Tag: album review

Album review: Thee Telepaths ‘The Velvet Night’

THEE TELEPATHS The Velvet Night [Mighty Fuzz] Here ’tis! The first full length album from the Kettering space/psych/noise rock quartet follows a couple of 12” EPs in 2016 and 2017….

THEE TELEPATHS
The Velvet Night [Mighty Fuzz]

Here ’tis! The first full length album from the Kettering space/psych/noise rock quartet follows a couple of 12” EPs in 2016 and 2017. Those excellent releases has meant no little anticipation has been building amongst the psych/alt community for The Velvet Night.

The band have developed their sound to arrive here; this album came out of a lengthy jam session when an extra track was required. Once the hour-long jam had been poured back over it was abundantly clear to the four that, recorded and edited properly, there was actually an elpee of coherent material right there. So far, so Hawkwind. But what makes this album so fascinating from beginning to end is they have tightened the sonics and the songwriting into something bigger than they had previously achieved. Any prevailing ghost of Spacemen 3 or Neu! or Sabbath has been wholly exorcised; all that comes through is their own unique signal. And it’s one that should put them nearer the front of the current psych revival too.

Pulling the album apart is a very hard job. It is very difficult to separate any part from it’s whole. The band know this, and they have tried to avoid any disjunction by simply creating three acts: ‘Alpha’, ‘Epsilon’, and ‘Delta’. Within those movements you get ‘parts’. ‘Alpha Part 1’, for example, is a heavy krautrock epic, pushing the limits of what the brain can take. Dean’s ethereal vocals ride the wave of the Loop/Suicide style repetitive synth swells. Pummelled by the metronomic drums and bassline from Vincent and Tim, Tom sends stabbing notes of guitar fuzz through the mix. It’s conclusion makes way for a breather, as the calmer, floating ‘Part 2’ bring respite from the onslaught that was ‘Part 1’. The tempo is ramped up for ‘Part 3’, and a Floydian synth line takes charge. ‘Part 4’ is a timestamp, a precursor to the onslaught of ‘Part 5’, which returns to the themes of ‘Part 1’, but this time with even more emotion from everyone involved.

‘Epsilon’ is eleven minutes that sounds a tad more contemporary. The Wooden Shjips/Hookworms pulse of ‘Part 1’ is spirit-level steady, and allows Dean room for some vocal manoeuvres. You don’t ever really catch what he’s singing about, you just feel it in the gut. In ‘Part 2’ the proggy guitar lines send the listener leftfield, whilst ‘Part 3’ pulls things back, and we’re into Sonic Youth or ’90s stoner territory. It’s another peak in a song cycle full to the brim with ideas that gel better than you’d imagine from any description a writer could provide.

‘Delta’ feels like a reset button has been pressed, and a bit of intentionally aimless flow opens up. ‘Part 1’ gives you Wah Wah Land, and a vocal seemingly in freefall. Is this where the trip turns bad? ‘Part 2’ suggests not, as we realign our chakras and forge onwards with new energy and renewed belief. The sonic breakdown here is akin to a vortex of sound, a whirlpool to let oneself be lost in. The instrumental ‘Part 3’ brings us firmly out on the other side, the guitar fuzz blurring our vision somewhat as we stand on our musical shore basking in solarized warmth. The final movement, ‘Part 4’, is a brief howl of joy that we have survived the entire thing.

It’s certainly not an album you can get on one listen, but The Velvet Night is surely an early contender for album of the year. There’s no come down allowed here. Just a widescreen, ecstatic, symphonic journey backwards into tomorrow that you won’t forget in a hurry.

Phil Istine

The Velvet Night is out now on vinyl and download

 

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Album review: Shorty ‘The Northampton Underground’

SHORTY The Northampton Underground [ShoeTown Records] Northampton singer-songwriter Shorty [aka Chris White] has quickly followed up his enticing 2017 album Abington Park with a big collaborative effort. It’s an album…

SHORTY
The Northampton Underground [ShoeTown Records]

Northampton singer-songwriter Shorty [aka Chris White] has quickly followed up his enticing 2017 album Abington Park with a big collaborative effort. It’s an album almost thirty years in the making [at least the concept – of a big group effort with strings and brass – is a long held desire of White].

