This young Glasgow band (named after the 10p sweet mix-ups you used to get at school) have received national airplay from the likes of Mark Lamarr on Radio2 and Radio Scotland’s Jim Gellatly. They have also secured high profile support slots with the Bluetones, The La’s and Supergrass. So they’ve obviously got something.  

Whether that ‘something’ is specifically relevant to today’s market, I’m not sure either. The three songs on this single are all bouncy and chipper, with a distinct hint of cheesy Seventies pop shining through on the opening track, ‘Your Side.’ 

Now – I’m of an age when I remember a song from early in that decade called ‘The Pushbike Song.’ It was recorded by a band called The Mixtures. And the similarities don’t end with the band name. Both employ a distinct, plodding beat with banjo, bar-room piano, and tight harmonies. I don’t know whether it’s a good thing or not, but it comes across as bit of a ‘novelty’ song to me. Pleasant and fun in it’s own right, though. 

‘Where You Belong’ still has a bit of a vintage feel to it – this time adopting a cantering Western refrain. Think Jake from The Blues Brothers singing ‘Rawhide.’ Think of Glasgow based and Loud Horizon faves, Le Reno Amps.  

‘Double Or Quits’ sounds more contemporary. Good quality Indie guitar standard. The guitar here is clean and clear in the Dire Straits style, with vocals slightly rasping but melodic. Perhaps this should be the lead track – maybe that was the intention when the word ‘shit’ has been blanked out from the chorus?)  

Anyway – it’s good for what it is and although the band would obviously like to be taken seriously, I’m still not sure the tracks should be. 

(Self-released and available now through I-Tunes, Amazon etc..)    

(7/10)

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‘Heart Beats’ is the new EP from young power-pop quintet, MaLoKai. Released on Nameless/Faceless Records on February 13^th, this new offering is sure to delight their growing fan-base.

 A band seemingly built around fun music, it would be easy to lump MaLoKai in with the multitude of bands currently plying the pop-punk/emo trade. However, where certain bands have often looked to build a darker image, it would seem these five are happy to entertain at all costs. Not a second goes by in these six songs without a thunderous drum roll, incessant chug or a delicious lick. The style of vocals may be a little Marmite in flavour, but for fans of You Me At Six or Kids In Glass Houses, their sound is likely to please.

After a brief intro, you’re propelled headfirst into ‘Rumours’, a classic chunky slab of rock, complete with resplendent key changes, guitar noodling and an infectious chorus.  No sooner has it finished then ‘Heartbeats’ powers into view, a brief second after the opener’s climax. Although the two tracks are similar in style, the title track feels more focussed and it takes a far heavier route to a similar destination.

A theme appears to be developing early on, but the band serves up a surprise – a cover of Jessie J’s number one: ‘Price Tag’. For me, this song has been done to death about four times over already, but it’s a clear indicator of the band’s easy-going attitude, although the spoken word rap which cuts in half way through may be a step too far.

The remaining songs offer more of the same, ‘Young and Dumb’ is a feel-good anthem, with the obligatory call-and-response section, quiet middle eight, and guitars set to overload. ‘You’ feels like an epic, despite being under four minutes long – offering massive solos and impassioned vocals in equal measure. Closing track ‘What’s Inside’ steals the show though. Possessing the best verses and the catchiest chorus, it’s as good an introduction to the band as any.

Though MaLoKai aren’t ploughing a new path for them-selves, their music is a must-hear for fans of the genre, and their carefree style gives you the chance to bounce around without a care in the world, if you like that sort of thing.

(Released through Nameless / Faceless Records on 13th February 2012)

 ( 7/10)

ZAK PADMORE

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Allerjen are four of the loudest men in Manchester. Their uncompromising brand of death-metal has been honed over a career which began in the last millennium. During the last decade, the name and personnel of the band may have changed, but their complex approach to the genre has not.

 Out February 20^th on Brutal Elite Records, their latest album, Equilibrium, practically screams into the ears from the off. First track, ‘Destroyer of Worlds’ sets the bar high. Built on insistent rhythms and some impressively creative and dextrous guitar lines, it’s a blistering start. It’s immediately apparent that these guys are not merely building their songs around the most aggressive loudness possible, they have a real ear for melody. Make no mistake, these are aural assaults, but the unpredictability of the guitars and the propulsive drumming are clear indicators that this is a band who have mastered their own sound.

