The Last Dinner Party - From The Pyre Tracklist
1. Agnus Dei  2. Count The Ways  3. Second Best  4. This Is The Killer Speaking  
5. Rifle 6. Woman Is A Tree  7. I Hold Your Anger  8. Sail Away   
9. The Scythe  10. Inferno 

In quick succession to their debut album Prelude To Ecstasy, released in February 2024, The Last Dinner Party continue their ambitious rise with their follow-up LP, From the Pyre.

Framed by the band as a darker, rawer, more elemental record, its opener Agnus Dei immediately sets the mood with fragmented vocals and elongated guitar solos. Where Prelude to Ecstasy leaned in to lush theatricality and baroque ambition, this sophomore effort seems determined to weather the storms of that excess and explore what remains when the spectacle is stripped back and the emotional stakes are heightened. Produced by Markus Dravs (known for his work with Wolf Alice and Florence + The Machine), the album trades ornate opulence for something sharper, more urgent, and emotionally volatile. If their debut was a feast of candlelight, velvet and grandeur, From the Pyre is its smouldering aftermath, the fire that follows the banquet.

The singles released ahead of the album trace that transformation. This Is The Killer Speaking, the lead track, plays like a gothic western with its slide guitars, shadowy melodies and cinematic menace. Abigail Morris, ever the commanding presence, moves effortlessly between cynical wit and wounded confession. The Scythe serves as the elegy that follows. Written nearly a decade ago, Morris has described it as a prophecy of grief - a song about how the end of love can feel like a death. It’s quieter and more haunted, built on tremors rather than crescendos, with trembling piano chords that leave space for vulnerability.

Then comes Rifle, the record’s eruption point, as emotional tension finally combusts through battle cries and serrated guitars. It’s easy to imagine this one tearing through their live shows, as soft instrumental swells give way to towering walls of sound.

The middle stretch dives deeper into the emotional wreckage. Woman Is a Tree stands out as one of the album’s more haunting pieces - a meditation on resilience and captivity, with roots tangled in love. Hold Your Anger follows with an aching reflection on what it means to absorb someone else’s anger until it becomes your own. Its restrained arrangement with brushed percussion and muted strings make it all the more devastating. After so much intensity, Sail Away provides a welcome moment of serenity. Its lilting piano melody and open arrangement offer calm and space, a rare moment of stillness amidst the surrounding fierceness.

The album closes with Inferno, From the Pyre’s most expansive and sonically daring track. Built around a taut, nervy rhythm section, it marks a distinct shift from the baroque textures of their debut. The arrangement builds patiently, layer by layer as guitars, strings and piano gradually collide before ending in an abrupt, cinematic finale as the curtain falls down upon their stage. 

From the Pyre is a bold step. It’s not a reinvention so much as a deepening - a move from the flamboyant, theatrical exterior of Prelude to Ecstasy into something far grittier. The Last Dinner Party asks more of us here: to inhabit their mythos and to feel the weight of their world. 

 *****

Somebody’s Child’s - When Youth Fades Away Tracklist
1. The Kid 2. Last Night I Held Your Hand 3. Porcelain (Losing All My Patience)
4. When Youth Fades Away 5. New Orleans 6. Wall Street 7. My Mind Is On Fire 8. Irish Goodbye 9. The Waterside 10. Life Will Go On 11. Time Of My Life

Dublin's Somebody's Child, led by Cian Godfrey, returns with their sophomore album, When Youth Fades Away, set for release on March 28, 2025. This album marks a significant evolution from their self-titled debut, delving into themes of ageing, self-reflection, and the passage of time, balancing the exuberance of youth with the creeping realities of adulthood in brilliant detail.

Produced by Grammy Award-winner Peter Katis, known for his work with The National and Interpol, the album offers a rich sonic landscape and it's as ambitious as you'd expect. Something that's evident from the record's opening track, The Kid, a song brimming with energy and youthful defiance, yet underscored by a subtle sense of foreboding. Propulsive drums and reverb-soaked guitars drive the song forward, mirroring the restless optimism of youth, while Godfrey’s lyrics hint at the fleeting nature of it all.

From here, the album leans into vulnerability with Last Night I Held Your Hand and Porcelain (Losing All My Patience) as we begin to see towering pop sensibilities reminiscent of early U2 with Godfrey's commanding vocals taking lead as a scintillating backdrop of guitar driven melodies are set alight. 

Elsewhere When Youth Fades Away demonstrates a slow-burning meditation on the passing of time, its steady pulse and layered instrumentation evoking the sensation of watching life slip through your fingers. There’s a hypnotic quality to the song, reminiscent of LCD Soundsystem’s All My Friends, as it builds towards a cathartic climax. 

Showcasing the true dynamics in his capabilities, New Orleans is a perfect moment to slow things down with its sense of intimacy that gradually builds in intensity through rolling percussion, before ramping up the pace once more on Wall Street with its energetic guitar riffs. A track that perfectly sets up My Mind Is On Fire which sees another soaring pop effort lift the roof off with its anthemic status. 

But just as the energy peaks, the album pulls back with The Waterside, a track steeped in melancholy. It’s a moment of quiet introspection, where Godfrey’s voice takes centre stage once more against gentle strings and subdued elongated guitars. There’s an aching loneliness to it, but also a sense of peace, as if accepting that some things - and some people - are meant to fade into the past. It’s this ability to balance sadness with beauty that makes the song so afflicting.

With still gas in the tank, Time of My Life closes the album with a triumphant, yet wistful, sendoff. It’s a song that embraces the contradiction of nostalgia - a euphoric instrumental outro serves as the much needed catharsis, wrapping up the record in a way that feels both complete and hopeful as it culminates in to an explosive finale. 