The title is reference to the 2014 spoof that Northampton once had an underground train system in the early 20th century, which has the immediately impact of warmth towards the album. It surely also works as a metaphor for many of the players on the this album and what they represent. And make no mistake, this is a very Northampton album. The inlay artwork has the London Underground map with stations annotated with ShoeTown places of interest to Shorty [everything from ‘Cobblers and ‘Semilong’ to in-jokes like ‘John’s House’].

White, a former member over the years of The Clique, Happy in Heaven, and Abbey Park,  has assembled some of the town’s best talent to bring his vision to life. Some of P-Hex are here, for example. Local cheesemonger Stevie Ward serves up guitar left right and centre. And so on and forth. Musically over fourteen tracks and forty-seven minutes there’s a little something for everyone. Let’s delve in, shall we?

(I’ll Be Your) Plus One’ is a 70s style glamish romp with ELO harmonies. Roxy-style sax solo is a touch too. ‘It’s Alright’ and ‘Out In The Sun’ later on cover similar ground [aural comfort blankets for the winter months]. ‘How Can This Be Love?’ is the first of two performances featuring Californian singer Danie Hollobaugh, who shares leads vocal on this nice, if saccharine, duet. ‘I’ll Find A Place’, the other song, is sadly a flat, rather derivative outing. ‘Feeding the Duchess’ is an alt-country with rasping bluesy harmonica intro from Dom Strickland [The Clique]. It’s melodic and inviting, as it details domestic bliss [“I’ll buy you a Chinese on Friday night”]. ‘I Wish’ contains more Wilco-esque musings, and White has this style down pat. 

‘Caravan’ has Lindsay Spence and Nathan Bundy from P-Hex joining in on the baggy dystopian stomper that is a lot of fun. Stay with Me’ is pure soft-rock with Fleetwood Mac vocals. ‘There Was a Time’ has Andy Orr (drummer with The Scene and Small World) on it. It is Beatles-esque psychedelia on the production side [backwards guitar, compressed Hammond, etc], it’s very charming in its period detail. ‘Ticket by Chance’ brings on the soul-jazz flavours – plenty of flute! – a Weller meets Mayfield sort of thing. Lovely too it is.

‘Thank You’ is gorgeous stringed pop that really needs to be heard by everyone who reads this review. Go stream right now in fact. ‘As I Wait Alone for You’ and ‘I Said a Thing or Two’ finish the album in melancholic balladry style, both featuring Martin Stephenson [of The Daintees fame] on piano and guitar. They are quietly affecting; the mariachi trumpet opening the final song setting the mood just right. 

The Northampton Underground is a sprawling, often very pleasing, piece of work. Dip in and find your version of Shorty that’s suited to you, then spread the good word amongst your NN friends. 

Phil Istine

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Album review: Ecco Pine

ECCO PINE ECCO PINE [self-released] Hailing from our very own ShoeTown are brand new alternative/electro-rock trio Ecco Pine – aka Adam [guitar and vocals], Ali [guitar] and Louis [bass and…

ECCO PINE
ECCO PINE [self-released]

Hailing from our very own ShoeTown are brand new alternative/electro-rock trio Ecco Pine – aka Adam [guitar and vocals], Ali [guitar] and Louis [bass and synth]. Though the band only formed last year they have certainly made a grand entrance to the music scene; their unique ambient sound means they are by no means late to the party. In a recent success for the band their track ‘More Than This’ was featured on the ‘Best Up and Coming Acts of the East Midlands’ Spotify playlist, alongside other favourites The Keepers and Sarpa Salpa.

The album’s seamless blending of rock and electronic tones creates a unique ambience that gives the band its distinct sound. Imagine the lovechild of Massive Attack, Vampire Weekend and Talking Heads – if you can! Nature is a constant element running through the album, from the panoramic artwork of an open road, stretching far into the distance, sandwiched between the sea and alpine woodland, to the carefully constructed tracks.

The floaty, atmospheric style immediately transports you to another place: a tranquil forest glade or mountain top of your choosing, somewhere entirely removed from the reality of everyday life. It offers an outer body experience for your mind. Such features beautifully combine in ‘The River’, with its crystal-clear, flowing serenity, and ‘Pines’, with its movement and moments of darkness, mirroring a night-time woodland trek.

