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.
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.
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.
The debut LP from The Spy From Balzan sees the musical project finally complete its first chapter to wonderful effect.
Combining the dreamy and reverb-heavy production that has blessed their previous singles, The Spy From Balzan features seven excellent tracks influenced by various genres and moods.
Opener “This Way Up” begins with a Spanish-esque guitar opening that runs through the track like a scenic river through a gorgeous valley. These then collide into a trap-style beat, which opens up the track, allowing the vocals to take centre stage.
This is followed by the single “Without Warning” which I have previously reviewed (you can read here). In the context of the album, the track is only strengthened, adding to the LP’s sonic palette.
Next is “Cheese Dreams” which opens with a dreamy guitar line washed in reverb. The track allows you to sink into its production, especially when it reaches its chorus, which drags you further into its sonic landscape. The instrumental on the track shimmers and also features a lovely guitar solo that cuts through the dreamlike atmosphere to excellent effect.
“Guillotine” features a melodic chorus that adds a different element to the LP, with verses laden with guitar solos and intricate synth beds. This continues to build upon the consistent instrumentation and production that weaves the album together into its own unique world.
“Imagine That” adds to the sunny atmosphere. Opening with a catchy guitar line, the song revolves around this line, bringing a catchy indie vibe. The vocals reminded me a lot of The Voidz with their heavily autotuned and trippy effect, bringing that extra layer to the track.
This leads to the LP’s magnum opus, “Northern Rail,” which sounds like The Drums run through a psychedelic filter. The effect is excellent, showcasing the range of different influences injected into this project. The indie pop sensibilities are clear to see, with a gorgeous upbeat and catchy chorus, which I adored.
The LP ends with “Only Been Me” featuring Slobo, the track gently winds down the album with an RnB-influenced finale and gorgeous synth bass work. The chilled production naturally concludes the sonic journey which the LP takes you on.
Overall, The Spy From Balan has merged various influences together to excellent effect, producing a cohesive album with a thoughtfully curated sonic palette that takes the listener on a journey through its luscious instrumentation and personal lyrics.
Newcastle’s Goodsprings return with ‘Horrors’, a track that fuses the raw energy of punk with the rhythmic soul of ska, delivering a powerful political message.
The track bubbles with anger, starting with an opening guitar line immediately hitting you with high energy. This raucous guitar line is over a bed of ska inspired organ reminiscent of bands like The Specials.
However, those expecting a traditional ska track in the style of Madness will be surprised. While the influence from ska bands is present, the group also draws from various other genres such as classic rock and punk, featuring complex, heavy guitar lines and political spoken lyrics, which see the band confronting apathy, racism and austerity and the impact it has had on Britain.
The driving drum beat powers the track, maintaining the punk energy and moving away from traditional ska beats, resulting in a song filled with power and intensity.
The track also features an excellent brass section with the group welcoming in new collaborators with Lucy McCartan on trumpet and Natalie Ziklova on keys which brings the traditional fun of a ska track.
Overall, the track injects a variety of different influences into the ska genre to good effect. You can check out Horrors on 8th June on SoundCloud and follow the band on Instagram here.
Freshly returned from their transatlantic odyssey, The Peevie Wonders are ready with new music and big plans for the future.
After a slew of shows in Austin, Texas, the group is back on home soil and ready to continue to build the hype, which has attracted the attention of the likes of BBC Radio One.
I caught up with frontman Mark Wilson to talk about their amazing experiences in the USA, as well as their exciting new track “Big Eczema Energy”, which features a solo from fellow North Shields resident Sam Fender, as well as production from Fender’s bandmates, Joe Atkinson and Dean Thompson.
The track showcases all that is good from the band, bringing big energy and unique lyrics. You can check it out here.
Bringing humour and terrific post punk energy, the track combines the wit and surrealism of bands such as FEET with the infectious energy of groups such as Shame. This addition to the growing catalogue of excellent singles released by the North Shields’ band so far further solidifies their status as ones to watch.
Sharing his thoughts about the new single Big Eczema Energy as well as working with Fender, Thompson and Atkinson, frontman Mark Wilson stated this: “This was the most fun I’ve ever had recording music. They are all good friends of mine, and it was class seeing professional musicians chipping in with writing and production on Big Eczema Energy.
They really brought it to life and helped us out beyond our expectations. It was a real North Shields collaboration. Sam’s solo was pretty much an improvisation, and if you haven’t heard it already, I would have a listen and prepare for a face melting rock n roll experience.”