This is a theme common to much of the album, both ‘Treachery be Thy Name’ and ‘Achieving Equilibrium’ are highlights in a similar vein. ‘The Process of Being’, ‘Hunter’ and ‘Embrace the Divine’, on the other hand, offer more variety than can be found in many metal bands catalogues. This careful and precise approach to song writing keeps the album moving, but the (slightly) slower offerings here struggled to keep my attention held.

‘Equilibrium’ is a solid album, particularly if you are already into your death-metal. However, the casual fan may find this collection a bit too one paced, despite the clear creative thinking and variation of ideas on some songs. Vocalist John Dower’s twisted voice breathes menace over every track, perhaps a little too much in certain cases, as by the end some of the ideas on offer begin to feel a little formulaic and repetitive.  With such complexity on offer, it is a shame that the vocals resolutely stay the same throughout, a problem not helped by ropey production on a few of the later tracks.

All in all, this won’t turn you into a fan of the genre if you’re not already, but for those who like all things heavy, the wealth of ideas here should be enough to keep you interested.

(Released through Brutal Elite Records on 20th February 2012)

(6.5/10)

ZAK PADMORE

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 I was just about to write up a review for the forthcoming eponymous EP from Cornish lads CROWNS, when an e-mail arrived advising they had just released a video for the lead track, ‘Full Swing.’ 

Good as I am (!) no words from me would ‘sell’ this CD to you better than the casually shot and boisterous video, so it’s appended below. 

I actually have mixed feelings about the current popularity of ‘folk-punk’ and all its derivatives but CROWNS lean more towards a style of ‘shanty-punk’ and there’s absolutely no denying the infectious nature of their songs. 

As highlighted in this track and the earlier single, ‘Kissing Gates,’ it’s all very much about bouncing, sing-a-long drinking songs, with big gang-vocal backings. The kind of rowdy music that encourages old-fashioned mosh-circles, air-punching and most other kinds of hyphenated activity!

‘Whose Pint’s Whose’ probably tells you as much as you need know about CROWNS. To me, it has a bit of an Irish feel to it and I suppose there is a fine line between the likes of your Flogging Mollys of this world and CROWNS. Just where Irish folk songs end and English sea-shanties begin, I’m not quite sure. But who’s splitting hairs? 

These six tracks are guaranteed to have your feet tapping, in spite of any preconceived musical prejudices. 

Just go with it  – and get’em in! 

(CROWNS are out and about across the UK in March and early April. You can see where and when here.)

 (Released through Ship Wreckords on 5^th March 2012)

 (8.5 / 10) 

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Yeah – not what you would think!

Click here to read about all the shenanigans at the recent showcase for the roster of the exiting Glasgow label, FLOWERS IN THE DUSTBIN.

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 Katerina Panopoulou started playing music with friends at home in Greece. Her journey since then has seen her play both in bands and as a solo artist, interspersed with a couple of periods spent in London to complete her studies. 

Back in Greece, the band evolved, members came and went, the name changed (on a couple of occasions) and although now KATRIN THE THRILL is ostensibly Katerina’s ‘alter ego’ this EP was recorded with the aid of long-time associate Gina and several others. 

The concept of ‘Earth Is Calling Us’ was sparked (no pun intended, though that’s probably hard to believe) by the devastating forest fires that ravaged Greece a few years ago. Indeed part of the proceeds from the sale of the EP goes towards the reforestation projects.  

So what’s it like? Well, there’s no arguing with the Press Sheet that fans of PJ Harvey, and Patti Smith will enjoy this. That said, the first track ‘You Make Me Wanna Die,’ actually opens with an intro that reminds me of Australia’s Howling Bells – up until the vocals kick in when to me there is a resemblance in style to that of Skin from Skunk Anansie. 

I love Howling Bells. I don’t like Skunk Anansie. Hmmm! Not too sure of this one. It’s all a bit downbeat and ‘grungey’ for me. It’s OK. 

‘Unreal’ is pretty much in the same vein. The vocals are a little higher and the track, at almost four and a half minutes has some nice, atmospheric instrumental breaks. Again though it sort of ‘plods’ its way through the duration and does actually get a bit depressing! 

‘God’ on the other hand is far more exciting- in a creepy, spine-chilling sort of way. The little piano arpeggios and droned keyboard effects combine with Katerina’s somewhat manic sounding vocals to create the impression of a porcelain-faced doll staring at you from the end of your bed in your darkened room, then ever so slowly rolling its eyes up into its head.

