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.
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!
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.
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.
Humbug North East 