The bands indie influence shows through, in tracks ‘More Than This’ and ‘Stranger Things’, the latter tipping its hat to the popular series of the same name. ‘Aliens’, of a sci-fi influence, and ‘White Wall’ further the album’s themes of escaping the here and now, echoing some melancholic lament for the current state of things.

Here’s hoping it’s the start of things to come for the band. Be sure to show some local support and stream or download your copy.

Rachel Thomas

Ecco Pine is now available on Spotify, iTunes, Apple Music and Amazon Music

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Record review: The Hurricanes

THE HURRICANES Let’s Go! [self-released] Recorded in their practice room, Northampton quartet The Hurricanes – aka Robert Jones [singing/guitar], Dammo Clarke [guitar], Neil Robinson [drums], and Tony Norton [bass] – have unleashed…

THE HURRICANES
Let’s Go! [self-released]

Recorded in their practice room, Northampton quartet The Hurricanes – aka Robert Jones [singing/guitar], Dammo Clarke [guitar], Neil Robinson [drums], and Tony Norton [bass] – have unleashed their debut album after a quiet period of gestation. Songs were worked on, refined, and put to tape over the past year, away from the glare of expectation. 

Three-quarters of the band cut their teeth in local ’90s Britpopish band Collide, but it is the mod revival sound of ’79 onwards that The Hurricanes mine for their sound. The Prisoners probably sit at the head of that table, as the opening [title] track sets out. Slashing power chords, agitated vocals, a pummelling rhythm section: it’s all here. And the band The Prisoners are usually mentioned alongside – The Jam – is there on track two, ‘This Is The Time’, with the 100 Club spit’n’pogo energy, alongside a no holds-barred rumbling bassline. A handclap breakdown appears mid-song too, giving it a dose of The Chords-esque soul in amongst the bludgeoning guitar noise.

‘Felicity Paige’ has a great, undeniable chorus chant, straight out of the Graham Day handbook. Robinson’s drumming is the key to this stomper, all elbows flying about in the authentic Moon-style. ‘Is There A Why In Your Mynd?’ gives a nod to The Creation, The Eyes and John’s Children with a ’60s freakbeat vigour and stinging fuzz solo. It goes a bit psychedelic at the end too, which is a nice touch. The aggression is toned down somewhat on ‘Staring At The Stars’, with a forlorn lead vocal and some sweet Who-esque backing vocal lines. It’s quite reminiscent of former Prisoner Allan Crockford’s contemporary band The Galileo 7, actually. ‘Taking Care of Business’ is a good summation of what’s happening throughout this album.

Considering this is effectively a home production, with resultant occasionally muddy sound [proper authentic garage-band, you might say] Let’s Go! is something to be properly proud of. It’s direct hits from the past, yesterdays’s sound tomorrow. And jolly, vibrant good fun it is too. They ain’t half bad live too, should you get a chance to catch them.

Phil Istine

PS. current Northampton Saints coach Chris Boyd was appointed whilst still boss of New Zealand team The Hurricanes, based in Wellington. A cosmic coincidence, worthy of a brief mention.

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Record review: Paul Weller ‘True Meanings’

PAUL WELLER True Meanings [Parlophone] He’s always been a hard worker, but still: these feel like prolific times for Weller. Working in continuous collaboration seems to fire him up, as…

PAUL WELLER
True Meanings [Parlophone]

He’s always been a hard worker, but still: these feel like prolific times for Weller. Working in continuous collaboration seems to fire him up, as this is his third album in 20 months. It’s a song from the first of those, ‘The Ballad Of Jimmy McCabe’ from his Jawbone soundtrack, which revealed a slight return to Weller’s folk balladeer side, after years of experimenting with the cutting up of rock this way and that. 

It was composing, a few years back, ‘Gravity’ – the lush, orchestrated, melancholic centre of True Meanings – that gave Weller the determination to construct an album in a far more bucolic style. ‘Gravity’ truly is a stunning, delicate 150 seconds of music, with an immaculate and precise string arrangement courtesy of decade-long sideman Andy Crofts. This sideman/woman influence is repeatedly important to this, his 14th solo album, as fairly demonstrated on bubbling opener ‘The Soul Searchers’: a modern string arrangement by the avant-garde musician Hannah Peel, multiple contributions from Villagers’ Conor O’ Brien, and an old-school Hammond solo by Rod Argent.

