Bringing grandiose indie vibes, the new single Summertime from Niamh Casey acts as the perfect taster for her upcoming debut EP.
With a huge production with strings and piano alike, Casey sets out her stall with this latest single, packing a punch with both the songwriting and lyrics.
It’s here that the single truly shines, offering real emotional depth and acting as a captivating throughline at the heart of the song.
This is further elevated by an outstanding vocal performance – not only technically impressive, but also emotionally resonant, perfectly conveying the meaning behind the lyrics.
As the track progresses, the song continues to gain momentum. The subtle touch of piano in the build-up to the chorus is a lovely addition and enhances the expansive feel of the production.
Overall, this is a brilliant tune showcasing a talented singer-songwriter continuing to grow and refine their craft with excellent results. Make sure to check it out below, and if you can find Niamh’s Instagram here.
Hannah Robinson’s latest single Who Am I sees the Newcastle-based artist delve deeper into darker sonic landscapes.
Building on her dream pop background, Robinson further develops her sound on this release with a stunningly crafted piece of dark shoegaze.
Attention is paid to the atmosphere of the production from the very start, with the eerie, dreamlike nature of the distant backing vocals. This is immediately split by a clean, driving bassline which propels the track towards its chorus.
The rhythm section is stark within the mix, set against the hazy canvas it’s painted upon. This atmosphere is built via beautiful vocal layering, used excellently throughout the track to fill out the sound.
However, great production isn’t all the single has at its core. Who Am I is just a great piece of songwriting, acting as a character study into narcissism and the delusions of past lovers. This culminates in the explosion of a chorus that packs a musical punch.
Overall, if you’re a fan of groups like Wolf Alice or NewDad and love dark, hazy indie rock, you’ll get a lot out of this incredible track. You can catch Hannah Robinson at Munro Festival in Stockton in June and can find her Instagram here.
The new single from Televised Mind is a feel-good piece of indie pop which feels both fresh and nostalgic with its intense and infectious riffs.
Racing at breakneck speed, the track combines spoken-word vocals with incredibly quick guitar riffs to excellent effect.
As seen by the attention, the track has been receiving from such outlets as Radio X and 6 Music the result is an amazing bit of indie rock.
Combining the likes of ArcticMonkeys with groups such as The Drums the result is something which feels both fresh and nostalgic nodding to the past whilst carving out a unique sound.
The latest single from Northern Hospitality packs a punch with a distorted, emotional whirlwind of a track that sees the band at their very best.
Featuring huge production, the group craft a tight piece of alt-rock that goes big on everything, with massive-sounding drums and distortion giving them the perfect tools to showcase off their songwriting.
Beneath the noise is a well-crafted tune – raw and honest – with a lyrical focus on death and mourning, delivered through an incredibly powerful performance.
The vocal reminded me a lot of Billy Corgan of The Smashing Pumpkins, with their snarling quality.
The track feels made to be played live, featuring an amazing breakdown where you can already imagine the pit opening up. If you love your alt rock, make sure to check this out.
Released in December, the latest single from Metal Machine Music sees the Darlington group flexing their creative edge.
Love Bombing oozes fun, with the group appearing to have a ball creating what is a real groove reminiscent of LCD Soundsystem and David Bowie.
You are immediately greeted by a danceable beat, which sounds like something straight out of New York in the mid-2000s, with funky guitar lines layered all over the top.
The impact of all this is an incredibly danceable bit of indie music that has been beautifully produced.
The inventive rhythm, from an array of different drum machines, brings an interesting twist while perfectly playing into the track’s sparseness.
Love Bombing is a really nice, inventive indie dance track that will definitely bring a boost to your day.
With an elaborate production and intriguing lyrics, the latest album from Citizens of Yeah showcases a project pushing itself towards sonic greatness.
Citizens of Yeah is a musical project based in Ryton, nestled within the Tyne Valley, that has begun to build a reputation for their lo-fi yet complex production.
Over the course of the last few years, the project, led by Jonathan Womack, has slowly released a number of deeply intrguing singles and an album, Thermonuclear Warmth, back in 2023, combining strong songwriting with thoughtful bedroom production.
This is something which hasn’t changed with the release of the sophomore album, People’s Republic of YEAH, which once again places a strong emphasis on production – something that has been carefully considered throughout the ten track LP.
The unique production is evident from the first track, God is my right, where the listener is immediately greeted by crunchy guitars and massive-sounding drums. Lyrically, the song confronts wealth and empire, with an emphasis on taking lessons from the past – something that forms the refrain in the chorus.
The overall tone and vibe of the track reminded me of something from Blur’s 2003 album Think Tank, with a little bit of post-punk thrown in. The production comes across as both shabby and well-put together, maintaining a lo-fi mood that hides the production’s hidden complexities.
Kimberella has a touch of Radiohead to it, with pianos added to the mix. The track combines beautiful, twinkling synth bursts within the chorus before adding some crunch later on through the guitars.
These vibes continue into song 3, Lying on the tarmac, with its dark humour interwoven throughout its lyrics. The track’s long and winding melody acts as a complex path through the song, culminating in the chorus with its sharp lyrics.
Battenburg uncertainty principle switches up the vibe, bringing in huge-sounding guitars that add a lovely crunch to the track. This brings a ’70s rock feel, especially when combined with the trademark lo-fi production. Guitar lines are often left hanging and are messy in all the right ways, bringing a loose feel that gives the song a different twist.
The complex bridges see the distortion turned off in favour of twinkling, plucked guitar lines, illustrates Womack’s talent as a technical guitarist and a production master.
The bass is also a huge element of this LP, something particularly evident on the track Survival of the fittest, which pushes the bass to the forefront of the production. The result is a strong groove that runs throughout the record.
Under a lion’s head once again gave me Think Tank throwbacks, especially with the twinkly beginning, before heading down a more folk-inspired direction with intricate guitar lines that could have featured in a Bob Dylan track.
Next up is 3 Little Piggies, featuring fellow North East group Amateur Orthologist, whom we reviewed back in October. This track served as the lead single for the LP, and we previously reviewed it in detail last year. Within the context of the album, the song shines even more.
War Dogs keeps up the tempo with gorgeous guitar lines decorating the ends of each verse, whereas Theme song for episodic espionage caper brings a larger production to the table with a spy-themed twist.
The production uses brass-inspired synths to strong effect, giving the song a grand feel, and even includes a small melodic nod to James Bond at the end of the track, which I thought was a nice touch.
The epically named Orpheus and Eurydice is heavy on the acoustics but carries the same large-scale production from the previous track. It incorporates ghostly backing vocals and a fuller- bodied acoustic sound, which grinds to a halt for the chorus before building up again.
It is a fitting closer with a great feel, the emotion of the performance bleeding through. Overall, this is a strong sophomore effort with a lot of care and attention to detail. If you like your lo-fi indie, make sure to give it a try.
Labyrinthe Oceans’ latest single, pinch, perfectly teases their upcoming EP, home showcasing the band’s strong melodies and savvy production.
These three track single shows the band off at their very best, highlighting their dreamy sound while emphasising their even dreamier songwriting.
The first track, pinch, opens the single off in hazy fashion, with beautiful swirling melodies created by reverb-laden guitars. This swells into a gorgeous supernova in the massive, emotionally charged chorus.
The track illustrates the songwriting talent at the band’s core, conjuring thoughts of traditional dream pop bands such as Slowdive, as well as indie pop titans like Wolf Alice.
Labyrinthe Oceans– image by @gracroc (instagram)
Bass makes up a huge part of the EP and this is illustrated in the beginning of home, where the bass work shines. The massive bass notes perfectly build tension within the song, while the guitar lines are elaborate, dancing elegantly throughout. The entire track has a touch of The Cure to it.
Another huge chorus allows lead singer Julia O’Neill to show off her impressive vocal range, nailing the landing with ease.
untitled feels like a heavier version of The xx, with the bass and vocals intermingling perfectly before the song takes a change of direction as it builds. O’Neill delivers another strong vocal performance, selling the track perfectly with both emotion and control in equal measure.
Overall, this is a really strong collection of songs and serves as a great introduction to the band if you haven’t heard them before. By blending elements of rock, shoegaze, and indie, they create a gorgeous kaleidoscope of sound. Make sure to check it out!