The band’s evolution is striking, with richer production, emotionally charged songwriting, and a newfound confidence that cements their place in the indie landscape. More than just a reflection on growing up, When Youth Fades Away is a celebration of what it means to keep moving forward, even when you’re not quite sure where you’re going. And we're all here for it. 

*****

The Wombats - Oh! The Ocean Tracklist:
01. Sorry I'm Late, I Didn't Want To Come 02. Can't Say No
03. Blood On The Hospital Floor 04. Kate Moss 05. Gut Punch
06. My Head Is Not My Friend 07. I Love America And She Hates Me
08. The World's Not Out To Get Me, I Am 09. Grim Reaper 10. Reality Is A Wild Ride
11. Swerve (101) 12. Lobster

The Wombats' sixth studio album, Oh! The Ocean, released on February 14, 2025, marks a significant evolution in their sound, blending indie rock, pop, and electronic elements in the carefree way they only know how. With such a prolific career spanning over a decade, the band have stamped their name on the scene for a long time, and this latest effort goes to show they're not out of ideas yet.

The album opens with "Sorry I'm Late, I Didn't Want To Come," featuring Murphy's dynamic falsetto and harmonious backing vocals, setting the tone for the record's introspective yet upbeat nature. 

Tracks like "Can't Say No" and "Blood On the Hospital Floor" follow and showcase the band's knack for crafting anthemic choruses, whilst "Kate Moss" evokes atmospheric qualities through its subdued synth basslines and disconsolate vocal delivery. 

Speaking on the experience, Murph says: “I’ve been to many beaches and seas and coasts over the years but for some reason it felt like the first time I had ever seen it and was truly present. There was this revelation that I had been living a life caught up in my own head, or in some kind of racing helmet or with blinkers on. It was really a potent experience. I felt like I saw everything new for the first time, and was aware that I had been so selfish to not take in how crazy the world and life is. I’d been caught up in my own BS for way too long.The album offers up some internal questions like: why are my head and body disconnected all the time? Why am I incapable at times of seeing any form of beauty in the world or in others? Why do I expect the world to conform to my will? Why do I never stop and smell the flowers? How am I conscious? That’s why I called album 6 ‘Oh! The Ocean”.

What makes Oh! The Ocean so compelling is the band’s ability to seamlessly weave reflection with infectious, high-energy tunes. With their sixth outing, the band have readily explored new sonic territories and it's paid dividends. "Swerve (101)" delivers a dance-punk vibe reminiscent of Gang of Four, and "Grim Reaper" juxtaposes its infectious melody with darkly humorous lyrics about mortality. The album concludes with "Lobster," a contemplative track reflecting on simplicity and peace. Something Matthew “Murph” Murphy has seemingly managed to find as the record serves to be their most rejuvenated thus far in their illustrious career. 

Oh! The Ocean is an album that demands your attention, offering both sonic depth and emotional breadth. It is a celebration of The Wombats’ ability to grow without losing their identity—showcasing a band that has mastered the balance between catchy hooks and a meaningful indie-pop classic.

The Wombats - UK Tour Dates:
18 March - Nottingham, Motorpoint Arena
19 March - London, The O2
21 March - Cardiff, Utilita Arena
22 March - Manchester, AO Aren
23 March - Hull, Connexin Live
25 March - Glasgow, OVO Hydro
26 March - Leeds, First Direct Arena
19 June - Liverpool, Pier Head

The Wombats - EU Tour Dates
28 March - France, Paris, Le Trabendo
30 March - Netherlands, Tilburg, 013 Tilburg
31 March - Netherlands, Amsterdam, Paradiso
01 April - Germany, Cologne, E-Werk
03 April - Germany, Munich, Theaterfabrik
04 April - Switzerland, Zurich, Komplex 457
05 April - Czech Republic, Prague, Archa +
07 April - Germany, Berlin, Columbiahalle
08 April - Germany, Munster, Jovel Music Hall
10 April - Norway, Oslo, Rockefeller Music Hall
11 April - Denmark, Copenhagen, Pumpehuset
12 April - Sweden, Stockholm, Vasateatern
15 April- Luxembourg, Luxembourg City, Den Atelier
16 April - Belgium, Brussels, Botanique 

Biig Piig - 11:11 Tracklist   
1. 4AM  2. Ponytail 3. Cynical 4. Favourite Girl 5. I Keep Losing Sleep 6. 9-5
7.Decimal 8. Silhouette 9. Stay Home 10. One Way Ticket 11. Brighter Day

Released 7 February 2025

From its hedonistic beats and transformative delivery, Biig Piig's debut album '11:11' proves to be a celestial body of art as it effortlessly blends genres, emotions, and sounds to craft a deeply introspective effort.

From its opening track, "4am," the album sets a hazy, reflective tone. Biig Piig’s voice floating over soft electronic production, creating a mood that feels both intimate and vast, as though she’s confiding in the listener while inviting them into her own world of dreams and desires. The track establishes the theme of 11:11—an exploration of love, vulnerability, and the complex nature of self-awareness.

Moving from the expansive club-ready soundscapes in "Ponytail" to the experimental choppy interlude, "I Keep Losing Sleep", the record truly pushes the boundaries of modern age music as it genre hops between electronica, softened RnB and bubbly pop.

The production on 11:11 is also noteworthy. The album feels lush, but never overcrowded. It’s a delicate balance of lo-fi charm and polished percussion, with layers of atmospheric sounds that give each song their own unique texture - expertly displayed on the guitar led "One Way Ticket" which shows grit and determination across its backdrop. "I've got a one way ticket out, I'm not going to turn back for no one"the 26-year-old pensively sings.