The album settles in well. Jazzer ‘Mayfly’ has a deft bluesy guitar solo from the former Jam guitarist Steve Brookes to enliven proceedings, whilst ‘Old Castles’ has a soul-stirring strings-assisted group arrangement that recalls his Heliocentric days back in the year 2000. ‘What Would He Say?’ is a lounge-shuffler that seems directed at the importance of keeping positive when bitterness is the easier option. It’s also the sole “The Moons track” on the album, as it unites bassist Crofts with Ben Gordelier on drums and Tom Heel on his Rhodes piano. Though the flugel horn solo means you aren’t mistaken who’s in charge!

‘Aspects’ is a serious piece of rumination, a Buddhist-like realisation of beauty/God coming from within. It’s a nod to Leonard Cohen and Cat Stevens, minor-chord patterns facing off with choral harmonies and swooping string lines. It also is, to put it bluntly, gorgeous, and worth the entry price alone. As the second half of the album begins there’s a couple of Erland Cooper [of prog-folkies Erland and the Carnival] collaborations that don’t quite hit the mark, and the album briefly drifts. Nothing to worry about though: here’s folk royalty Danny Thompson and Martin Carthy to breathe life into the ornate melody of ‘Come Along’, with Peel producing a fine Robert Kirby-style orchestral adjunction to some already heavily emotive moments in sound.

The last section of the album is a full of discovery, too. ‘Books’ adds sitar, Tampoura and Noel Gallagher on, er, pump organ to send us eastwards on a kaleidoscopic journey, whilst ‘Movin On’ has a lovely soaring vocal performance from the main man, who clearly still cares about what he has to deliver. ‘May Love Travel With You’ brings things around again: voice, guitar, and some widescreen Disney orchestration. Weller soundtracking your kids bedtime? Why not, he knows quite a bit about parenting. Closer ‘White Horses’ brings back Cooper, Argent and Gallagher for a finale that seals the deal: a fable about generosity directed at a younger audience, it’s a touching finish to an album that surprises throughout.

It was interesting to hear Weller dismiss last year’s well-received A Kind Revolution as merely “alright” in a recent issue of Mojo. Perhaps he knew how good the follow-up was going to be, and felt a moment of guilt. Maybe he was right though: whilst everyone has a different take on what the best Weller album/period is, True Meanings makes a robust case for being his best since his last 22 Dreams/Wake Up The Nation-era highpoint. Certainly there’s little doubt it will score high in many end of year polls.

Phil Istine

Live photo of Weller/Crofts by David Jackson

 

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Album review: Gerald Claridge

GERALD CLARIDGE Frisson [self-released] Claridge is a prominent face of the Northants folk scene, who has played with many cohorts in many guises over the years. A cursory glance around…

GERALD CLARIDGE
Frisson [self-released]

Claridge is a prominent face of the Northants folk scene, who has played with many cohorts in many guises over the years. A cursory glance around Discogs shows how he once made a folk-rock album way back in 1975 [with Nick Salomon, no less] as Oddsocks, makes reference to a private press solo album from 1990, and shows him as part of Tickled Pink during the noughties. He plays in a professional Ceilidh band as of now, and has seen fit to release another solo album of his own songs.

It is fortunate enough for us that he has recorded and released Frisson, for the Northampton singer has a deft touch with melody and arrangement that has not withered with age. Yes this is a ‘thin’ record [low production values, keyboard strings, some drum machines in place of actual drums] but it matter not a tot when you’re listening in. On Frisson we witness Claridge’s joie de vivre writ large; his folk spirit of bonhomie rising above any restrictions of time and finance. ‘So Far So Good’ sets off on the path of optimism, that continues on ‘Upside Down’, and indeed is rarely deviated from. 