Bringing dance grooves with a gothic edge, the latest Marq Electronica EP brings big beats and a lot of fun.
Beginning with Sick Puppy, the gothic grooves kick off the moment the needle drops, creating a horror-film-inspired vibe.
Creepy-sounding synths decorate the song’s strong groove, which manages to be both danceable and menacing.
The “all for nothing” hook recurs throughout the song, adding a beautiful melodic touch to the stunning groove.
Mr Nobody introduces rap influences with its trap inspired beat, which opens up nicely into a Nine Inch Nails-esque track, showcasing the production at its very best.
This leads perfectly into the EP’s final track, Monster’s Advice, which ironically feels like a monster rave, especially with its powerful grooves. Interwoven movie dialogue adds further depth to lyrics that hint at something more than the spooky theme they conjure.
The attention to detail running throughout the EP continues on this track, with a gorgeous synth flares drifting in and out of the song.
Overall, if you’re looking for electronic music with a gothic twist, this EP is definitely worth checking out.
Alistair James’ latest single sees him stretching his musical horizons with a hearty piece of country rock.
Drawing on influences such as Tom Petty & the Heartbreakers and David Bowie, James combines beautifully woven lyrics with classic rock riffs on the Queen of Big Livin’.
The riffs, in particular, reminded me of The Rolling Stones, with their bluesy, in-your-face energy that strikes you from the very first notes.
This perfectly suits the lyrics, which James crafts around these riffs, using characters to build a compelling narrative that hooks into the momentum created by the excellent guitar and drum work.
Things switch up nicely when the bridge hits, bringing in a warmer melody that breaks from the punchy style of the verse and chorus.
Overall, the track comes together seamlessly, weaving the influences of The Stones and Ryan Adams to produce a wonderful track.
The new single from Sam George is a treasure trove for guitar lovers, packing a variety of styles into one deeply satisfying offering.
The Tyneside artist showcases both his musical ear and talent on this track, skilfully weaving vastly different guitar parts into a cohesive whole.
From its funky beginning to the chunky chorus, there’s a lot to like. The track manages to simultaneously maintain a groovy vibe while delivering strong, memorable melodies.
Attention has been paid to creating a rich array of sounds. It’s almost as if George has decided to channel all of his influences at once and it works brilliantly.
The song builds to a climactic finale that combines two distinct solos together to finish on a brilliant high note.
If you love indie music, you’ll really enjoy this track. From The Smashing Pumpkin-esque vocals to light funky rhythm sections, it’s a gem worth checking out.
The new album from Weathership sees the group honing their sound and producing a cohesive project that is pleasing to the ear.
From the first track, Golden Age, the band immediately sets out their stall, employing a groove- based rhythm section, intriguing synth sounds, and intricate, clean guitar lines to craft a distinctive sound.
A siren immediately greets you on the track with an extended intro which reminded me of The Cure without the gothic element. The use of space in the arrangement allows the guitar lines to shine.
The Blue continues in this vein, with some lovely bass lines building a lovely groove. The vocals on this track – and indeed throughout the album – are consistently strong.
The following track, Through the Fog, boasts a huge, beautifully constructed chorus, accompanied by expertly crafted guitar parts. New Occupation continues this with twinkling guitar parts layered over a groove-driven rhythm section, beginning with a delightful drum beginning.
The highlight of the album is Just a Ghost with a magnificent melodic chorus and engaging call-and-response within it. The result is a tight, catchy slice of indie rock.
The massive sound of the album runs throughout the last four tracks. On Electrolung there is more great production with jittering synth and an interesting drum machine. The track reminded me a bit of Radiohead.
Lost at Sea had a massive chorus and beautifully echoing guitar parts to beautifully decorate it before the massive stomping drums of The Swimmer.
Album closer, For The Dark Is Beautiful is a fitting closer, encapsulating everything the album excels at in a grand atmospheric conclusion.
Overall, this album is a fantastic listen for fans of massive sounding atmospheric indie rock.
A slightly different one today, as I wanted to draw attention to the new posthumous release from folk musician Martin Matthews.
The album, No Time Like The Present, features 17 tracks recorded during the final months of Martin’s life before his passing in August 2023 at the age of 71, following a courageous battle with bowel cancer.
Martin’s friends and family have released the album to raise funds for three charities close to his heart: The Sir Bobby Robson Foundation, Macmillan Cancer Support, and Marie Curie.
Over the course of 20 years, Martin played in 12 bands, becoming a beloved figure in the North East folk scene, and collaborated on four albums with producer Sean Taylor.
It is Taylor, who worked with Martin over the past 20 years, who finished the project based on Martin’s detailed notes.
With the proceeds from the album, Martin’s friends and family are now hoping to support the organisations that provided vital care during his illness, which included a clinical trial for innovative cancer drug at Newcastle’s Sir Bobby Robson Cancer Trials Research Centre.
Martin’s wife Maria had this to say about the work that these charities:
“The support we received from these organisations during Martin’s illness is something I, along with our wonderful daughter Cate, will always cherish. Their kindness and practical assistance during such a challenging time made a world of difference to our experience.
Martin was truly grateful for all they did for him, and it was his firm wish that proceeds from this album, one he was incredibly passionate about, went to them in order to support other families facing a cancer diagnosis.”
The new single from Black Surf sees the band continuing to hit it out of the park with yet another alt-rock home run.
Mixing elements of slacker rock and post-punk, the group have once again stumbled upon a winning formula on Army of Sheep, which sounds like a lost Weezer track from the nineties.
You can almost imagine Rivers Cuomo belting out the massive chorus, which features a very Weezer-esque rush of guitars and feedback reminiscent of tracks like Holiday from their 1994 Blue Album.
In addition, I could hear the influence of groups like Pixies within the songwriting, with the dynamics following a quiet verse/loud chorus mould that was the cornerstone of the legendary American group’s success.
I also adored the beautiful fuzzy solo, which hit gorgeously after the chorus, as well as the feedback bridges between the verses and choruses that perfectly build anticipation.
If you like big choruses with a fuzzier edge, then why not give this one a try!
The latest single from Frazer Lambert shows the Stockton singer-songwriter at their best bearing his soul to gorgeously rich results.
Opening with an ornate brass section, the influence of the likes of Al Green and Marvin Gaye is immediately evident, with a soulful feeling woven throughout the track.
All of this combines to bring a very chilled vibe, placing the emphasis on Lambert’s excellent vocals.
Performed exquisitely, these vocals are both personal and calming, allowing the track to hit the heights.
Overall, this track brings a great ’70s soul vibe, which is incredibly pleasing to the ear. If you’re in the mood for something with a lot of heart, this one is for you.
A few weeks ago, I caught up with Sean McKinney of Morning Tourist to discuss his brilliant project, his UK tour (including his Newcastle stop) and exciting future plans.
Our conversation began on a gorgeously autumnal Sunday morning with an update on that latest happenings in the world of Morning Tourist:
“I’ve just finished recording a single, which should hopefully be wrapped up by the end of the week. I’m not sure what this signals the beginning of. The last thing we did was release the LP The Endless Eve in 2023, and before that, we put out an EP that got printed on vinyl and found a home with a label. It was a big moment for the project, being able to present something to people that they could hold and listen to. I’m a huge fan of albums because I love the idea of a collection of work representing a cycle of life or mood.”
This sense of cohesion certainly shines through in Morning Tourist’s music which blends a personal tone with intricate songwriting. McKinney is proud of the personality within his music and is determined to keep it central as he moves forward with new projects under the new production guidance of Ben Andrews.
Morning Tourist Live In Newcastle
“A mate advised me against jumping into a new album too quickly, in case it overshadowed Endless Eve. I’ve been working on new material, but we had to switch producers, as my last one has become a farmer and is now occupied with turnips! It was a bit of a leap, as he helped shape the sound significantly, so parting ways was bittersweet.
However, working with Ben Andrews has been great and really exciting. I’ve brought in some of the touring band to record, which has added richness to the sound.”
Finding the balance between maintaining the DNA of the project and introducing new elements has been important to McKinney:
“It does make me nervous, as I want the music to feel like it’s from the same author, even with new producers and members. The new music we’ve recorded so far isn’t a huge departure, but it does have a slightly different tone, with new instruments in the mix.