With the album bringing plenty of tender, heartfelt moments, it also has an undeniable edge that shows Biig Piig isn’t afraid to confront the complexities of relationships with a mix of vulnerability and confidence. 

As it reaches in to its soulful, almost gospel-like closing credits, "Brighter Day" rounds up a masterful collection that shows her growth as an artist. Whether you’re looking for something to cry with, or something to don your best dancing shoes to, 11:11 offers both in equal measure. From nuances of youth, love, and self-discovery with stunning production and emotionally charged lyrics, it marks an exciting new chapter as she follows up last year’s globally acclaimed mixtape, ‘Bubblegum’ with a pristine pop prelude to the future.

i: https://www.instagram.com/biig_piig

*****

The Last Dinner Party - Prelude To Ecstasy Tracklist
1. Prelude To Ecstasy 2. Burn Alive 3. Caesar on a TV Screen 4. The Feminine Urge
5. On Your Side 6. Beautiful Boy 7. Gjuha 8. Sinner 9. My Lady of Mercy
10. Portrait of a Dead Girl 11. Nothing Matters 12. Mirror

Released 2nd February 2024.

Few words can categorise the astronomical rise of The Last Dinner Party. And they needn't. Having already collected the prestigious BRIT Rising Star Award, and been crowned BBC Radio 1's Sound Of 2024, their music speaks for itself. But when you discover they only met three years ago, and played their first gig in 2021 it becomes all the more magical. 

With a string of single releases and a number of prolific support slots throughout '23, their fan base has been steadily growing and now sees them reach a pivotal point in their career as the band finally pull up the curtain on their long awaited debut long player, Prelude To Ecstasy.

Through a dramatic and tantalising display of baroque-inspired pop, the record's theatrical opening interlude, followed by Burn Alive, quickly set the bar at an godly height as they invite the listener to a musical banquet that far transcends expectations. 

Recent single Caesar on a TV Screen showcases their innate ability in switching tempo's and rhythmic styles in effortless fashion all before their suave delivery takes effect on The Feminine Urge. They're quick to establish things aren't done by halves as its operatic energy and twisting melodies create a unique and gripping juxtaposition. 

Elsewhere, On Your Side and Beautiful Boy slow down their exuberant pace to further demonstrate their vast dynamic as hushed vocals and sparse piano-led melodies take centre stage on the latter. That's all before resurrecting in to a towering powerhouse of emotion as it slowly rouses in to full brilliance. 

As the album progresses, it becomes evident that The Last Dinner Party are not afraid to experiment. From The Sinner's plinky melodies and scaling guitars to the convulsing energy contrasting seamlessly with soft vocals and huge pop sensibilities on My Lady Of Mercy. They've encompassed everything we've come to love about their music and turned the volume up to 11.

From emerging with their debut single Nothing Matters in April of last year, few could have predicted the whirlwind trajectory that lay in wait but with a beautifully composed record that now backs up their talk, we can question, do we already have an album of the year contender just a month in to the year 🤷

*****

f: https://www.facebook.com/TheLastDinnerParty/

"Heartbreak, it takes practice And I think I'm getting better at this" laments Will Taylor to set the mood for the duo's third, and self titled album Flyte. In perfect time for the cold cosy evenings ahead, the band's latest record appears like a warming embrace, sat by the fireplace as smoke billows up the chimney and wood logs crackle. Their innate ability in crafting intricate guitar driven compositions is something they've become accustomed to and their latest album continues to remain soaked in tenderness and heart-warming moments. 

This isn't an album about heart-break though, unlike much of their back catalogue. This is set amongst the healing and brighter days that follow. Its rawness contained for maximum impact. And you can really feel that in the recording.

With the opening track seeing the protagonist becoming everything desired from their partner, moulding to their shape, we get a true sense of the fragility of a relationship when it's stripped to the bare bones. The track itself was recorded through a single microphone, sat on the floor, openly capturing its simplistic beauty. Elsewhere Even on Bad Days tackles realistic wedding vows, driving through the mundane and monotony of life. It's fraught with painstaking detail of love on a relatable level hits home the hardest. 

With Defender telling the deeply personal and emotionally driven tale of someone tendering to a loved one dealing with poor mental health, the album quickly becomes a stark reminder of the delicacy in life and how suddenly the importance of certain things become a lot clearer.

Joined by Laura Marling on its second verse, Tough Love finds the pair delivering soft chord changes beneath their blissful harmonies, underpinned by its rousing percussion. Her profound vocals intertwining with the yearnful harmonies of Will Taylor and Nick Hill. 

With Chelsea Smiles' soft lullaby tones and Bedtime Reminder truly tucking you in to its warming grasp, the former buskers turned troubadours have created their earnest, and most delicate record to date - filled with supple melodies, grittiness and sophisticated realness. Few can genuinely reach this level of ambition.

Flyte's self titled album will be released 27 October 2023 on Nettwerk Records.

f: www.facebook.com/flyteband

Photo Credit: Ewan Ogden

'The Lathums - From Nothing to a Little Bit More' Tracklisting
1 Struggle 2. Say My Name 3. Know Pt14. Lucky Bean5. Facets 6. Rise And Fall
7. Sad Face Baby 8. Turmoil 9. Land And Sky 10. Crying Out 11.  Undeserving

Album Review: The Lathums - From Nothing to a Little Bit More

Described as their most honest and personal record to date, The Lathums second long player sees the band truly come in to their own through maturity, hard graft and passion. The Wigan-based outfit rose to acclaim through their debut album How Beautiful Life Can Be in 2021, released amongst the turbulent covid times, yet that didn't stop their sky high trajectory. And now they're back. Bigger and bolder than anyone could have predicted.