 (Oh – it’s just me, then?) 

‘Earth Is Calling Us’ is the longest of the five tracks (there is also a shorter ‘Radio Edit’ of this track) at just over five and a half minutes. Yet again, the vocal style is almost one of despondency and simmering anger. But it works better here, I think. The backing has more of a drone to it, and the glockenspiel is used to great effect to build the atmosphere. 

‘Sorry’ is a bit weird – it basically amounts to two and a half minutes of the words ‘I’m sorry, I’m sorry,’ being repeated over and over, though the pace and beat is rocked up a bit on this one. 

Overall, it’s neither the best nor the worst EP I’ve heard this year. But  it will definitely hold appeal for those who enjoy PJ Harvey and Patti Smith. And bleedin’ Skunk Anansie! 

(Released through the Incense label – Greece- and available now)

(7/10) 

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 There are some albums that impact immediately you press the ‘play’ button – and this is most definitely one of them! SOUND OF GUNS have been around a while, but it is now with the support of Radio 1 and several other ‘big name’ DJs that they are coming into their own. 

Normally, when daytime national radio makes a fuss over bands, it’s generally a signal for me to change stations / switch off – I just can’t be doing with all this fawning, patronising and self-congratulatory back-slapping in the glory that they have ‘discovered’ a particular band or artist that all too often is more ‘hype’ than substance. 

But I’ve just realised that I’m about to do the exact same! So fair play to Radio 1 this time …. they have my approval! 

By their own admission, SOUND OF GUNS are not afraid to appeal to the masses. On the first listen-through however I envisaged their popularity being restricted to a young demographic (with a good proportion of female followers!) 

But no – subsequent plays convinced me that these guys have what it takes to cross all age, gender and genre barriers. They are like a rockin’ One Direction! And I mean that as a compliment, in that they have the image, the attitude, the confidence ….. and most importantly, the songs.

Each one of these ten tracks seriously kick ass! SOUND OF GUNS combine hard rocking riffs with heart-felt emotion, but without becoming all schmaltzy or descending into the miserably pained tones of ‘emo.’ And while I’m personally a big fan of hardcore music and ‘screamo’ type vocals, it’s genuinely nice and refreshing to hear a band actually sing for a change!

The vocals throughout are strong and clear, with the backing cover incorporating soaring ‘woah woah’ choruses – ideal for live shows and audience participation. Again, maybe not a comparison immediately appreciated, but there are times (in ‘Flash Of Light’ for instance) when the listener is reminded of what Bono was capable of in the early days of U2. 

Every song has an instantly recognisable sing-a-long chorus and while all seem to follow a similar formula, there is enough variation to keep the listener hooked throughout. 

And although the vocals obviously lead the way, take a moment to acknowledge the clean and incisive guitar dancing atop the driving rhythm section. You know, sometimes you can just tell – even from a recording where current technology can hide a multitude of sins – when a band is a good ‘fit.’ There seems a genuine relaxed atmosphere about the playing on ‘Angels And Enemies.’ Some bands are quite obviously guilty of ‘trying too hard.’ Not SOUND OF GUNS. 

Highlight is the opening track ‘Sometimes,’ the video for which follows. From the moment the opening riffs kick in, you’ll be hooked! 

A possible ‘stadium’ band of the future? I would suggest so! 

(Released through Distiller Records on 5^th March 2012) 

(10 / 10) 

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Combining aching melancholy with sweeping synths and broken beats, Edinburgh quintet The Machine Room have made a name for themselves supporting the disparate likes of Ghostpoet, Twin Sister and The Heartbreaks. Set to release their first EP in early March, it shouldn’t be long until they’re headlining their own shows across the country.

A refreshing diversion from some of the more guitar-orientated success stories from north of the border, the EP is a brooding collection of songs, centred on love-gone-wrong. Powerful hooks and dreamy, effect-laden jams are the order of the day, resulting in an understated pop shine bristling with heartfelt vocals.

It opens with ‘Cost of Progress’; built around a perfectly formed pop hook, and backed by a taut rhythm section and shimmering synths, it’s a brilliant introduction to the group, particularly when it descends into a hazy wig-out. Next we are treated to the more focussed ‘Your Head On The Floor Next Door.’ The band’s love for New Order is most noticeable at this track’s start, before yearning verses build to a sumptuous chorus – treading a similar path to those found on Glasvegas’ first record.