The track builds upon the group’s influences, which can be heard throughout the group’s music, which mixes excellently crafted tunes with comedic lyrics often about the banality of everyday life. Past targets include the big shop at Morrisons, indie boys and gym lads, with the group delivering a unique twist on post punk.
I asked frontman Mark Wilson, about who and what inspired their uniquely brilliant music:
“Lyrically, artists like Johnny Cash, Tenacious D and John Cooper Clarke have been huge influences in the way they can add humour and make people laugh with the words they choose.
As a young boy, I was obsessed with Spike Milligan’s poetry, it’s so daft and surreal yet the stories spark something inside me that inspires me to this day to write something amusing. I love rough and raw music and The Fall are massively inspiring in how they break rules and the recordings can sound a bit shoddy and home made.
My music taste can only be described as Dad Rock, which isn’t really the sound that I have gone for, but if you break our music down the classical rock elements are all there, hidden beneath noisy guitar riffs and ranty vocals.”
These are all things which can be heard from what the group has put out so far. Since their formation in 2020, the band has gone from strength to strength. I asked Mark Wilson about what made them start The Peevie Wonders:
“I had COVID during the pandemic, and being locked in my room. I started messing around with some guitar ideas, which then progressed into songs. This was the first time I’d ever had vocals on a track, which was a weird experience whilst I was trying to find my voice. I’m still looking!
I asked Ben, who is my best pal, to get involved and help with some lead guitar. Before I knew it, we were in a rehearsal room playing these songs that were created during my self isolation.
To start with, we had my computer plugged into the PA, which had backing track drums and bass. The hardest part was having to play perfectly in time, and then pause the track at the end of the song.
The natural progression was to get some real humans to join the band. This is where Ollie and Joe were introduced. We practised quite regularly and I was adding new songs in for us to play. Our first gig was in Sunderland at The Independent, we played 5 songs and it was a lot of fun.
The band was started as a bit of a joke, the nature of the songs shows that. The first track I wrote was about people who don’t put butter on their bread when making a sandwich… The lyrical nature has only got more and more ridiculous as the band has aged and this won’t be changing anytime soon.
I have tried and failed to write about more traditional things such as love and relationships but that doesn’t ever come into fruition. I really struggle with that sort of stuff so I may as well write about the things that I have observed and find funny, it’s all I can do really.
I had never expected the music to take us to places such as Texas or BBC Maida Vale studios, and it still blows my mind as to how we have even been invited to have such amazing experiences. It hasn’t been easy and a lot of work has gone into this, but as long as it remains fun and exciting, I want to keep progressing and see what else us idiots can get up to.”
The Peevie Wonders’ unique approach led them this year to be invited to play SXSW festival in Austin, Texas. The group participated in the boycott due to the sponsorship of the festival, however still managed to play some unofficial shows in venues around the city, who supported bands participating in the protest:
“CoCoTexas is absolutely mental, everything is bigger and worse for your health, which for a week was very nice to indulge in. I was crying out for some broccoli by the end of the trip. The reception was great, and we decided to keep the set pretty much the same as our home shows.
We took the dad joke book and the shopping scanner, which both went down a storm. We were playing to a brand new audience every gig so it was integral that we showed off what we are all about and didn’t hold back on any of the performances.
My advice to anyone going over there and playing their music would be to stay true to yourself. People will either love it or hate it, that’s the nature of the game, so you may as well remain unchanged and have fun with it.
After playing Big Eczema Energy one day, I had a member of the audience pull me aside after the show. They explained that they had been a dermatologist for 20 years in Texas, and we had a lovely conversation about moisturiser and steroid creams. That was fun.”
The group is keen to take advantage of the momentum, they have gained from their US experience. Over the course of the past few years, the band has attracted the attention of BBC Radio 1 and BBC 6 Music as well as a handful of prominent support slots, I wanted to know what the future held for the band:
“We have our debut EP titled “Big Eczema Energy”, which will be 4 and a half songs. I think… That will be a huge box ticked for me, as this was one of my goals at the start of The Peevie Wonders.
The EP has very similar sounding songs on it which I have been very keen to do with very rocky and energetic sounding music, which will hopefully make for a body of work that will soundtrack your morning runs or drive to McDonalds on a Sunday morning.
I also have a few unfinished tracks which I am working on. I really want to write a 7 minute ballad which I’m hoping to sit down and finish, which will probably never see the light of day and is more for my own entertainment. We will see what happens with that.”