Fans lucky enough to catch them on tour last year will be all too acquainted with Say My Name which quickly became a stalwart single amongst their live work. And with their recent single Struggle which opens the album, the band's unique ability and knack for melding melchanoly and uplifting aspiration, quickly gives us hints of the schematics at play. “All the songs might be about different things,” Alex says, but “it always comes back to the same point: pretty dark things”. 

From doo-wop inspired melodies on I Know Pt1, straight out of the 50's, to the ferocious guitar swinging solos and soaring vocals on Facets, the North-West wunderkinds commandeer a powerful dynamic. 

As the dust settles, the often wounded but never defeated frontman Alex Moore delivers the pensive and emotive-driven Rise And Fall. Elsewhere there's the stadium ready anthem and live favourite Sad Face Baby, which has yet to leave a room stood still as it eggs on limb flailing mosh-pits whenever it's pulled out. 

Renown for their erupting guitar heavy melodies, there's real growth shown throughout the record with soft and tender moments as seen through Turmoil and the driving, deeply powerful Crying Out. A track that was written a long time ago but fits so seamlessly with the band's direction.  "I’ve only had like one girlfriend, and ‘Crying Out’ was before that. It’s like three different steps all in one album. Pre, during, and post-relationship. All of them are horrible" Alex explains.

A true roller coaster of emotion, the Lathums From Nothing to a Little Bit More is a tug of war with highs and lows, crossing all the despondent pathways from bereavement to relationship breakdowns and everything in between. Our pleasures derive from what has become Moore's coping mechanisms. And we're all the more grateful for it.

The Lathums' From Nothing to a Little Bit More will be released 3rd March 2023 on Island Records.

 

'Sam Fender - Seventeen Going Under' Tracklisting
1. ‘Seventeen Going Under’ 2. ‘Getting Started’ 3. ‘Aye’
4. ‘Get You Down’ 5. ‘Long Way Off’ 6. ‘Spit Of You’ 7. ‘Last To Make It Home’
8. ‘The Leveller’ 9. ‘Mantra’ 10. ‘Paradigms’ 11. ‘The Dying Light’

It's no secret that Sam Fender has a natural ability in story telling, so I suppose it only made sense that his second LP would see the songwriter turn in on himself, returning with his most personal work to date. The result? A poignant yet brightened backdrop of the gritty North-East, depicted through Fender's brilliant delivery. 

"If you like the Boarders then you're going to love the new record" proclaimed Sam at a recent live show as he likened it the best he could. And he's certainly not wrong. Already triumphing in Springsteen territory, the album rings throughout with his distinct guitar strumming and jazzy sax notes. It's a prominent and bold step that leaves its lasting mark paying in abundance. 

From its roaring title track that builds and builds to the aspirant Getting Started and his thumping call to arms single Aye, the album tackles an all manner of hard hitting topics from the polarity between the left and the right wing to contemplating shifting gear to support family life. It's not one for the faint hearted. 

Elsewhere on the record there's the cathartic Get You Down, a recent single that has taken his live set by storm that sees him at his liveliest. 

As a true dynamic there's a softer side to Sam too with his latest single Spit Of You that sees him heartfelt and emotional as he faces his dad amidst a trauma. Filled with intricate guitar playing and slick percussive changes it's a real mood setter that impacts far deep beyond the surface. 

Hitting raw emotions adequately, there's plenty of soul searching to be had on his second outing. From Last To Make It Home, a piano key driven epic that swells with its out bursting choruses to the orchestral The Dying Light with its monstrous crescendo.

Despite only a short time span between his debut Hypersonic Missiles to now, there's a refined maturity in his sound and this is a stunning coming of age record that sees Sam take on his own image head on, a side he's skipped over tentatively before. He's certainly become one of our generations greatest songwriters and this truly cements his name with the greats.

Sam Fender’s Seventeen Going Under is out October 8th via Polydor Records.

*****

‘It Won’t Always Be Like This’ Tracklisting:

Wasting no time, rattling out from the gates, Dublin's Inhaler debut their new album 'It Won't Always Be Like This' on July 9th through Polydor. 

If anyone's ever found themselves asking if guitar music is dead, then they are clearly yet to get their ears round this record. As the title track sets the mood through its chest thumping basslines and jagged guitar layering we find a common denominator running throughout with anthemic choruses aplenty and a stadium ready demeanour set to blow the roof off.

“We started writing this when we were teenagers and now we’re adults,” says Keating. “I wanted the songs to feel positive,” adds Hewson. “Because… it won’t always be like this.” And that's an immediate nature that can be found throughout the record from Cheer Up Baby's scintillating melodies and its insatiable driving force to My Honest Face which pierces its honesty and vulnerability through lyrics such as "I can look good in a certain light / so don’t look too closely at me tonight".

Spanning from teenagers in to rowdy adults, the album has been years in the making as songs become tweaked and life experiences come to fruitful life serving as a wonderful coming of age concept.

Exploring further expansive dynamics on A Night On The Floor through elongated guitars and jazzed up melodies the band show their diversifying abilities, also evident on the stomping 6 minute Who’s Your Money On? (Plastic House), a track filled with arpeggiated synths and pummelling percussion. Not to mention their atmospheric almost 1975-esque interlude, Strange Time To Be Alive.

Album closer In My Sleep though soon brings back their guitar thrashing sound to great effect as its changing pace offers up longing thoughts of us soon to be back in a mosh-pit with like minded individuals, arms and hands flailing and crashing together.

Overall, the album's long awaited arrival has been met with much triumph as the four-piece blend and churn out a nostalgic masterpiece that toys with being equally forward thinking yet all the same time familiar. 