I wrote a song on piano, which is a bit different from my previous work, though it’s still firmly within indie rock singer-songwriter territory.”
I really wanted to get to the heart of what drove McKinney to produce the music he does as Morning Tourist and it’s origins came from an interesting place.
“I always joke that my first influence was Bart Simpson. He’s rock ‘n’ roll without being a guitarist or anything like that. As I was growing up, he represented rebellion, and it made me think that rebellion was cool, which is at the heart of rock ‘n’ roll.
I first really got into music around 11 or 12. My brother’s mate had a Green Day album—I think it was Nimrod. From there, I got into groups like The Offspring. Those bands were crucial, as they taught me how to write songs using power chords and verse-chorus-verse structures, which helped me start as a songwriter.
I played bass in a couple of punk bands as a teenager, but as I was writing the songs, I started gravitating towards the guitar. That led me to more songwriter-oriented, acoustic music like Bright Eyes and Death Cab for Cutie.
I began moving away from punk rock and exploring other forms of music. I was definitely a product of the indie boom of the 2000s, with bands like The Strokes and Arctic Monkeys, but I also love Simon & Garfunkel, Michael Jackson, and James Brown—my parents’ influence.
I do get excited by the Cohens and Dylans of the world; I always gravitate towards the song.”
This is something which definitely runs through Morning Tourist’s work with a clear emphasis placed on the song which McKinney perfects before getting to the fun part of “dressing up the song”.
Morning Tourist are currently in the midst of UK Tour, which takes them to Newcastle (Tuesday 12th of November 2024) and also Carlisle. I wanted his take on touring and life as an independent DIY artist in 2024.
Morning Tourist Tour Dates
“I’m really excited about the tour. I’ll be visiting places I’ve never been, like Glasgow, and returning to spots like Manchester and Sheffield. I’ll be playing some new material live, which I’m looking forward to.
I love touring—exploring cities, meeting people at shows, everything about it is great. We played in the Netherlands recently, and each gig had a unique vibe, from bars to audiences of 300 people. It was exhilarating.”
“The music landscape is quite saturated, though I don’t think that’s entirely new. The democratisation has been good, but it’s harder than ever to get paid, and it’s become a contest of who can shout the loudest.
I understand there’s a game of self-marketing, but I won’t compromise my integrity. I wouldn’t even be on social media if I didn’t make music. I’m not a content creator; I make music, and there are certain things I simply won’t do. I want to maintain integrity and create something lasting.”
That commitment to integrity is evident when listening to Morning Tourist’s back catalogue, filled with distinct songs full of personality. That level of songwriting talent has seen him share the bill with the likes of Mel C and hit the heights of playing Glastonbury twice. I wanted to know how these experiences differed from regular gigs.
“I love festivals, and we’ve been lucky enough to play Glastonbury twice. This year, we played the Green Futures stage on Friday, which was brilliant, as people were full of energy. All my friends came, so it was amazing. The year before, we played Friday and Sunday, which was a dream moment.
We’ve also played Lake Fest and HowTheLightGetsIn in Wales, where we even met Billy Bragg. We did Left of the Dial in the Netherlands, which felt like a bootcamp for emerging musicians. There’s one big room where everyone hangs out together. I’d love to play End of the Road at some point if anyone from the festival is reading!”
Hopefully someone is! Morning Tourist is currently touring the UK and will be playing The Wandering Oak on Tuesday, 12th November with support from Newcastle via Nottingham soul pop artist Remy CB and the previously featured J.W Darwin. Find tickets here.
Combining hard rock guitars and melodic songwriting, Ricky Clark has struck upon a winning formula with this mod-rock single.
The new single from Ricky Clark shows the artist’s eclectic taste, drawing influence from across the rock spectrum – from the Red Hot Chilli Peppers to the mod stylings of 90’s Paul Weller.
This is immediately clear from the song’s opening moments, which have a classic rock feel and an almost spooooky vibe, fitting perfectly with the season of its release.
However, Clark breaks away from this into a very RCHP feeling verse, featuring a hint of a sneering Liam Gallagher-style vocal powering the song along.
The momentum builds on the bridge, which features an excellent melodic falsetto that lingers in your memory.
Eventually, the track breaks down into a middle eight reminiscent of Arctic Monkeys’ Pretty Visitors, adding a menacing tone that complements the song perfectly.
Praise is certainly due for the songwriting on display, which shows both variation and attention to detail, especially in the song’s structure.
Overall, this is a really fun, guitar heavy track, perfect for fans of bands such as Ocean Colour Scene and Paul Weller.
The latest single from The Agency and The Samphires is a masterclass in atmosphere and storytelling, taking you on a darkly ominous journey.
Drawing influence from the likes of Nick Cave, the track blends cinematic themes with a dark aesthetic, which works incredibly well. Featuring the voices of The Samphires’ Elise Shields and Rosa Thomas in a hypnotic call-and-response waltz, the emphasis is firmly on the song’s lyrics.
It’s fortunate then that they really shine building a captivating story that matches the musical background painted by the groups. The whole thing sounds like how I feel the film The Lighthouse would sound if put to music.
The mood is set immediately with the introduction of the deepest of dark synths engulfing your entire ear creating the omnious feel which is reflect within the lyrics.
Lyrically, the track has a fairy tale or nursery rhyme quality, revolving around the “harbour” mentioned within the song’s title, with the duet working well between the two groups.
The whole thing leads to a spooky vibe that suits the season perfectly and is almost certainly one for those who are fans of atmospheric music with well-thought-out lyrics.
Friday night saw art-pop outfit Amateur Ornithologist celebrate their anniversary at The Globe with a vibrant live performance.
The night began with support from Sheffield’s May Days In Barcelona, who brought a different vibe to proceedings with a shoegaze-inspired brand of folk that was truly magical to witness.
May Days In Barcelona – Live at The Globe – 18/10/24
An awful lot of effort went into their performance, featuring numerous looper pedals, a violin and a guitar. This 100% paid off, delivering a captivating and engaging performance that silenced the room.
With songs inspired by such things as birds of prey, it’s no surprise that the set felt majestic and beautiful. The set was concluded by a wonderful cover of Smile! No One Cares How You Feel!, which rounded off the musically rich show well.
They were followed by Belle Skies, who shifted the mood from shoegaze-inspired folk to full blown indie rock. I was impressed by the groups stage prescence, which was both captivating and engaging, further enhancing their very unique style of indie rock.
Clad head to toe in medieval regalia, the group took influence from the least obvious places with songs inspired by Saint Rose of Lima, the patron saint of embroidery, and Nosferatu.
This all led to fun and surreal pieces of indie rock, which seemed to draw inspiration from the 2000s with twinkling synths, strings and riotous guitars.
The whole thing came together very well leaving an impression and showcasing their crop of great indie rock songs.
Belle Skies – Live at The Globe –18/10/24
Next up were headliners Amateur Ornithlogist, who decorated the stage in beautiful autumnal leaves and even dotted a few fake crows about for added effect. The group really took full advantage of their headline slot bringing energy and costumes aplenty to bring something different to their show.
However, the focus was fully on the performance, which was executed to perfection with the stage presence matching the quality of the songwriting on show. The whole thing popped with colour and excitement.
Musically, the band falls somewhere in between musical theatre, Talking Heads, and David Bowie, crafting a unique blend of traditional pop and new wave.
The combination of violins, guitars and thumping bass worked incredibly well to create a collage of fun, colourful songs with meaningful lyrics to boot.
Frontman Daniel Clifford’s vocals were excellent, injecting something special into each tune. This was further enhanced by the amazing lyrics, which flickered between personal topics and playful whimsy.
Amateur Ornithologist – Live at The Globe – 18/10/24
Particular highlights included When They Fall, with it’s epic Bowie-esque feel, and Birds Fly Over Me, which has been stuck in my head for days since the gig.
The instrumentation was fantastic throughout the night, with the band sounding tight. I especially want to praise the guitar work, which was truly excellent, without being overly showy with its beautifully clean tones.
The night concluded with a noncore that treated the crowd to a fun cover of Boney M’s Rasputin, a fittingly enjoyable finale with the band’s Talking Heads vibe turned up to ten.
