, mesmerising and compelling it is.

And over this wonderful lush soundscape Freya sings gently, quiet words that she says describes the “wanting a moment to stand still without time moving on – originally about sharing a night with someone and not wanting it to end”.

This song is just the most fantastic moment of calm, you can’t help but float off, leaving all of your worries and anxieties behind. It’s lovely, can’t say anything else.

The info

In the words of Babystep magazine, George Bloomfield “burst onto Leeds scene” with his first release, ‘Twelfth’. This is the follow up single.

Its got a chilled and relaxed vibe, that has a vintage and at times psychedelic feel due to the alternative mixing methods used, such as use of a Leslie rotary speaker and tape delay. This provides a lushous soundscape of vibrato and reverb, pierced with an emotive rising guitar line, and melodic bass.

This release is a compilation of tracks from the band’s ‘Artgod Dogs‘ album and ‘Peak Human Experience‘ EP – their last two releases – which have been remastered. However, it’s been a while since I’ve listened to these, and this gives me an opportunity to revisit both of those and see whether I have altered my opinions.

Taking a look at the track listing, this certainly includes some favourites of mine, so that’s a good thing to start off from. However it includes other songs that haven’t figured in my favourites, time to really listen to those.

The album opens with the still intriguingly named ‘Goya Pinter Honey Bed’ which even if you know the track sends you scrabbling back in your mind to what this actually refers to. The title itself is a kind of summary of the story of the song. Musically there is an almost jazz feel to some of it combined with loud riffing guitar sections – kind of like The Dead Kennedy’s ‘We’ve Got a Bigger Problem Now‘ in form but not in sound. It’s a musical trip. The story involves looking at Goya, reading Pinter, eating honey and going to bed – strangely enough – with a side trip into a discussion with a fellow musician about their trip to Europe.

‘Jimmy Flamingo’ is musically space-y to start with with a slight reggae feel and then it explodes into loud riffing rock which still has a space-y feel. It kinda reminds me of a heavier Here & Now (one of my favourite bands from the 80s); whether the band would thank me for that comparison I have no idea. The song is about the aforementioned Jimmy. Interestingly this track wasn’t one of my favourites when I first heard it, now I’m wondering why. It’s a joy.

And now for something else that kinda reminds me of Here & Now – but perhaps from earlier in their career than the early 80s (honestly I’ll stop comparing them to Here & Now) – ‘Cut Throat Living’ Musically it’s fucking fantastic. Lyrically the song could be summed up lyrically as being about the grind of working to live and what that does to you. ‘Nuff said, I love this song.

‘Crombie And Grist’ is heavily string driven (I’m hearing that as viola), features dual lead vocals. And is the strangest most compelling heavy rock-folk thing I’ve ever heard. Look, the band throw all sorts of stuff at this – backing vocals to die for, a beat that would drive a mosh-pit into a frenzy. Complaints, only one, it’s not bloody long enough, this is something you want to go for ever.

Already exhausted from throwing myself into a frenzy over ‘Crombie And Grist’ up next is ‘Crow Syndrome’. This is equally as mad and frenzied but it comes with a degree of subtlety musically. This thing changes people – there’s rock with a hint of reggae, there’s poppy sounding sections, there’s sections with mad viola that sounds like a guitar being tortured but better.

I can’t better what I said about ‘Storm Linda’ in my review of ‘Artgod Dogs’. It’s still one of my favourites. And it’s still the case that even with the words in front of me I can’t work out what it’s about. It’s this delicate, sort of psychedelic thing, at least at first – think sort of early Floyd or even Gong. The viola on this is so so haunting. It changes, it’s less delicate but it’s still a trip people. There’s this pulsing guitar that swirls in your head. The drumming on this track is just brilliant. And those vocals, light and delicate one moment, fuzzed and echo-y the next. Wonderful stuff.

I think ‘Summer Scribbler’ was one of the tracks I didn’t cover in my reviews previously, listening to it now I have no idea, not in the faintest, why. It’s amazing. Musically it’s guitar heavy and oppressive. It drags you in and down, down, and further down. It has a weight to it.

‘Bones’ has something of that halting punky sound to it. But it has these dropouts to quiet delicate sections that creep up on you and surprise. Strings swirl away in the background.

So this is what I said about album closer ‘Diamante Swansong’. It is another one of those huge surprises. It’s another of those changing songs, one moment it’s a slow sort of ballad-y thing, the next it’s a whirling rocky thing. The next it’s a viola showcase solo thing’. What I didn’t say is that it’s a sheer fucking joy, I should have.

So how to sum up the experience of listening to this album. I am reminded that musically KotS are without flaw, this is a band who sure know how to play. Their songs are full of changes, change ups and twists that wouldn’t work unless they could play. But I am also reminded that they write songs that make your brain work – these songs have great words, I may not be able to always work out what they mean, but it’s worth the time really listening to the words, the effort is rewarded.

As a fan, as I am, of the band any release is to be greeted with joy and celebration. And one that makes you re-evaluate what you thought of the songs originally has to be good. For those of you who may not have listened to the band before, this is a good introduction to their recent releases – it’s like a condensed version of the last two.

This is joyful and thought-provoking stuff people. Music that you should, no must, give a listen to, you won’t be disappointed I promise you.

Over a year ago I reviewed Emily’s EP ‘Transparency’, I loved it then and I still love it. It’s one of my favourite things I’ve reviewed.So when she asked me to review her new release I was somewhat thrilled.

‘Gallery’ is a big, slightly folky in places, piano-led ballad, a big soaring ballad. In some ways – like some of the songs on ‘Transparency’ – it has a feel that reminds me of songs and singers from the past but because it includes things that could only be from now, it’s better described as timeless.