Inhaler's debut album 'It Won’t Always Be Like This' will be available on July 9th through Polydor.

*****

f: https://www.facebook.com/InhalerDublin/

A lot of things are taken for granted. Live music being one of the many. Describing the fervent atmosphere to anyone would be an almost unachievable task if they never frequent the pubs, halls, clubs, O2 Academies and arena's dotted around the country. From the sweat dripping walls, chanting crowds and hurled beer cups, to the moment of stomach twitching excitement when the lights finally dim ahead of the band walking out on stage next to deafening roars.

This week marks 12 months since my last live gig, and almost a year since DMA's took to London's Brixton Academy on 6th March 2020. As the goalposts constantly shift, with new rules, new criteria and new restrictions, it makes the dream of ever returning to the live environment that ever fading oasis on the horizon. Yet, it's where we're at. And if there's anyone best tasked to make us nostalgic of better times spent it would be Australia's DMA's.

Anyone who's been lucky enough to catch the band on tour in recent years will know all too well about their electrically charged energy and as far as live records go, this captures it perfectly. Opening with the rolling Feels Like 37, they take no prisoners as the low rumbling basslines and thumping percussion take us right back to our days spent with ringing ears and bruised skin due to raging amongst the mosh-pits. 

Whilst you'd expect the majority of the set-list to be made up of track's from their most recent album 'The Glow', the band almost preconceived the impending lockdown and gave fans a fitting send off with hits spread across their complete back-catalogue. The main bulk of the set-list is made up of tracks from their debut record 'The Hill' and prove to be the crowds biggest sing-along with Delete and Step Up the Morphine taking the noise to exponential levels. Other songs off previous albums also appear – In The Air and Tape Deck Sick from 2018's 'For now', whilst their buoyant, rarely played live single Your Low is another highlight.

Encapsulating your sound in a live environment is no easy feat, yet DMA's effortlessly breeze through their 17 track set-list in vivacious fashion leaving us all longing for the day we get to return to a venue. DMA’S commented: “Our first ever show in the UK was the opening slot at Brixton Academy so this is just totally emblematic of the support that has grown overseas we are ever grateful for. It’s still the greatest show we have ever played and we will never forget that night. See you all soon! Stay safe.”

‘Live at Brixton’ will be released 5th March 2021 on a striking smoke-effect pink/orange limited edition double vinyl that also offers an essential souvenir of the event. Its design was inspired by a flare that was set off during the show. It will also be released digitally.

‘Live at Brixton’ tracklist:
‘Feels Like 37’
‘Dawning’
‘Too Soon’
‘Hello Girlfriend’
‘Silver’
‘Time & Money’
‘The Glow’
‘The End’
‘Step Up The Morphine’
‘Delete’
‘Life Is A Game of Changing’
‘In The Air’
‘Tape Deck Sick’
‘Play It Out’
‘Timeless’
‘Lay Down’
‘Your Low’

f: https://www.facebook.com/DMASDMAS/

Set to kick off the year in the only stylish way they know how, Oxford's BE GOOD unveil their brand new EP entitled 'Everything's Alright In The Evening'. Having long developed a niche for creating silk smooth alt-pop, rich in provocative undertones and a burning desire, the four-piece find themselves right at home in their new effort. From the warming synth pad textures and grand pop sensibilities on Young Strangers, to the darkened pulsating tones on Dark Glasses, everything about this release has been produced to an exquisite level. Take Cathy's love-lorn lyrics and twinkling keys for example, setting a despondent mood as singer Ash Cooke attempts to pull apart his mind's inner-workings. Where last year's big hit Sickie knocks you to the floor with its sultry melodies and reflective depiction, the EP's penultimate track Torch Song tones things back with its soft ushered vocals and scintillating crescendo. Rounding things up with Pink Sky (Can I Tell You Something?), the band's latest release delivers heartache and delicate soul in the biggest of measures. This is disconnected pop for the ones that can't sleep in the blackened twilight hours. Deluge yourselves below.

To coincide with the release the band have shared an official video to lead single Young Strangers, directed by Joe Vozza, perfectly encapsulating the push/pull of longing and loneliness. Take a watch for yourselves below. Speaking about the clip the band had the following to say: "Joe is an amazing multimedia instrumentalist with an incredible eye—he has that rare talent of enhancing the aesthetic world of the artists he works with. We connected behind the vision of creating a dream-like, cinematic version of British suburbia in the video, referencing Spielberg and teen movies. We wanted it to almost feel like a trailer of a film or TV show—evocative of interlacing stories and characters without necessarily focusing on a linear narrative".

f: www.facebook.com/begoodisaband

LANY - Mama's Boy
1. you!  2. cowboy in LA  3. heart won’t let me  4. if this is the last time  5. i still talk to jesus
6. paper  7. good guys  8. sharing you  9. bad news  10. when you’re drunk
11. anything 4 u  12. sad  13. (what i wish just one person would say to me)
14. nobody else

Released October 2nd 2020 through Polydor Records

“There was only one person in the world I cared about hearing Malibu Nights,” says LANY's frontman Paul Klein. “Now, there’s not one person in the world I don’t want to hear mama’s boy.” Having long established himself as a heartbreak troubadour, Klein somehow knew there had to be change. Having dealt with the vulnerabilities of loving someone with every emotion, and the relationship breakdown that followed, the band needed a reincarnation, and they were about to get it following his epiphany on stage whilst touring last year. 

Playing across the world for months at a time can certainly be lonely, and ultimately formed the groundwork to the band's third studio album 'Mama's Boy' as the trio re-established their roots, from growing up in Oklahoma to the introspective views of family life. 'Mama's Boy' is that hat-trick, wholesome record that continues LANY's story telling narratives and spins them in a completely new light. It just so helps the backdrop is euphoric in its every ounce.