Overall, I had a thoroughly enjoyable Friday night, and I’m excited to see where the group goes next as they depart the live scene to create their next album.
Boy Found Sound’s latest single is a heartbreakingly beautiful track, which further showcases the Teesside artist’s incredible songwriting talent.
The ethereal-sounding track has a chilled production, beginning with a great guitar line that shines above a well-crafted drum machine beat.
Lyrically, the track confronts loss, with Boy Found Sound laying everything bare throughout, producing an amazing set of deeply personal lyrics.
When the chorus comes along, it really pops, backed by an ethereal-sounding synth that adds to the track’s cold production.
As the song progresses, the drum machine is replaced by a slow, pounding drum beat, bringing a new energy to the track.
Overall, this is another really strong song from Boy Found Sound, combining a range of influences together to produce something both beautiful and original.
Combining experimentation with stark production, Durham’s Daniel Maple leaves no place to hide with his latest release.
From the first track, I Love You And I Hate Goodbye, it is immediately evident how much talent has gone into crafting this EP. With just an electric guitar and his vocals, the Durham singer-songwriter fills all available space with his songwriting talent and terrific singing voice.
The song opens with a gorgeous guitar flourish – something that runs throughout the EP – which sees Maple flex his rhythm and lead guitar skills, crafting complex and intricate melodies which are not immediately obvious to the ear.
Throughout, his guitar skills are matched by a set of defiant lyrics, which add an extra dimension to this beautiful track.
Crying In A Different Key uses musical metaphors to craft a creative set of lyrics that encapsulate Maple’s emotions. This lies atop an intricate rhythm guitar part fitted with a clean tone with an underlying bite.
A beautiful descending opening brings you into third track, Lewis, where Maple displays the strength of his vocals to really sell a touching track. This flows nicely into Waiting In The Catapult, which features a great chorus, with the Durham songwriter getting a lot out of a little.
On this particular track, I found shades of Elliot Smith alongside the influence of Bob Dylan which runs deep throughout the EP’s sharp lyrics.
Lonely Night takes a more full-bodied approach to the guitar work, weaving a beautiful love song that is capped off by a gorgeous set of yearning lyrics. It also features a great solo that illustrates Maple’s phenomenal guitar playing. This gives way to Easier Rider, which has a rockier feel, with more bite added to the guitar.
Closer War and Freedom features yet another complex melody, which still manages to sound warm, providing a gorgeous feel. Maple really saves the best for last, with the vocals delivering an epic performance worthy of the song.
Overall, this is a phenomenal EP that showcases what can be done with just an electric guitar and vocals. I really adored listening to every twist and turn.
Combining the very best of shoegaze and dream pop, Waves of Dread have produced one of the best EPs to come out of the North East this year with The Tide.
Following up 2023’s A Bad Dream in a Raging Sea, the Newcastle group have pushed themselves forward with their latest release, which combines lush production with excellent songwriting.
This all coalesces into a tight package that feels like waking up to a beautiful morning, with its hazy and distorted production.
Opener The Tide sets the dreamy tone, providing fun basslines and synths aplenty. Beneath the dream pop aesthetics lies an exceptionally written song, with a gorgeous chorus that hits all the right notes.
Early Riser builds on these aesthetics with a very trippy sounding beginning, featuring distant vocals and a beautiful guitar line built upon a bed of rainfall. As the track progresses, it welcomes gorgeously thick basslines into the mix, with a few hauntingly good synth lines thrown in for good measure. The whole thing feels like waking from a nice dream into a perfect morning.
The guitars clean up for Overspill, with its sharp guitar melody. The track once again demonstrates the smart production choices that run through the EP at its core. The use of layering is fabulous, allowing the track to get dirtier as it goes on, as layer upon layer of guitar is added to the overall mix.
Restless Sleeper, Sleepless Dreamer concludes the EP, using a glockenspiel to power the track forward, contributing massively to the dream pop feel. There’s more of an acoustic focus on this track, yet it is still washed in beautiful reverb.
Overall, this dream pop and shoegaze EP is a must-listen for fans of groups such as Slowdive and Cocteau Twins, with sharp songwriting and lush production.
Combining influences that include The 1975 and The Killers, Club Paradise have found a unique formula for indie pop perfection.
The four piece group, hailing from North Shields, have been slowly working their way up throughout the year, releasing singles such as Chasing The Summer and Years, both of which we have previously covered.
Those teasers definitely whetted the appetite ahead of the release, which combines everything that works on those tracks into a grander piece.
Beginning with Let Me Lose, the group immediately establishes the tone of the EP with a set of keys which feel like they could have walked straight out of a 1975 song-think I Couldn’t Be More In Love with an indie band core.
This is further elevated by a huge bridge that gets you ready for the huge gear shift the group takes you on as they increase the tempo. The vocals are a strong mixture of North East authenticity combined with a definite influence from The 1975’s Matty Healy.
The track concludes with a glitchy guitar solo that is excellently performed and provides a sign of the guitar heaven to come.
Single Chasing The Summer is next up. We covered this in depth back in July – you can read the full review here. The song still sounds like the upbeat summer banger it was when it was released and sounds great within the context of the EP.
Third track, What If These Days, continues the indie themes, winding them around an 80s pop core. The song shimmers with chorus-imbued guitars, conjuring thoughts of the neon guitar pop of the 1980s. Imagine a pop version of The Blue Nile, complete with jangly guitars and a lot of heart.
The gorgeous guitar solos take more influence from 80s rock, bringing a very classic rock feel to the sheen of the rest of the song, which works well. The overall combination of rock and pop influences works well to produce another great song.
Runaways switches things up slightly, throwing pop-punk and emo influences into the mix. This is evident at the beginning of the track, which reminded me of groups such as Blink 182. Gone is the sheen of previous tracks, replaced by chunky guitars that reach their peak in the chorus.
The track also features a great guitar solo, which illustrates the amazing lead guitar talent on show throughout the EP. This gives way to Years another song which we have previously covered. You can read my full review here.
Finisher Interstate is the perfect pick as a closer to the EP with its grandiose production and larger-than-life nature. Once again, the group taps into their heavier sides to produce a dramatic conclusion to the album.
Overall, this EP shows Club Paradise delivering on the promise of their lead up singles. If you’re a fan of groups like The 1975, you’ll love this EP.
The debut album from Sunderland group Ryder is packed full of anthems from start to finish. Combining the influences of Oasis and Kasabian together leads to an album brimming with heart.
Opening with Forgotten Dream, these influences are immediately evident, with a definite hint of Liam Gallagher in the vocals. The track as a whole reminded me of some of Johnny Marr’s solo work, with the bass breakdown towards the end skilfully executed, adding to the track’s massive overall sound.
Lone Soldier has a nice synth opening which gives it a slightly different feel. This combined with a chorus of voices and heavy guitar work reminded me a lot of Kasabian, especially with its passionate delivery.
Northern Lights continues the trend of massive choruses and soaring anthems, with a very Noel Gallagher-esque solo thrown in for good measure. Whilst Inner City Violence brings some social commentary to record, with some excellent drum work going on on the track.
The bass work on the album is also exquisite, and is particularly showcased on Men in Suits, where the bassline reminded me of Paul McCartney’s work on Taxman.
The beginning of Ziggy echoes of Oasis’ Talk Tonight before the whole band kicks in for the second verse. The song has an anthemic vibe, with some touching tributes to David Bowie baked within the lyrics. It feels tailor-made for a live setting, with a soaring chorus you can easily imagine going down well at a festival.
The title track, Only The Brave, again brings heavy guitars, with a touch of The Clash in the mix while lighter guitar flourishes sit atop of them to great results.
The commentary on problematic men on Hold on Tight is seamlessly woven into this biting track, creating a sharp, aggressive edge.
Heavy guitars pierce throughout Balloons, which features a great recurring guitar line reminiscent of Arctic Monkeys. Finale Faces In The Crowd is a suitably grand ending to this massive-sounding album, finishing the LP on a high.
If you love your anthems and like groups like Oasis, then you will definitely appreciate this strong debut showing.
Indie singer-songwriter Darren Burdis’ new single will certainly get hearts fluttering with a gorgeous, personal track.
The Newcastle songwriter has turned in a clever and touching acoustic ballad, hitting hard from the moment the needle drops.