Emily’s voice really takes centre stage on this track. For much of the song it’s mainly just her voice and piano. And hearing her voice again on this new song, I am again amazed by her voice. There are a lot of words in this song but her tone is wonderful, her voice has a dynamic that is fantastic. And no doubt while she’d be capable of vocal gymnastics, she sings this simply and wonderfully, It’s raw and deeply emotional.

And this is a big ballad so there has to be build, and there is. There are touches of guitar – wonderful soaring guitar – a touch of double tracked vocal, and then it takes off. And you know that swell is there to mess with your emotions but you can’t help yourself, this song gets into your soul.

‘And does this song have great words? If her voice is so upfront, it should do’ I hear you ask. Yes, this song has great words, really great words. Emily says, ‘Gallery is about a loss of control. It looks at intrusive thoughts, imposter syndrome and the uncertainty of feeling that everyone else has it sorted’. The lyrical approach she takes to this is fascinating and compelling.

This song doesn’t leap on any trends, it’s her music and her words. And that’s partially why it’s so great – It’s coming directly from her, and not filtered or warped by trying to be one thing or another. The other part of that is that she’s a really great singer, knows how to put music together and it’s played so well. It’s words and music in perfect harmony.

The more I listen to this song the more I fall in love – musically – with it. It’s beautiful.

The info

Emily’s piano-driven songs stitch together elements from folk, jazz and pop to create a distinct sound. Her style has been described as ‘A hybrid of Tori Amos and Florence + The Machine’, though she is also heavily influenced by art-pop artists such as Fiona Apple and Kate Bush, as well as by alternative artists like Weyes Blood and Cate Le Bon.

‘Gallery’ was recorded in Leeds with Mercer’s band just before the UK went into lockdown meaning vocals for the track had to be recorded remotely from Mercer’s home in Manchester. This isolated set-up resulted in a more raw, intimate vocal performance.

Silver Club hail from Sunderland – outside of our usual area I know, but I took one listen to this track and fell in love with it. I thought it would be something worth bringing to your attention.

Silver Club do something which is what I’m going to call British 60s’ style psychedelic rock/pop with a surf edge. It’s heavy on the swirling keyboards. And I love swirling keyboards. But this is not the only lovely thing about this single – there is gorgeous guitar, twangy guitar in places. There is something of a stalking sinister sounding vocal. There are smooth harmonies. It’s a fab multi-layered sound people.

But all of this lovely sound is used to produce something that has a tune that is bloody earwormy, and has a pop sensibility to it.

And it’s something of a musical journey, this song changes throughout it’s over 6 minute length – yep you read that right. This thing is epic. It’s an object lesson is taking something and writing something that never makes you bored, but sounds completely seamless, every change makes sense, every extra layer of sound isn’t added just for the hell of it, they’re there for a reason.

And somehow although their sound may sound retro, if isn’t. Their approach to it isn’t a retro approach. It’s British 60s’ style psychedelic rock/pop through the lense of music now. You can hear hints of that Manchester sound, hints of music from the 80s, hints of indie. This isn’t retro copyist stuff.

Quite who the Lem the song is about I don’t know but Lem inspired something absolutely fucking brilliant.

The info

Silver Club are a Sunderland based surf rock 6 piece, packing their music with Psych Surf tendencies of Tremolo and Juno synthesiser goodness. Their music brings a huge variety of tones; Morricone meets Tame Impala sandwiched together with a vintage 60s edge.

Silver Club are:

Keyboard/Lead Vocals – Aaron Morton
Vocals/Acoustic Guitar – Dan Cuddihy
Lead Guitar – Danny Baister
Rhythm Guitar – Ashley Bell
Bass – Martin Wilkinson
Drums/percussion – Adam Baister

This is Scenius’ fourth release, and they continue to impress me hugely. Their retro but not at all retro dark electronica changes from release to release but somehow it sounds like them whatever they are doing.

For this release they are mining a post-punk dark electronica sound. It has hints of say pre-popstar Human League or dark period Depeche Mode. Synths are strident, beats are insistent, disturbing sounds ring out, vocals are dead-pan.

But I am giving the impression that this song is devoid of tune whereas it actually has a tune that is horribly earwormy. Three plays in and I’m singing along. It’s darkness is catchy.

And as I said right at the top, although their sound could be considered to be retro, it somehow isn’t. It sounds – and I said something like this in a review not that long ago – like I remember post-punk electronica sounding but in actuality it doesn’t. It’s cleaner, somehow weightier, and all together better. And while it has a post-punk dark electronica sound to it, Scenius apply some pop sensibility. It’s catchy, horribly catchy.

Scenius are producing some seriously good releases, and this is one of my favourites. If you’re a fan of electronica or electro-pop then you need this in your life right now.

I really liked the last single I reviewed from ASKIES – ‘Bond’ – but this is on another level. It is a slice of oh-so smooth alternative rock with something of a pop edge. I mean it gets loud but it never loses that smoothness.

There is so much to love about this song that this might get a bit boring. Let’s start off with the playing – there is some great guitar that ranges from oh-so sweet and subtle to ‘let’s do it’ crashing. The drumming is sparse and clever. The vocals are cool, way cool. It’s horribly horribly earwormy.

Look to me it has that feel of 80s’ adult rock – loud but not so loud it loses that cross-over appeal, light and shade – this song changes and changes in sound, dynamics, with enough poppy elements to make it poppy but not so much that it still is rock.

We might, if we were forced to label it as something, call it sophisticated alternative rock. But I don’t really want to push it into a niche because it’s a great song that shouldn’t just appeal to fans of alternative rock.

‘Easy’ is one cool track, listen to it right now.