Wasting no time, it plants the seed with you!, an intro that pitches prominent emotion against their hurricane energy. Through its contrasting soft verse and chest rattling choruses, the band clearly have their sights set on stadium euphoria and there's no reason why they shouldn't reach that aspirant goal.

Having upped sticks to Nashville to record, Paul, Les Preist and Jake Goss hoped to achieve a new songwriting experience and it's certainly something that's evident throughout as they blend all-out-pop with hometown Americana. Take the retrospective cowboy in LA for instance as Klein gets reminiscent recalling his Oklahoma upbringing, all the while balancing a new world of bright lights and pink sky sunsets from his home in LA. The result.... a wide-screened cinematic pop effort with just the right amount of nostalgic imagery.

It still only feels like yesterday when I was introduced to the band through their pastel shaded single Made In Hollywood. Time flies when you're having fun, but blink and you'll miss it. And Klein knows this all too well as if this is the last time takes a retrospective look at his life. Encompassing their southern sensibilities, the track's emotive ode to his parents rings true to the cliched saying life's too short as he goes on to explain, "It was initially inspired by the inevitable truth that one day my parents aren’t gonna be here any more, that picking up the phone and calling my mom is actually a luxury that I won’t always have".

With religious themes running throughout their music, i still talk to jesus takes an honest look at his wrongdoings, before he seeks forgiveness crooning "I lied to my mamma, smoked marijuana, most of the time, I do what I wanna, you might not believe it, but I still talk to Jesus". Elsewhere he comes to the realisation that the grass ain't always greener on the other side with the emotive ballad, Paper. It's underrated, so subtle it could often be overlooked, but the depth in his songwriting builds Klein in to a true modern-day wordsmith. His lyrics fluidly melting in to their surrounding instrumentation.

Not only are guitars now at the fore, there's no filler here. No build up of interludes or instrumentals. Just 14 well thought out tracks. Even at its midway point we're still getting their culminated fragmented pop ideas in full effect as Good Guys breaks apart the idealist image of modern day love. A track that effortlessly depicts all the constant swiping, the showing lack of interest and games people play in the minefield that is dating. “As soon as you say ‘I love spending time with you’ to someone, they figure something out and they’re not interested anymore,” explains Klein of the song’s meaning. “It’s like a challenge. You accomplish the task of getting someone to like you and they move on.”

Mastering a vast array of dynamics, from Bad news which sees the band's distinct synth pad arrangements come to life through buoyant lyrics and open space, to when you're drunk's euphoric energy and falsetto, it's a record that rises without falter.  

As it enters its penultimate stage, it wouldn't truly be a LANY record without some form of destructive self realisation and sad fills that void with arpeggiated synths and heartbreaking lyrics reminiscent of their Malibu Nights era. 

From (what i wish just one person would say to me) and its elongated melodies and the need for self appreciation, to the contrasting acoustic closer nobody else, described as a "modest love song", 'Mama's Boy' offers moments of striking brilliance through poignant lyricism and self-expression. There's a strong community that runs throughout LANY and I think it's safe to say this touching, soulfully dexterous LP caters for all.

'Mama's Boy' will be released Friday 2nd October 2020 via Polydor Records. Pre-Save and Pre-Order here.

*****

f: https://www.facebook.com/thisislany

I was first introduced to the The Howl & The Hum, a band named partly after an Allen Ginsberg poem, through their 2017 single Godmanchester Chinese Bridge. From its cathartic dispositions, its namesake based upon an eye catching landmark in a Cambridgeshire town, the York-based four-piece have finally emerged triumphant with their long anticipated debut album 'Human Contact' - something ironically craved in these undying times.

Three year's later, with a string of single's under their belts, the band holed up to record throughout 2019, and are now here to tell tales of heartbreak, longing and regret in the only way they know how - through gritted determination and bittersweet melancholy.

Showing signs from its opening moments that they're far from a one trick pony, the bands long established dynamic readily shines through. So it seems only fitting for the record to kick off with a stark change in direction as pummelling electronic sounds set alight the pulsating Love You Like A Gun. This perfectly sets the tone as their title track's subdued intro quickly dissipates and breaks off in to its charging guitars and driving percussion.

It's not until Hall Of Fame that we get the first glimmer in to frontman Sam Griffiths' soaring vocal ability. A cry of desperation set across a firework display of explosive instrumentation, the track swings in to action through euphoric melodies and flashing poetry. And that's exactly where they excel. The band's songwriting is an art form in itself.

As Hostages tells the story of a broken relationship through the eyes of two lovers, meeting upon a bridge to exchange their belongings, The Only Boy Racer Left On The Island has us floored with a longing nostalgia for our dying youth. "This song was inspired while we were on the Orkney Islands, when we saw one boy racer driving round and round the same roads overtaking our shitty little van, yet there was no-one else he was racing" explains Griffiths on its conception. "I had loneliness on the brain, so this song came together as an anthem of lost youth, while not looking on this young view of masculinity particularly lightly. This is a song about that guy with the monster-like revving engine roaring past you on the high street when you were younger, seeing him as trying to impress the girls, the guys, himself, and what happens to these young men as the years turn over: people leave, the town changes, but they refuse to grow up." 



At its halfway point, Got You On My Side shows the band feeling just as confident in breezy, fluctuating melodies and emotionally charged lyrics as they do in all out pop. But it's not long before they're firing up the pace once more with machine gun percussion and an aspirant driving force on Until I Found A Rose.