The shimmering guitar line that floats atop the acoustic opening is a gorgeous way to start showcasing Burdis’ talent with the instrument and setting the track on the right path.
I particularly enjoyed how the drumbeat mirrored the rhythm of a heartbeat, reflecting the meticulous attention to detail in the production.
In terms of the overall vibe of the song I could hear the influences of indie folk artists such as Elliot Smith, particularly evident in the heartbreaking lyrics.
This is beautifully intertwined with the glossy guitar work which reminded me of the heartland rock of Bruce Springsteen and the North East’s own Sam Fender.
The vocal delivery is hoarse and husky perfectly suited to this track giving Burdis the perfect tools to paint this emotionally raw piece onto the record.
The gorgeous backing vocals towards the backend of the song evoke early Radiohead, and if you’re into similar acoustic indie music with a lot of heart, this single is definitely for you.
Teesside’s Nice Guy’s new single shimmers with its glistening indie pop production and standout performances.
The tight songwriting complements the great production with intricate guitar riffs and a wall of sound produced by the band.
Within the track, you can hear the influences of such artists as Sam Fender and The Stone Roses. This is especially evident in the vocal delivery, which combines nasal, laid-back style with a touch of North East accent, creating a distinctive blend.
One particular element I enjoyed was the excellent guitar work, which dances throughout the verses before hitting you with a wall of sound in the chorus.
The track doesn’t strictly follow the quiet verse/loud chorus formula, but it echoes that dynamic, with the chorus hitting particularly hard.
The gorgeous use of organ was also another delight, diversifying the production and bringing a depth to the overall sound.
If you’re a fan of indie pop and love catchy anthems, this one is definitely for you.
The new track from grapevine features glossy 80s production combined with great pop songwriting to create a catchy piece of alternative pop.
Produced by local talent Jamie Donnelly, the song is drenched in the sonic palettes of the 1980s, as well as much of the pop landscape from recent years, particularly echoing the sound of artists like The Weeknd.
That is immediately evident from the intro, which begins with a driving drum machine beat that persists throughout the track.
A diverse sound has been crafted with an attention to detail, with a number of different synths being deployed to enrich the overall production, ensuring a varied sound.
At the heart of all of this is an incredibly strong and well put together pop song that takes a classic subject matter and explores it in new and interesting ways.
The chorus, which repeats the title of the track, pairs incredibly with the melody to provide an earworm, which will burrow into your mind for weeks to come.
If you enjoy artists like The Weeknd or your pop music with a catchy yet inventive edge, make sure to check out this latest single
Specky Cult are back, with a whole new sound and bold punk inspired direction on their latest single Swish.
Gone is the acoustic feel of previous releases, replaced by a punchy, full-bodied sound that immediately grabs you.
The Sex Pistols feeling bass riff which greets you at the beginning of the song sets the theme for the more full-bodied sound that the band has gone for, setting the tone for the rest of the track.
This is immediately joined in the mix by heavy and thumping guitars, which the song’s catchy melody is constructed from.
Lying over the top of this is a set of lyrics which take aim at the current beauty standards and the impact they have upon individuals.
These are delivered with the emotion and personality that you’d expect from a Specky Cult, with the group continuing to build their reputation for strong lyricism.
Add to this a catchy and memorable melody, which reaches its glorious climax during the chorus and you have another great single from Specky Cult, which highlights a different side to the group.
If you’re a fan of indie and post-punk, Swish is sure to offer plenty of thrills and fun. Make sure to also check out their previous album, which I reviewed earlier this year.
Goodsprings’ fun new single shows the band continuing to develop, with an almost big band feel to this swinging ska tune.
Injecting playfulness into your songwriting is the key to producing amazing, fun music, and Goodsprings have done exactly this on their new single, Lo Mejor De Lo Mejor.
It’s fortunate that they’ve managed it with the English translation of the title of the track literally meaning “The Best of The Best”.
The fun nature of the title runs throughout the track, which combines elements of ska, jazz and reggae to produce a lively swing song.
This playfulness is also reflected in the lyrics, which are delivered with a cocky snarl, mirroring the song’s message as a love letter to those who don’t care to fit in.
This unpredictability is an element of the song I thoroughly enjoyed, keeping me on the edge of my seat.
Combined with the big band atmosphere, this leads to delightfully, quirky results, particularly evident in the breakdown of the track, where the group engages in a scat-like section over a tight bass groove.
I also wanted to praise the amazing brass work, which elevates the track to such a high level bringing a gorgeous flourish, particularly in the choruses.
Overall, this is yet another strong track from Goodsprings, building on their good work from their previous single, Horrors. The fusion of genres works well, producing a charming track with a unique energy. Make sure to check it out if you’re a fan of groups like Sublime or Slightly Stoopid.
Friday night saw The Ship Isis in Sunderland play host to a great night of live music as post-punk band House Proud and gothic group The Black Rain took to stage to showcase the genre at its very best.
The gorgeous venue was a perfect choice for the evening, offering a selection of great craft beers and a warm, friendly environment. I’d never been before, but I’d definitely return if I’m ever in Sunderland.
The night was opened by House Proud, who hail from all across the North East. Their blend of post punk and noise rock was excellent and really got the night started in the right way.
Their sound carried influences from post-punk groups like The Chats, Squid, and Shame, with angular riffs and an energetic tempo driving their performance. Each track stood out with careful composition, crafted from an array of different guitar pedals that brought a near studio-quality sound.
Their third song, Farmers Village, soon to be released as a single, had shades of post-punk titans IDLES to it and was a particular treat. Recent single Rescue Dog finished the set off in the right way, sounding a bit like South London’s Shame, but with an even heavier emphasis on riffs and gloriously loud noise.
House Proud – Live at The Ship Isis, Sunderland
I particularly enjoyed Perfect Body, which was more melodic in its approach while still delivering the massive, bombastic sound that dominated their set.
Overall, their performance was amazing, and they will definitely be a band which I will be keeping an eye on going forward.
I also wanted to leave a link to Wearside Women In Need, a domestic violence service the group were raising funds for on the night. They have recently lost their funding, so it’s a worthy cause if you can support it!
Next were The Black Rain, who I previously covered back in March at their gig at the Bunker, where they really impressed me with their gothic post-punk.
Friday was no different with the group putting in yet another excellent performance of starkly dark tracks. The group have been hard at work since March and that could be seen in their performance with various new songs in the set which continue to show why the band are so special.
Despite the stark nature of their sound, The Black Rain‘s set fizzed with energy, with the thumping drums and bass keeping the atmosphere lively.
The bass was particularly impressive, adding depth to the performance, while the guitar lines often served as beautifully intricate embellishments.
However, when the guitar did come to the fore, it was really impressive, often bringing an almost synth-like sound to certain tracks, which was a real treat. Shadows Cry showcased this best, amplifying the gothic feel, reminiscent of Joy Division’s Closer LP.
I also enjoyed the dark ’80s vibe of Regression, which really opens up in the chorus, creating a really nice feel. Glass Box brought a lot of energy leaning more on the side of punk rather than goth which I found really enjoyable.
Overall, both bands put in a fantastic performance, which led to a really enjoyable night showing the various different styles of post punk each performed at a really high standard. Make sure to check them both out!
Combining a range of New Wave and indie influences, Citizens of Yeah! have produced yet another great single in 3 Little Piggies.
From the intro alone, I can hear the influence of The Smiths and New Order, particularly in the the sound of the synth strings, which reminded me a lot of There Is A Light That Never Goes Out.
The string flourishes throughout give the track a strong New Wave feel, adding an extra edge to the overall production.
Paired with sharp guitars and intricately gorgeous bass lines, this is an absolute treat. I particularly enjoyed the guitars in the chorus which fizz with excitement, contributing to the multiple satisfying payoffs in the track.
Lyrically, the track is quite unique, using the concept of the three little piggies in Red Riding Hood as a metaphor for fear which I found inventive in just the right way.
I particularly enjoyed the breakdown at the end of the song, with a great back-and-forth between the backing vocals and the main vocal, which reminded me of early ’80s post punk especially when paired with stark guitar tones. Overall, I loved the track and can’t wait to see what Citizens of Yeah! come up with next.
Parissa Zarifi’s new album is a beautifully tranquil experience, seamlessly blending elements of folk and alternative music with remarkable results.