‘Plain Clothes’ pays homage to McCartney-esque melody and guitar-picking, whilst ‘Rainy Day’ shows off his celtic soul/Kevin Rowland lilt to maximum effect. The middle of the album brings some light relief, with the nursery rhyme style of ‘Ten A Penny’, and an oompah ode to drinking and farting in a ‘Hot Tub’! Later still we get a tribute to the Beach Boys [‘Sound Of The Ocean’], which is a very un-Northampton thing to do, so much respect for that, Gerald. Squelching keys and clomping hooves introduce the lounge goodness of ‘Good Night’, and Frisson is completed with an instrumental ‘Wedding March’, hauntingly played on church organ by John Miller.

There’s a nice touch in the CD liner notes where Claridge gives a little explanation of the song, making the project feel intimate, the warm comfort blanket to accompany a glass of whiskey at the end of the day. For folk fans this is a “must investigate”.

Phil Istine

Frisson is out now on CD, available from Spiral Archive and Claridge directly

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Record review: Tom Grennan ‘Lighting Matches’

TOM GRENNAN Lighting Matches [Insanity/Sony] There’s something very endearing about the rise and rise of Tom Grennan. Firstly, five years ago he didn’t even play an instrument. Or consider himself…

TOM GRENNAN
Lighting Matches [Insanity/Sony]

There’s something very endearing about the rise and rise of Tom Grennan. Firstly, five years ago he didn’t even play an instrument. Or consider himself much of a singer. And like Richard Ashcroft before him he had a talent for football which almost took him on a different path. But then fate – and Chase & Status – intervened and boom; everyone wanted a piece of him. Confidence grew and he now carries that party-time swagger that thankfully is backed up with the talent.

The Bedford native has a rasping bluesmen voice that defines him as an artist. Musically he has a few different facades, largely reflecting who we works with on each song. Overall you’d probably categorise him as a sort of widescreen indie pop machine. His aim seems effortless and accomplished with a definitive joie de vivre. He’s the Harry Kane of pop! Not that the story of this album is purely one of joy. It’s triumph over adversity, as his words reflect a distressed young soul finding his way in a frightening big world. And who doesn’t relate to that? “I was made out of nothing, you were made out of gold” is one telling phrase on the ballad ‘Lucky Ones’.

Adam Gammage, Danny Connors and Tom Grennan on stage at Bedford Esquires

The album holds great interest for anyone connected to Northampton, as it contains the talents of two local luminaries. Danny Connors plays guitar, provides vocals and co-wrote recent single ‘Barbed Wire’, whilst Adam Gammage plays drums and percussion. They both tour with him too. It’s a terrific match-up, their chemistry clear to anyone from any of their recent live performances. In Fraser T Smith and Dan Grech he’s gone with producers who has crafted humongous hits for Adele, Stormzy, Plan B, Liam Gallagher and Tom Odell [to name just five]. The music is probably closer to a Blossoms though in structure – keeping it pop by focusing on a simple guitar or horn riff, and letting Grennan’s delivery take centre stage.

Almost everywhere you look here you will find gold. Opener ‘Found Out What I’ve Been Looking For’ is a bouncy anthem that will set the festivals alight this summer. ‘Royal Highness’, with its syncopated rhythms and inherent grit, repeats the Ibiza-soul trick that John Newman had going on fairly recently. ‘Barbed Wire’ displays a similar motif, making that retro-soul, horn-inflected sound comeback into the mainstream, just when it had seemed its time had passed. It should come with a warning: this song is likely to cause an outbreak of grinning and kitchen singalongs.

‘Aboard’ has a real maturity to it, Grennan promising not to “fuck around no more”. The band certainly don’t mess about with a tight arrangement that carries enough light and shade drama to make you think he’s a shoe-in for a  future Bond theme. The title track is another catchy yet bravely honest homage to his determination to strive for a better life. If it’s not the next single then heads need to roll somewhere – it will win over a million hearts from the first playback. ‘Sober’ is a touch Hollywood with it’s string parts darting everywhere, but still works out lovely as Grennan’s charm is undeniable. ‘Something in the Water’ was his debut release and reflects his initial soul balladry background. He’s outgrown that format now, but this number still contains the magnetism which bought the world to him.