In addition to an upcoming EP the group have some exciting gigs in the pipe line:
“We are playing A Stone’s Throw Festival on the 25th May in my hometown of North Shields, and have a few more gigs that we can’t talk about yet. With our debut EP planned for early summer, we will of course be gigging to celebrate that around the North East.”
With all that to look forward to, you can check out The Peevie Wonders’ Instagram here, as well as their new single “Big Eczema Energy” here.
The North East is known for many things, from its renowned football teams to its rich industrial heritage yet, one aspect often overlooked is its breathtaking coastline. From the Northumberland Coast down to Victorian Pier at Saltburn, the region is home to spectacular beaches and picturesque towns. Nowhere perhaps captures this better than the winding coastline of which Tynemouth and Whitley Bay sits upon.
Where better a location then to set up a music festival which showcases a plethora of local talent as well as some stars from further afield. In 2022, A Stone’s Throw Festival did just that with a bill featuring the likes of Heidi Curtis, Sam Tompkins and Lauran Hibberd.
The festival, a travelling roadshow down the North Tyneside coastline, transformed coffee shops, CBD dispensaries, and warehouses into bustling arenas, transporting festival-goers by bus from venue to venue accompanied by a brass band to add to the merriment.
A Stone’s Throw is returning this May, headlined by the indie mainstays Sundara Karma, backed up by incredible acts such as Pip Blom, Bilk and Opus Kink, as well as an abundance of North East musical talent.
I caught up with festival founder Ant Thompson to discuss plans for this year’s event and what will be different with this year’s exciting lineup. “We were incredibly proud to deliver the event in 2022 but as you can imagine, we learned a lot of valuable lessons which have influenced us in curating a bigger line up and a refined experience!”
Part of this expansion includes an opening night headlined by indie legends White Lies, which Thompson promises will get the celebrations started early, adding to the scope of the ambition of this year’s event.
Part of the event’s unique nature is its travelling element, with a bus service allowing festival-goers to get from venue to venue at ease. But just how does the bus service work for festival-goers?
“We work closely with the local council to establish an appropriate route with perfectly placed bus stops near venues.
The bus is exclusively for wristband holders and it makes getting around the festival an absolute breeze!
Last time out we even surprised the local area by placing bands on top of the bus as it travelled through the villages. The FOMO was clear!”
This is far from the only interesting feature of the festival. The unique location of this event brings something different to the table, with a number of establishments opening their doors to live music for the first time, bringing a new fresh twist to the multi-venue festival idea.
“We use a lot of spaces which typically don’t operate as fully functioning music venues. For instance, Karma Coast is a CBD dispensary by day, Tynemouth CIU is a trusty social club for local workers and The Watch House Museum is a functioning museum dedicated to the history of the local life brigade. These 3 venues in particular add a special unique selling point to the event and we look forward to seeing people visiting them throughout the day,” states Thompson.
“We’re not claiming the multi-venue idea by any stretch! There’s plenty of amazing multi-venue festivals across the country who certainly inspired us. That said, the initial idea came when walking along the coast during Covid. I was reminded how many amazing venues there are that people might not be aware of. That paired with how idyllic the area is, we thought it made perfect sense to give it a go! “
With such a stunning back drop, all A Stone’s Throw needs is some incredible music to fill their quirky, unique venues and that the festival has in spades with a raft of local talent taking to the Newcastle coast.
“We’re incredibly lucky to have such a flourishing batch of local talent participating in this year’s event.” stated Ant Thompson highlighting the incredible Finn Forster, The Peevie Wonders, Frankie Archer and Vice Killer as his personal ones to watch.
But perhaps the most important thing for an event such as this is the incredible chance it gives up and coming local musicians to shine and participate in front of big crowds. This is something that festival founder Ant Thompson has worked hard to achieve: “We work closely with the likes of We Make Culture to ensure there’s opportunities for the young musicians to participate in the festival.
This is often the first large scale event the musicians have been a part of and it’s something we plan to continue year on year.”
This, along with the incredible location and quirky venues, certainly makes this event one to watch this festival season.
A Stone’s Throw Festival will take place on May 25th 2024 across various venues across the Newcastle Coast (Tynemouth and North Shields). Tickets are on sale now here.
The Boiler Shop was rocked on Saturday night as Shame brought their raucous live show to Newcastle.
Touring their new album, ‘Food For Worms’, which was released last week, Shame played a varying set which encompassed tracks from all three of their releases to date.