Beginning with Free of You, you are immediately ushered into a world of beautiful strings and twinkling guitars. This single provides an early glimpse of the collaboration between Zarifi and guitarist Rob Harvey, who features on several tracks throughout the album.
His guitar work pairs perfectly with Zarifi’s beautiful songwriting, adding an extra layer to the strong folk vibes that the track exudes. At times, it even evokes the feel of Fleetwood Mac’s folkier moments, with the classic rock guitar complementing nicely with the folk aesthetic.
Kings & Queens is rich with violins, bringing an almost medieval feel to proceedings. I could easily imagine it playing during a banquet scene in Game of Thrones, with its lush string arrangements.
This helps to build the peaceful and chill atmosphere of the album, which is masterfully put together with thought given to both the track structure and sequencing. I particularly enjoyed the ethereal choir on this song, which added depth to the production, creating a full-bodied sound where all the elements interact harmoniously.
Find Yourself In The Dark has a similar feel with gorgeous songwriting, especially in the chorus, which felt almost Kate Bush-esque with its dramatic swells of violins and timeless quality.
The next track, Slow, is blessed with beautiful twinkling guitars and harps, which allow you to sink into the song with their serene nature. The beautiful string section solo was also a gorgeous touch, enhancing further the stylish nature of the song.
The ethereal backdrop continues on To Be Free, where Zarifi’s stunning performance truly shines, particularly in the chorus, where her voice rises above the delicate string arrangements.
The performances across the album are strong, whether it be Harvey’s excellent guitar playing or the amazing vocal and string performances. Each contribute significantly to the album’s atmospheric mood.
The reverb-laden guitar passages in Written In The Sand contribute something slightly different to the rest of the album, without disrupting the overall style and production. Meanwhile, the classic songwriting of Don’t Look Back helps create a defiant mood, mirrored by the lyrics’ focus on moving forward as a form of healing.
Entwined In The Heat stands out with its beautifully layered guitar passages across a solid acoustic base. When the violins enter and the track intensifies, it reaches new heights with some spectacular performances.
The Stars Align yet again shows the really strong songwriting which Zarifi brings to this LP with an absolutely amazing chorus. The album concludes perfectly with Sing For My Soul, a track that encapsulates what makes this album so special, featuring beautiful string sections and impressive guiar work.
Overall, if you love your alternative folk then this is a must listen however I would also recommended it to anyone who wants to switch off and get lost in a really great album with a fantastic mood.
Have you ever wondered what Lou Reed would sound like if he grew up in the North East of England?
Probably not, but if you have, then Simon Taylor’s new single is the perfect listen.
Combining influences such as Leonard Cohen and the aforementioned Lou Reed, Taylor has been building his reputation around the North East scene, and this latest record is sure to elevate it even further.
I can particularly hear the influence of Transformer-era Lou Reed within the track with its fun, funky guitar passages and tongue-in-cheek lyrics about working at a music venue.
The melodies are strong and stick with you for days, which is a testament to the great songwriting on display.
The North East, and Newcastle in particular, runs throughout the song, deepening the personal nature of the lyrics and bringing a unique voice to the track, crafting a great bit of Geordie funk.
Overall, this is a fantastic teaser track and a really fun listen. I can’t wait to see what Simon comes up with next.
J.P. Riggall’s new live EP showcases the folk singer’s powerful songwriting ability with a striking collection of atmospheric tracks.
The EP opens with Cold Cold Mountain, a song that sets the tone with its chilled production, placing the emphasis firmly on the performance.
Riggall’s North East accent pierces through the folk vibe of the track, providing authenticity to the passionate delivery of the track.
Overall, the track is a heartfelt tune, demonstrating Riggall’s talent as both a songwriter and a live performer. The stripped-back arrangement highlights his focus on emotion.
This theme continues We’ve Already Seen Him Dead, where stark acoustics and melodic leanings take centre stage. The slight echo provided by the venue adds nuance to Riggall’s voice, enhancing the powerful and beautiful performance.
Through this power, Riggall amplifies the already strong songwriting, squeezing every inch of emotion out of the song. The result is a moving performance of an outstanding track.
The EP closes with My Lovely Bones, a gorgeously touching tune. Once again, Riggall achieves a lot with a little – just an acoustic guitar and his voice, creating a captivating atmosphere. The emotion is palpable, bleeding through the soundwaves as Riggall delivers yet another great performance.
The track itself is wonderfully constructed, with a melodic core and a heart-wrenching chorus. It’s a beautiful way to conclude a stunning live EP.
Boy Found Sound’s latest single is a touching indie pop ode, featuring gorgeous production and well-constructed songwriting.
The track sets off like a runaway train, bringing with a nice Americana feel reminiscent of the likes of Bruce Springsteen and The War on Drugs, with its combination of acoustic guitar with beautifully reverbed riffs layered on top.
With the mood set, Boy Found Sound is free to write touching verses about a girl with ultraviolet eyes, over the top of this musical bed.
Musically, the track acts like a continuous train of thought, with no let-up throughout the tune and only subtle changes in tempo between the verse and the chorus.
This momentum only pauses for an amazing guitar solo, which reminded me a lot of Sam Fender with its reverb-heavy distortion and brilliant technicality.
Overall, this is a great song that has been meticulously put together. If you’re a fan of Sam Fender, then this is for you!
Electric Circus’s new single goes hard. With its massive production and hard rock riffs, the single comes together as a thoroughly satisfying package.
From the outset, you’re greeted with a punch of distortion, with guitar lines layered on top of each other, each contributing to the cacophony of noise the band is creating.
These are joined in the mix by a thumping drum track, adding even more power to the track, building the hype before the vocals kick in.
Lyrically, the song addresses the current societal decline that the Western world is experiencing, with references to the Doomsday Clock amongst other pointed commentary the band makes.
This unfolds over an ever-steady blend of riffs that complement the track’s thematic focus.
The overall effect is reminiscent of rock titans like Queens of the Stone Age and Foo Fighters, with a nod to heavier groups such as Bring Me the Horizon.
The expertly executed breakdown towards the end of the track particularly brought to mind some of those heavier groups, sounding primed for a live setting.
Overall, this is a great rock track that skilfully combines a variety of influences. If you like your riffs hard, then you’ll love this single.
J.W. Darwin’s first solo release sees the Middlesbrough singer combine catchy melodies with a gorgeous sonic palette to produce a stunning indie pop single.
Beginning with a gorgeously rich textured synth line that fills the sonic canvas, Darwin builds an atmosphere that showcases his heart-on-sleeve approach to songwriting.
The result is a hearty dose of indie pop reminiscent of singer songwriters such as Hozier. The big pop chorus feels earned by the careful preparation that Darwin takes to build the tension within the verses, fulfilling the melodic potential of the track.
Attention has been paid to ensure the songwriting keeps you on your toes, with a tempo shift in the second verse accompanied by a bright guitar line dancing throughout.
Overall, the catchy melodies and smart production make this a great track to check out.
Club Paradise have started the countdown to their new EP by releasing two great teaser tracks to whet the appetite before their October release.
The first of the two tracks, Years, starts with a bold guitar solo, which glides over a bright synth line.
The verses to the track builds the tension with reverby guitar swells intersecting a driving rhythm section which gains pace as it continues.
The chorus twinkles with a sparkly synth line driving the catchy eighties-inspired melody. It is here that you can hear the influence of bands like The 1975, as well as a range of other indie pop groups.
The song has a smart pop sense and a glittery production; but, it also knows how to deliver a punch with the crunchy guitar solos and dark lyrics, which contrast the light production.
Previous single, Chasing the Summer, has lofty ambitions, beginning with a huge intro featuring a big guitar solo and thumping drums.
The vocals immediately hit you and are delivered with passion and energy. These are joined by backing vocals in the verses, which once again reminded me a lot of The 1975.
The chorus is huge, with guitar lines which go hard over a thumping beat. Overall, the track is the epitome of an anthem with huge guitars and catchy melodies.
Together, these tracks do a great job of wetting the appetite for the upcoming EP, which arrives in October.
Big Romance’s latest single “Self Medicate” shows their ability to mix genres to excellent effect, blending shoegaze, indie and post-punk together in a rewarding mixing pot of gorgeous production and great songwriting.