Lighting Matches is not 100% fireproof though, which is no major surprise for an album that runs to a value-for-money 56 minutes. ‘Run In The Rain’ is Adele-saccharine cliche, ‘Lucky Ones’ can’t decide what it wants to achieve as it plods along alchemy-free [like late-period Oasis], and ‘I Might’ is singer-songwriter mundanity that he should have left on the cutting room floor. There’s always a worry that this collaborative creation-through-committee approach, so prevalent in modern music, might stifle the flow, but Grennan holds it all together even during the weaker moments. And even after all the dancefloor anthems the album puts forth he can leave you emotionally floored at the end, via his X-Factor-style offering ‘Sweet Hallelujah’.

It’s sixteen tracks feel like drinking stops on a big night out. They’ll be exultation and laughter, they’ll be a disagreement or two along the way, moments to think about packing it in. Then they’ll be redemption and hugs at the end. New Boots’ message to Tom is simple: nice one son, the next round is on us.

Words Phil Istine, photos David Jackson

Tom Grennan signing copies of his debut album at Bedford Esquires

 

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Record Review: Venus Fly Trap ‘Icon’

VENUS FLY TRAP Icon [Glass Modern] Much like their beloved Dr Who, it’s been a long, strange, bewildering trip for Northampton’s long-term purveyors of dark wave. Formed in 1986 as…

VENUS FLY TRAP
Icon [Glass Modern]

Much like their beloved Dr Who, it’s been a long, strange, bewildering trip for Northampton’s long-term purveyors of dark wave. Formed in 1986 as a trio from the ashes of their other projects by Novak brothers Alex and John, they rose phoenix-like to be a central part of the local scene of the late-80s [and you can read all about those early days in the latest, fourth, instalment of the Have Guitars…Will Travel book series]. Fifteen or so ex-members later and the last three albums have been the work of core duo Alex Novak and Andy Denton. Indeed Icon completes their trilogy that began with Zenith in 2004 and continued with Nemesis in 2011.

This record is probably the strongest of the trio, taking all the ideas explored so far and crystallising them into short, sharp, energised songs. If you are unfamiliar with the music, then imagine a PiL-like band playing Taffey Lewis’ bar in the original Blade Runner film. A sound rooted in the dark wave/electronica sounds that emerged post post-punk, but one that isn’t confined only to that world. Dystopian sci-fi rock from Northampton means everything from Bauhaus to The Cramps, The Stooges to Sisters of Mercy. The VFT sound is instantly recognisable, but never falls into the trap of being too repetitive. Indeed, after the scene-setting instrumental title track that pulses with film dialogue, each of the remaining eight tracks could be pulled off the album and released as a single. The one track that already has been, ‘Vitesse’ [see below], is pure Blitz kids synth-pop with a memorable hook placed above the motorik underbelly, whilst Novak mixes up his automobile and love interest metaphors to great effect.

The love theme continues on the crunchy ‘Voodoo Voodoo’ and the cinematic ‘Flashback’, both which revel in the VFT interest in the psychedelic. The characters within this pair reveal themselves more and more on each playback, as you catch new parts of the story. The middle of the album is dominated by the slightly epic ‘Deadly Nightshade’, which warms of the dangers in human relationships, where you can find “instant karma in the perfumed garden”. The track is the most sonically pleasing on Icon, as it transforms from beatific to angry and back again continually on its six minute journey.

‘Return of the Sidewinder’ kicks off a trio of culturally-referencing tunes. This song, named after a 1968 TV episode, gives nods to fellow Midlands heavyweights: Bauhaus in the lyrics, and The Specials in the ‘Ghost Town’-esque musical pallete of smokey dub reggae. ‘The Genesis Of The Daleks’, meanwhile, was a 1975 Dr Who series, and the Delia Derbyshire-indebted opening gives way to post-punk guitars and throbbing synth patterns. The song is surely a love letter to those childhoods that were both scarred and enlivened by existential television dramas.

‘Puppet’ seems to take the lead from ’50s pulp fiction from Philip K. Dick, but this time taking the music in another direction into dream pop. It’s a tender lullaby – well it would be if the intonation of Novak [“you’re just my puppet”] wasn’t quite so unsettling. Icon finishes with ‘In The Moonlight’: a Paisley Underground-style acid-folk slow waltz with a Hammond organ dominating the canvas, and some superb background harmonies that drifts us ever farther away from the darkwave idea from whence they came. It’s a fitting ending to a formidable album that, if it is to be their swansong, sees them very much go out on a high.