There's brilliance in every which way. From the touching mental health notes on Hotel Song to the vulnerabilities in Smoke, The Howl & The Hum's songwriting facilitates a craftsmanship like no other. Elsewhere, there's the harrowing Sweet Fading Silver. Recorded in one take and transcending from personal relatablities, it's a connection we can all make as Griffiths clings on to the fading memories of a past life - Its slow burning crescendo a poignant reminder to the band's emotionally grieving nuances.

As the record bows out with two equally contrasting track's, from 27's kaleidoscopic disco-felt melodies, alongside its tongue-in-cheek romanticised lyrics "you said it's not you, it's me", to [Pigs] displaying their incredible use of spacial intelligence, 'Human Contact' demonstrates the capabilities they behold to side-step any genre specific categories where so many band's pigeonholed and lets them truly break in to their own light.

The Howl & The Hum's 'Human Contact' will be released May 29th 2020 through AWAL.



f: www.facebook.com/TheHowlandTheHum

It seems only fitting that The 1975 would release their fourth studio album amidst a worldwide pandemic. Having been pushed back throughout the year, it comes at a time no one could have predicted, and might just end up being the soundtrack to our summer spent indoors. That aside, it's a profound and ambitious step forwards for a band that have seemingly already achieved all there is to be achieved.

Recorded over 2 years, in no less than 16 different studios across the world, the final artefact has landed and it's certainly their most dynamic release to date.

Gone is the band's abstract and abbreviated oral sex visualisation that was their ever evolving self-titled intro track. A timely tradition, replaced by a call to action courtesy of activist Greta Thunberg. There's really no denying Manchester's The 1975 aren't well and truly head spinners. And what better way to showcase this other than in ripping up the rule book in their gothic return on People, a track that shocked us all when they unveiled it on a dreary unsuspecting August evening last year. It's often hard to believe its brash and raucous energy, a stark departure from their previous sound, sits proudly amongst happy go lucky boyband-esque nuances, as demonstrated so well in the gooey Me & You Together Song or the softly whispered Jesus Christ 2005 God Bless America.



With most of the single's already in existence, the band make the album listening experience all the more real again as the record's interludes seamlessly blend between track's. With what is a large chunk already in the public domain, long before its release date, it begs to question "what else remains?". Yet they still have some tricks up their sleeve, even if it does take some grit and determination to get through. It is 22 songs long after all.

With that in mind there's certainly no denying the band's work-rate, however it does in places feel haphazardly pieced together. Maybe that's the downfall of having so many ideas and no clear indication of direction. It's a nagging feeling that often leaves it lacking in the same uniquely identifiable ways that each of their previous albums' identities worked so hard to build on. The only centralised underpinned sound on this incarnation is the arpeggiated electronic melodies that echo throughout Frail State of Mind and Yeah I know. There's also I Think There's Something You Should Know, with its sub-bass rattling backdrop and Shiny Collarbone, a true nod to the UK's rave scene as bouncy rhythms meet chaotic drum loops and cut up vocal samples. 

Elsewhere, again, the 6 minute Having No Head slowly builds in to another cathartic Jon Hopkins inspired monster, snarling in to life from a spacious ambient intro, all before retreating back to its softly played piano outro. From Matty's country/folk stylistics on Roadkill (with its all too real lyrics) to If You're Too Shy's sickly sweet synth lines, pop perfected sensibilities and dreamy introspective sax solos, the record's often scattered genre hopping approach to songwriting gives it far wider depth than we've ever had the pleasure of before.

What Should I Say is another curveball. It's anxiety punctuated lyrics coupled with over processed vocals and choppy electronic synth pads deliver a haunting address and could easily form a live favourite amongst their set. There's also to note that this the band's most collaborative effort yet with features from Phoebe Bridgers, FKA Twigs, Cutty Ranks and by no means least to mention the record's penultimate track Don't Worry, a touching ballad written by Matty's dad Tim Healy.

Whilst you need to set aside some dedicated time to bathe in its striking moments of brilliance, the record sees the band take on a new persona, sticking it to convention and normalisation. But when have they ever played by the rules?

The 1975's 'Notes On A Conditional Form' will be released May 22 through Dirty Hit. 


f:  www.facebook.com/the1975

The difficult.... fifth album. Or so it might first seem following the band's three year hiatus. Fool us not though, there's nothing stale here as they emerge from hibernation with a fresh batch of tracks set to heal the indie heart-break of 2016.

Softly opening with Get Up, Bombay Bicycle Club create a mood like no other with hazy tones kickstarting in to life as you wipe the sleep from your eyes and stretch in to motion. Limbered up, Is It Real is the first taste we get of their playful indie melodies as upbeat chord changes and snappy percussion take centre stage. The record's title track Everything Else Has Gone Wrong comes from a cathartic release of self expression and of one that allows you to find safety and comfort in familiarisation, something that's deeply invested in to a band that so many people have fallen in love with so many years ago.

Across the album there's a redefining depth, evident in I Can Hardly Speak which croons smoothly in to existence alongside Good Day's dynamic instrumentation. With Eat, Sleep, Wake (Nothing But You) it feels only right the band revert to their distinguishably infectious lyrics and driving emotions. "We felt it was recognisably us, while also sounding fresh and new," says Suren. "I remember playing the demo to a mate of mine, in my car, and as soon as it came on, he had a big smile on his face. It felt like we were back."



Elsewhere on the LP, Worry 'Bout You draws inspiration from Jack's solo adventure as tribal percussion amalgamates with electronic elements seamlessly, where People People, co written by Ed Nash, offers further charisma as they're joined by long time collaborator Liz Lawrence. In its final stages, Do You Feel Loved sways in to action before the softly played Let You Go melts in to its playfulness realised through an energising synth-explosive finale.