Opening with a reverb-heavy 90s feeling introduction, I was immediately reminded of the Siamese Dream era Smashing Pumpkins with its dreamy production and vocals.
This is quickly interrupted by a laid back verse with a real slacker vibe, fitting well into the established vibe of the track.
The pre-chorus shifts gears as the distantly distorted guitar stalks the vocal melody with fuzzy distortion and precision.
Eventually, the tracks anticipation pays off, unveiling a twinkling guitar solo that reminded me of dream pop bands such as NewDad.
The spacious nature of the production throughout illustrates the band’s love of shoegaze whilst highlighting their focused songwriting.
The introspective lyrical approach that the track takes examines coping mechanisms and relationships with sharp lyrical quality.
When the chorus hits, it hits hard. I can hear the influence of Slowdive in the production through the heavenly feel brought by the backing vocals, and the swirling guitars drenched in distortion and reverb.
A crunching guitar solo fires through the crescendo of the track, adding an appropriate ending to the song, before its distortion blends into the mix, allowing the song to sail off into the sunset.
Overall, the song combines the best bits from various subsections of indie music, making it easy to get on board with production you can sink into and sharp songwriting.
Hannah Robertson returns with yet another gorgeously dark single, taking her dream pop sound in a more twisted direction.
Beginning in a realm of dreamy and hypnotic guitars, the track quickly awakens you with a rush of distortion and drums, bringing a gnarly edge to Robertson’s dream pop production.
The influence of groups such as NewDad and Slowdive is evident within the dreamy shoegaze-inspired production. However, an underlying darkness brings a nasty edge to the ethereal track, making it more dream rock than dream pop.
The anticipation built up through the verse explodes in the chorus, which musically acts as a dark counter balance to the airy intro.
Throughout the track, the performances and production are exceptional, helping build a dark, dreamy atmosphere with their crispness.
If you love groups like Wolf Alice and enjoy hypnotic, dreamy production, then this track is perfect for you!
Specky Cult’s sophomore album blends rock and folk together to craft a unique voice with a truly North East perspective.
The first track, Come Back Kid, immediately sets the scene for the record with a folky feel reminiscent of groups such as Fleetwood Mac. The acoustic guitar on the track immediately establishes this, as gorgeous piano lines drive the track forward, opening the LP in fine fashion.
Love Crap then takes the LP in a different direction, embracing more of an alt-rock sound while maintaining a folk edge. Just imagine a hard rock Lindsey Buckingham, and you are along the right lines. These are joined by synths in the mix, which enrich the listener’s palette.
The LP takes another twist on the third song Seriously, which begins in a manner which echoes About A Girl by Nirvana, before opening up into an interesting melodic flow and a refrain of “seriously” which imbues the chorus.
The group channels Bob Dylan with a lovely mouth organ beginning on Alibi, continuing the folky vibe of the record. The chorus of “I’m not your alibi” sends out a defiant message, hammering home the theme of the track.
Everything Is Awesome brings back the rock guitars, along with a beautiful MOOG synth line that mirrors the vocal line. The song’s lyrics are deeply personal in tone, with the chorus sending a hopeful message to the listener.
Lovely guitar swells adorn Hell Before Breakfast, building towards a great chorus. The track is then immediately followed by Anthems and Tantrums, which takes the folk vibes up to ten with its gorgeous production.
Pull The Plug bursts to life with dominating guitars, surrounded by lyrics that tackle the challenges of living in the internet age, injecting some sharp social commentary into the album.
The track that follows, Pie and Mash, continues along these lines, commenting on the mundanity of everyday life and stating that all singer Carol Stephen needs is “pie, mash and a pint of ale”.
Pie and Mash – Specky Cult
The title track, A Different Kind Of Difficult, begins with a heavy guitar riff, leaving behind the folk vibe that dominates the album for a classic rock feel filled with nice MOOG lines and gorgeously crafted riffs.
The album then comes to an end on Big Shop, which opens with a fake shop closing announcement that I thought was a nice touch. The track’s instrumentation is warm, contradicting the lyrics that complain about the mundanity of ageing, life, and doing the shopping on a Friday.
Overall, this album showcases the band’s strengths as well as the breadth of their musical influences. If you love classic rock and folk, then the band will almost certainly be for you.
The latest single from The Avelons illustrates the band’s confidence and ability to develop catchy anthems perfect for the summer (even one as depressing as this summer).
An intricate, reverb-drenched guitar opening immediately greets you, starting the track off on an etherial note. This is immediately interrupted by a cacophony of drums, which bring energy and focus to the track.
The overall production of the track is crisp and energetic, allowing the band and the track to shine. Its anthemic nature shines through the massive chorus, which feels tailor-made for festivals and arenas. Complementing this is a gorgeous guitar solo, which ploughs through the track like a wrecking ball.
As the song continues, it only builds momentum, leading to a singalong ending reminiscent of tracks like Seventeen Going Under.
If you like the vibe of groups like Arctic Monkeys, The Wombats, and Oasis, then you’ll love this track.
Irked’s self-titled EP is a rip-roaring explosion of punk rock that combines spectacular lyricism with pure energy.
First track, Snakes, immediately greets you with feedback, acting almost as a power up screen for the EP and providing a perfect preview of what is to come when the bass hits.
In the verse, the instrumentation is controlled yet threatens to explode at any moment. This expectation is fulfilled by the time the track hits the chorus, where we are greeted with a scream and a cacophony of guitars, meeting the anticipation that the track has built up.
The lyrics use intense imagery to bring singer Helen Walkinshaw’s experience of sleep paralysis to life, with the performance matching the vivid imagery of the track’s lyrics.
This gives way to Backstreets, which hits you once again with its primal punk energy while offering a sharp critique of gender dynamics, the dismissal of male misconduct, and the effects of this.
The frustration in the lyrics is perfectly encapsulated by the instrumentation, which fizzes with aggression. At times, this cedes to allow Walkinshaw to emphasise the song’s message and powerful commentary. The track overall is a perfect encapsulation of punk at its very best, delivering pure energy and an attack on societal norms.
Single Crippling Empath explodes straight into the chorus, bringing more incredible performances with some excellent guitar work that runs throughout the EP.
Lanzarote uses personal antidotes to reflect upon recent political history, creating a foreboding atmosphere that the worst is still to come. This is all painted over a canvas of riffs, which help to build up the atmosphere, while allowing the lyrics to shine through.
The EP concludes with Move, which begins once again with drum rolls and feedback before exploding into life. There is more great guitar work, with the entire fretboard getting a workout at times, as well as an energetic performance from the rhythm section, which maintains the energy throughout the tracks on the EP.
Lyrically, the song provides a snapshot of the frustration and obstacles of everyday life and the resilience and determination it takes to keep moving forward, providing a defiant ending to the EP.
Overall, this is an amazing EP front to back and does everything a punk album should do lyrically and musically. If you’re a fan of bands like Amyl and the Sniffers or The Chats, then Irked may have just made the perfect EP for you.
Social Youth Cult deliver their most confident and assured set of singles with their new double A-side offering.
The EP begins with Black Lipstick, which introduces the running voicemail intro that connects both tracks together nicely on the double single.
Care has been taken to give the track a unique production. I particularly enjoyed the drum track, which sounded distant in the mix, giving the song a distinct feel.
Gothic guitars surround this in the mix, drenched in heavy reverb that echoes the early work of The Cure. Decorating all of this are the gorgeous vocals, which bring gravitas to the track and a haunting energy.
Overall, the track emphasises the gothic edge of the group’s music, with dark lyrics and a stark vibe reminiscent of groups like Siouxsie and the Banshees.
The second track, Different Language, buzzes with energy and an almost live style of production, bringing immediacy to the track.
It’s clear that across the two tracks, effort has been made to make the production stand out among their contemporaries. With its sparse yet raw feel, the group succeeds in crafting an intriguing sonic palette to complement their songwriting.
The strong vocal delivery continues in this track, with a touch of Nick Cave in the delivery, especially in the first verse. Lyrically, the track alludes to love turning sour, twisting this theme into a dark and moody vibe.
The guitar work on the track is incredible with a more aggressive approach which complements the overall feel well.