Recent singles ‘Fingers of Steel’, ‘Six Pack’ and ‘Adderall’ were all received well from the crowd, with ‘Adderall’ in particular a highlight quickly gaining fan favourite status.
As always, the band brought the energy, with frontman Charlie Steen doing an excellent job of working with the crowd, eventually joining them throughout a number of tracks.
‘Tasteless’, ‘Snow Day’ and ‘Orchid’ were personal highlights demonstrating the band’s versatility, as well as the quality of the band’s back catalogue, which has only been strengthened with the recent release of ‘Food For Worms’.
Steen even brought out his cousin Tom before the end of the show to introduce a track before engaging in some Newcastle related quips with the crowd.
‘One Rizla’ as expected set the crowds alight with mosh pits aplenty and proved worth the wait. The show was concluded with ‘Food For Worms’ closer, ‘All The People’ and ‘Gold Hole’, which ended the show fittingly with the crowd demanding more.
Support came from Florida based duo ‘They Hate Change’, who warmed the crowd up well with their electronic, hip hop fusion which gave a different flavour to the show bringing a welcome change from the usual support acts for an indie/post punk show.
Overall, this was a great time, watching a band, who are still pushing musically and reaching even greater heights both on record and in person.
The big story from the Newcastle leg of The 1975’s UK tour was the appearance of Lewis Capaldi, but that was just the beginning of the fun in their most ambitious stage show yet.
The 1975 are the ultimate marmite band, to some a pretentious pop band, to others a groundbreaking pop machine.
The truth is probably somewhere in the middle, but one thing that no one can doubt is the ambition of frontman Matty Healy and co. Gone is the big visual lights show, which formed the basis of their ‘A Brief Inquiry /Notes on a Conditional Form’ Tour instead replaced by a house set, forming the core of the first half of the performance.
This section of the show draws from songs from their recently released fifth album, ‘Being Funny In A Foreign Language’ with the band committing themselves to an ambitious theatrical show.
The band inhabit a fully furnished house for the entire show, unveiled to the audience by each member of the group switching lights on, revealing sections of the stage.
The whole thing is all very reminiscent of a sitcom or drama with title cards and loose storyline, which is brought to life by Healy who starts proceedings with ‘The 1975 (BFIAFL)’. Flying through the first seven songs of the album, the group delivered an enthralling welcome to the world, with singles ‘Happiness’ and ‘I’m In Love With You’ gaining the best reaction from the Geordie crowd.
A first surprise was delivered early on during a performance of ‘All I Need To Hear’. Introduced by Matty Healy, the stage was plunged into darkness, revealing when the lights came up, that Tim Healy had replaced his son. The former ‘Benidorm’ star then proceeded to belt out the track to the delight of the fans.
Matty then returned on the roof of the house to perform a stripped back version of 2018’s ‘I Like America and America Likes Me’ which remains a highlight of the set.
Matty Healy Ascends
The first half was concluded with fan favourites ‘About You’ and album finisher ‘When We Are Together’.
When the track had finished, the performance art began with Healy assuming the role of a single man going through a breakdown.
Healy strips down to his bare chest to eat a piece of meat, as well as pretending to masturbate on a leather chair. This all occurs whilst images of world leaders and media personalities appear on the set’s TV. Healy then completes this section by crawling through the TV, ending quite a baffling bit of theatre, which is either pretentious or interesting depending on your perspective.
This led to an interval where the show’s biggest moment occurred. A ring of the doorbell signalled the arrival of the special guest, leading to mania in the crowd when the monitors flashed the name of Harry Styles. However, instead of the One Direction star, out stumbled Lewis Capaldi, which prompted more screams from the crowd.
Capaldi, to his credit, did what he does best for the next ten minutes. He delivered laughs, in addition to a rendition of The 1975’s ‘Antichrist’, and a rousing version of Taylor Swift’s ‘Love Story’, whilst he mocked Healy’s previous acting attempts on the big screen, completing an enjoyable interlude.
The band then began their ‘At Their Best’ section of the show, smashing through hit after hit after remerging to a sax rendition of ‘Local Hero’ complete with Newcastle shirts for the saxophonist and a Newcy Brown for Healy.
It’s at these moments, you realise that The 1975 are still amongst the finest in the pop world, delivering both excellent tunes and phenomenal show, which can rival any of their contemporaries.
Finishing on 2018’s ‘Give Yourself A Try,’ the group excelled themselves on this tour, producing one of the most ambitious shows I’ve ever seen. This makes the show well worth a watch if you get the chance.
Humbug North East 