Phil Istine

Icon is out June 29th via Glass Modern

*Interview with frontman Alex Novak*
NB: You’ve said this is the last studio album.
AN: Probably; more than likely. Never say never. It’s just the length of time it takes to write and mix tracks seems to take longer each time. Does the world need another VFT album? We will see…

There’s quite a bit of diversity going on here; musical references to reggae and dream pop, for example.
We never set out to write in one particular style, just see what comes out of various ideas, see where it takes us. Our inspiration comes from many points of reference.

That’s always been a VFT strength – you always look beyond the “dark wave” tag.
VFT certainly has a dark psyche at the core, but we like to layer it or dress up with different costumes. We tap into many influences.

Keeping one band going for over three decades without a break is remarkable. What’s your secret – sheer, bloody-minded drive?
Its had more twists and turns than a rattlesnake, shedding many skins over the years. Change keeps it fresh. We are the Doctor Who of music – transforming a constant metamorphosis.

‘Icon’ is out via Glass – a label who you have history with, via your old band Religious Overdose.
Full circle – my very first release was on Glass. There’s a symmetry to it all. I like Dave Barker the label boss, and the band’s he has released over the years. It feels like home for us.

Will you continue the band as a live concern in future years?
We will see what reaction this album gets, and take it from there…

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Stevie Jones & The Wildfires ‘Angels and Sirens’

STEVIE JONES & THE WILDFIRES Angels and Sirens Stevie Jones & the Wildfires are a rock group from Northampton. They released their first album in 2016, Stratigraphic Heart, and this…

STEVIE JONES & THE WILDFIRES
Angels and Sirens

Stevie Jones & the Wildfires are a rock group from Northampton. They released their first album in 2016, Stratigraphic Heart, and this is the follow-up. Composed of thirteen songs, most written by Jones, with a couple of covers by other songwriters [George Borowski, and Ian Babington]. The band consists of Stevie Jones (guitar/vocals), Vassilis Damitriadis (guitar), Jake Patrick (drums), and Bob Dabrowski (bass), with guest Autumn Dawn Leader often appearing on piano and vocals. LA guitarist Janet Robin (String Revolution, Lindsay Buckingham Band) and top Leicester harp player Sean Clutterham also provide guest appearances.

The opening title track starts off slow and steady, before speeding up the pace as the song progresses. It’s a song that makes you want to sing/dance along, with a catchy chorus. Along with the lyrics that seem to be about lost love, this song has great fire and passion behind it. It’s slightly reminiscent of Buzzcocks’ ‘Ever Fallen In Love’, with an old-school English rock vibe. The following song ‘Neon Underground’ uses some unusual instruments in the beginning, giving it a Western feel with its use of harmonica. It has some awesome guitar solos. Near the end of the song the instruments drop out which showcases the vocals rawness before the music returns to finish the song.

‘Whitewash’ is very interesting as it uses clips from news and adverts to begin the song. The lyrics talk about what the TV presents to you – Royal babies, celebrities, etc – instead of broadcasting any of the real things happening in the world. The lyrics “They kept us in the dark for too long now” is an obvious reference to what the media shows us. The song ends with police sirens and chaos. This track it a very down to earth, with a clear message.

‘The Garden Path’ meanwhile has a peaceful and tranquil feel and is out of step with the general tone of the album; however it’s a welcome attribute to the album, giving it variety. Again, this song seems to be about love, and love lost. This song still maintains the rawness of rock, but keeps a calmer vibe through the musical accompaniment and backing vocals.

‘I’ll Never Fall In Love Again’ brings back the rocky fast-paced feel to this album. It brings to mind a rock/swing mash up, the lyric content talks about how the writer will never fall in love again, seemingly after a relationship breakdown. It’s a really emotional song if you listen closely to the lyrics, though this could be overlooked with the upbeat tempo and happy-sounding vocals.

This album contains a reoccurring theme of love lost and heart break. It also incorporates a Western and acoustic feel into the rock, which gives the overall album a good mix and something everyone would enjoy. It is really impressive they have used their platform to talk about something like ‘Whitewash’. The album takes a more peaceful and mellow approach in songs like ‘The Garden Path’ and ‘Polly Anna & Me’. Recommended.

Katie Montford

Angels and Sirens is out Friday March 2nd, order here

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