Overall, these latest two tracks from Social Youth Cult find the band continuing to mature and grow to excellent effect.
Northern Hospitality’s latest single Break Free, sees the group snarl their way through a punk-inspired energetic track. From minute one, you are greeted by aggressive and snarling riffs, perfect for getting the mosh pit started. This is before the drums fade in, creating a full frontal assault on your ear drums.
Frontman Gaz Price snarls over this terrific backbeat, which never lets up, venting his inner turmoils and frustration at life.
Each verse is interrupted by another expertly crafted riff, which matches well with the thunderous drum beat.
From listening to the track, it is clear why the band is starting to pick up attention, having played alongside the like of Pete Doherty, Kaiser Chiefs and Feeder, building a name for themselves within the region.
If you’re a fan of punky melodies that are as catchy as they are aggressive, then you should definitely check out the track.
The latest single from Alastair James combines the very best of Rock and Americana to produce a delightful foot stomping anthem.
Taking influence from the likes of Tom Petty and Bruce Springsteen, the Middlesbrough singer-songwriter blends genres and ideas on the track to excellent effect as he continues his comeback after time away from music.
James addresses his personal struggles in the lyrics, singing about the vertigo he suffered as a result of surgery on his hand and leg, and the mental strength it took to get him back to doing what he loves.
Both musically and lyrically, the track is defiant, opening with a distorted guitar intro that is guaranteed to get your foot tapping. This driving guitar line perfectly complements the lyrics about moving on, triumphantly gliding through the track.
The influence of heroes such as Springsteen and the Kinks is evident by the time the song reaches the soaring anthemic chorus.
The overall effect makes you feel as though you could be on a road trip down Route 66, with a real uplifting heartlands feel.
A beautifully played guitar solo adds to the tracks positivity and builds anticipation for an amazing climax.
Overall, this song radiates positivity and heart, with James defiantly moving on from his struggles and, with music as good as this, into a bright future.
Last Case Scenario’s latest single is an energetic ode to youth, combining pop punk riffs with singalong choruses to great effect.
The Newcastle group combines a number of different influences on the track, from the riotous energy of bands like Green Day to the pop punk delivery of groups like Sum 41.
Altogether, this leads to a song that yearns for the good times and spontaneity, something reflected in the energetic nature of the track.
Opening with a distorted guitar riff, the track immediately hits you with a party vibe, something reflected in the lyrics celebrating having a good time with friends.
This is all powered by in your face drums and a punchy bassline that propels the track forward. The singalong nature of the chorus reminded me of Green Day and very much puts the “pop” in their pop punk sound.
The give and take between those two influences is further emphasised by the gorgeous guitar solo, which is played with precision and energy, adding a touch of rock energy to the already raucous track.
New elements are regularly added to the mix to draw the audience in, with the use of repetitive guitar lines adding a different flavour.
Overall, the track is a great pop punk track, which will delight fans of bands such as Blink 182 and Paramore.
Joyland brings the summer vibes with their slick new single, Leaving Tonight. Combining a number of different influences, the track’s shiny production hides a set of yearning lovesick lyrics.
Hailing from Newcastle, the five-piece has slowly gathered momentum over a number of years, something evident in their latest single.
Over three sun-kissed minutes, the group cultivates a catchy yet sophisticated vibe, drawing from various influences in the indie and pop genres.
The piano opening of the track echoes The 1975‘s If You’re Too Shy (Let Me Know), with its stark, reverberated keyboard intro. This gives away to a guitar line washed in distortion and reverb straight out of the Sam Fender playbook.
The piano leads the track front and centre of the mix, alongside the amazing vocals, which are delivered with emotion and are well integrated into the track’s aesthetic.
As the buildup to the chorus begins, you can feel the band’s songwriting ability shining through as they expertly weave their way through the song, demonstrating their knack for producing a catchy indie pop melody.
The track’s strengths lie in its ebbs and flows, with various breakdowns building tension that is effortlessly released by the time of the chorus.
This gives way to a gorgeous guitar solo that sounds effortless. This is all enhanced by the excellent production, which boosts the track’s already strong songwriting.
This all leads to a really catchy, strong single from Joyland, perfect for the hazy weekends of festival season. The group are definitely ones to watch, and this is a bandwagon worth jumping on as they continue to head in one direction.
The latest single from That Clare is a gorgeous tapestry of sound and positivity, confronting toxic attitudes while delving into the personal and emotive issues that have shaped her.
The trans singer-songwriter combines a number of different influences on the track to amazing effect, boldly confronting toxic influences within her deeply personal lyrics.
That Clare In Concert – Photo by Andi Christ – @andichrist19
The track begins with a beautifully worked synth, reminiscent of the work of artists such as Mitski. The synth bed sets a dreamy vibe of the track, further enhanced by a lovely arpeggio guitar line building on the instrumentation. Combined, the instrumentation echoes of post-nineties Radiohead with its atmospheric tone.
The musical landscape of the first half of the track is stark and ominous, reflecting the lyrics which reference feeling lost.
The production by Lisa Murphy does an excellent job of building the atmosphere and growing the momentum of the track.
This momentum pays off around the halfway point of the track, where the song goes up a gear, upping the tempo and bringing a fullness to the instrumentation that matches the defiant nature of the lyrics.
Self love is very much the message from this point on, with That Clare shutting the door on negative influence and embracing herself. “You can do it without them” is the overriding message and acts as a powerful, empowering declaration.
Consciousness does an excellent job of weaving a number of diverse influences together to create something unique and personal. The defiant message of the song will resonate with many and illustrates the Teesside singer’s bold voice, which is endlessly captivating.
Memento Vivere sees Social Youth Cult set out their stall with 14 minutes of distorted gothic post punk.
Across five tracks, the group impresses with tight and well-thought-out songs, which have allowed them to build their name within the North East music scene. Opener Temporary Love sets the scene nicely, highlighting vocalist Shaun Greer’s baritone vocals, which combine nicely with the chorus laden guitar lines. By the time the song hits the chorus, Greer’s vocals hit full croon over a bed of beautifully distorted guitars.
The amazing resonant vocal style is something that continues across the EP, with Greer’s vocals, sounding like a twisted mix of Joy Division’s Ian Curtis and Morrissey (without the problematic connotations). This helps immediately set the dark and moody tone of the record.
You Do It To You has an almost wall-of-sound approach at times with guitars, drums, and bass forming a dark, ominous wall in the chorus. Leaving no decibel untouched, the track shows the band’s diversity and ability to set various different atmospheres with their instrumentation. The guitar solo on the track had echos of Joy Division with its starkness within the mix.
This gives way to Moonlight’s driving bass and guitar lines with verses that feel inspired by groups such as The Killing Joke. The track also features a gorgeous guitar solo illustrating the playing abilities of guitarist Holly Moore and adding a beautiful touch to Moonlight.
The opening of Hollow sees the guitar crash in over the bass line like a wave against a pier upping the energy of the EP. As the chorus hits, Greer bellows, “hollow me vacant you,” continuing the melachonic, heavy tone of the song.
Gone With The Beast concludes the EP by reflecting upon toxic masculinity. Greer’s vocals are almost chant-like in the chorus and continue to gain intensity as the track continues, bringing the EP to a passionate conclusion.
Overall, this debut EP from Social Youth Cult shows promising signs for the future, giving the listener all they could possibly want from a goth group with some excellent post-punk tinged tracks. It is clear why the group is gaining attention in the North East music scene and are very much ones to watch as they continue their musical journey.
Middlesbrough’s Josh Atikinson’s anthemic single “If I Can Be With You” demonstrates his songwriting talent, bringing gorgeous melodies to the table.
Taking influences from the likes of Willie J Healey, you can really hear the craft that has gone into the songwriting on this track.
Weaving a beautiful melody into a tightly produced arrangement, you can feel the ambitious vision for the track, which is fully realised.
At its heart is a solid acoustic melody on which the rest of the track is built, leading to a massive chorus that feels made for arenas.
The influence of groups such as The Last Shadow Puppets can be felt in the sweeping and grand operatic production, complete with choral backing vocals.
This is all completed by a set of lyrics which look to Atkinson’s past, delivering weight that the instrumentation demands.
Overall, if you love melodic and dramatic indie rock, then this is definitely one to give a try.
Humbug North East 