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.”
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.
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.
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.
Humbug North East 