It’s on haunting debut single ‘Camino de Soda’ though, that John Bryden’s vocals really come alive. His voice is what sets the group apart from many of their peers, a pained falsetto drawing on range and power in equal measure. Picking Holes is an ambitious climax which sums up the scope of the EP, crackling out of life without warning and leaving you wanting more.

With winter setting in, The Machine Room have brought out a cold EP with a warm heart. Radio 1’s Vic Galloway is already on board as will you be should you check out their mix of jangly pop and maudlin electronica. 

(Self-released on 5^th March 2012 and available through The Machine Room.)

(8.5 / 10) 

(ZAK PADMORE)

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 For many, ‘reggae music ’starts and ends with Bob Marley – which is a great shame as the genre has so much more to offer. I don’t intend that as any sort of slight on the great man ….. but in the current age of manufactured and ‘auto-tuned’ commercial music, there is just so much excellent music (and reggae in particular) that simply doesn’t get heard by the ‘casual’ listener. 

One label trying to alter this is the fabulous Bristol Archive Records. For a couple of years now they have been re-releasing music that originally emanated from their city during the late Seventies / early Eighties – music from bands that garnered much critical praise for their ‘live’ shows, but due to their music being released on small independent / DIY labels, failed to gain the commercial and more widespread success that they undoubtedly merited. 

One such band was / is TALISMAN. 

Having previously released their early output in the form of the ‘Dole Age – The 1981 Reggae Collection’, Bristol Archive Records now turn their attention to the band’s first studio album, ‘Takin’ The Strain,’ which was initially released on vinyl format back in 1984. 

And this is a perfect illustration of my earlier assertion that there is so much more to reggae music than simply Bob Marley. 

The nine studio tracks on this album (there are also five bonus ‘live’ recordings) show a great degree of variation and innovation within the genre. Opening with the title track, the listener is dropped straight into a conventional, slow and deep traditional reggae vibe, with backbeat guitar and little dub interspersions – all held together with the whine of the Hammond organ and some unobtrusive brass backing. 

‘Crime Of Passion’ opens with a highly toned guitar, akin more to what you’d expect from a traditional African instrument. This is offset with some bouncy bass and female backing harmonies. The guitar picking throughout is clean, concise and infectious. ‘Lick And Run’ is in fact quite ‘Marley-esque’ but differs in the percussion department, with excellent cowbell use. (I love the cowbell!) 

‘Ah Wah You Seh’ is unique (certainly as far as my limited knowledge goes) and ingenious in the way TALISMAN have incorporated the violin throughout. Always maintaining the steady reggae beat, it at times takes on  ‘classical’ feel, and at others a bit more of a ‘jazz’ vibe. Clever. 

‘Lord Of The Dance’ features simple piano hooks and a brass section that can probably best be compared to an early (and good) UB40 style. Again, the inventiveness of TALISMAN shines through with those little piano lines mixed into a reggae backing. ‘Stride On,’ is more along the conventional route, and while still most enjoyable, I have to say is the track that I actually forgot about when thinking about what to say in this review. Good, but not as memorable as the other tracks. 

‘I’m Sorry,’ brings the listener back to the more innovative side of TALISMAN, with this track featuring keyboard effects that mimic a tuba (?) the deep notes giving the song a slightly ‘cheeky’ sound as it competes with the slow beat and other space-like sound effects. ‘Calamity’ is pure sing-a-long reggae magic, and if this doesn’t get you bouncing out your seat and skanking around the room then maybe reggae just isn’t for you after all! 

Closing track ‘Burn The Bread,’ probably stretches the accepted description of the ‘reggae’ definition. Yes, a reggae beat is there in the background, but the overall vibe created by the vocal delivery is more out of the Grandmaster Flash school than that of Bob Marley. 

Of the five live bonus tracks, four are repeated from the original studio recording. The other, ‘Slow Poison’ was an integral part of the bands live set for many years. 

(TALISMAN have recently reformed and are now playing gigs throughout the UK!)

(Released through Bristol Archive Records on 5^th March 2012)

(10 / 10)

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For their new UK tour dates and an unmissable invitation to see where all the action! action! action! action! action! takes place, click here.
 

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