Rounding up on the beautifully poignant lament that is Racing Stripes, the band show their tenderness is far from lost as its airy vocals and plonky bassline set the backdrop to an imaginary (soon to be real) crowd, adorned with lighters and phones raised in the air. "It's a good example of the emotional roller-coaster you go through," explains Jack after finishing the single following a spell of writing difficulty. "I was like, this is it, I can't do this any more, and then the next morning you're like, ah, this is a really good song. The relief!"

Re-emerging at a time where our country is crumbling, the grounding "I guess I've found my peace again, and yes, I've found my second wind," plays truer than ever. 'Everything Else Has Gone Wrong' is everything we could have wanted and more from a band who have soundtracked the last decade and still manage to remain as fresh as the day I first heard them.


f: https://www.facebook.com/bombaybicycleclub

Swansea. Dubbed an an ugly, lovely town by Dylan Thomas, later better phrased as a pretty shitty city by cult Welsh film Twin Town, is where I've found myself living out most of my 29 years. Whilst not completely in the middle of nowhere (though, I'd rightfully disagree), when Sam Fender crossed my path in 2018 I found myself relating all too well to his small-town-syndrome music and vital need for an escape. That feeling of claustrophobia got dictated too perfectly through his disconsolate vocals and echoing guitar strings and I knew I'd be hooked. Fast-forward and he's gone from a name relatively unheard of to winning a BRITs Critics Choice award and making BBC's well renowned Sound of 2018 Longlist in an astonishingly short time, joining an alumni of big named artist's such as Adele, Florence & The Machine and Sam Smith.

As he unveils his debut album offering, lead single, and title track Hypersonic Missiles is as potent as its namesake would suggest. Having long taken a stab at the negativity in the world, building his angst in to a towering, stadium-read pop song, it comes as a much needed cathartic release. "This song started out when I saw the term ‘Hypersonic Missiles’ in a newspaper" he explains. "In many ways, Hypersonic Missiles is an unorthodox love song. Amongst all the chaos is love and celebration, there is this glimmer of hope that runs through the song, a little notion that no matter what happens, these two people are gonna have a fucking good time regardless of the tyrants that run their world, and regardless of the imminent doom from these ‘Hypersonic Missiles’". A statement I'm sure many of us could do good by taking on board.

Second track The Boarders, and possibly my favourite on the record, tells the tale of two friends growing up, falling out and then going their separate ways. His songwriting is so systematically perfect. The delivery is second to none as he cries out in despair through heavy emotion. Who'd have thought a song about regret and time's once spent could be so refined with such heartfelt energy. In the constrained White Privilege, he strips back on its instrumentation, just Sam's guitar and swelling, brutal lyricism to take forwards his deafening message. "Don't wanna hear about Brexit, them old cunts fucked up our exit. My generation was doomed, the youthful left out the loop. Lies on both sides of the fence left me completely bereft" he sings commandingly. It doesn't get any more hopeful from a topical sense on Dead Boys either, the delicate matter of male suicide so sensitively addressed. Not an easy subject to tackle, but one that must be talked about, Fender effortlessly delivers in poignant fashion and leaves us all with a lump in our throat.



Not one shy of a monstrous pop effort, You're Not The Only One is about as indulgent as they come with its sax outro. It's no secret Sam's hero is Bruce Springsteen and his influence flourishes here in infinite detail. Elsewhere Play God sets straight the indifferences of power as he dives in to a dystopian world, his observational, provoking and socially-charged lyrics carried over angular guitars and punchy melodies. It's the perfect set up for That Sound, a track that Sam's described as a song that "loosely talks about how susceptible you can become to negativity and jealousy, even when you’re at your happiest and most confident". It's essentially about sticking it to the man and doing whatever the hell you want to regardless

Just past its halfway point, Saturday swings in to action with its swanky melodies and polished percussion, dedicating its time to longing for the weekend as we drag ourselves through the mundane reality of weekday living. That's all before Will We Talk?'s euphoric and ambitious guitar line deals with the subject matter of one-night stands. Ironically, or rather in his marvellous fashion, the album's next track is entitled Two People. It's also the first real taste we get of Sam tracing back to his roots as he plays a softly plucked guitar telling a heartbreaking tale of domestic violence.

As the journey enters its final stage we get the provocative Call Me Lover, a track with a twist in its tale as the love itself comes not from trust but infidelity, before the penultimate effort, Leave Fast. This was the first track I ever heard by Sam and one that remains as close to me now as it did back then. Described as an archetypal song about growing up in a small town, and the frustrations that go with it, it's a song that I'm reminded of daily with my surroundings.

Whether it's his belted out, falsetto vocals sung in blissful harmony to their electrifying instrumentation, or the hushed tones and devastating wake-up calls he enlists in his music, Sam Fender has gripped the nation and has world at his feet. Few artists are as literate and socially aware as the 25-year old working class Newcastle musician. And this looks likely all that hard work is about to finally pay off.

Sam Fender's Hypersonic Missiles will be released Friday 13th September.


f: www.facebook.com/samfendermusic

Album Review: Ry X - Unfurl

With his profound and unmistakably timeless debut album, 'Dawn', the question would always present itself, where next? The answer was simple for Ry X. Remaining true to his raw sound and the exploration of his aching vulnerabilities, 'Unfurl' rises from its ashes in glorious decor, each electronic bleep and airy breathe expelled from his lungs in transcending fashion. "The inspirations change each time, and I always want to allow that process to be free, to draw on new ideas and sounds and instrumentation", he explains "what feels consistently important to me is keeping a sense of rawness and honesty in the work".

That statement is one that plays true throughout the record. From its ambient intro to Untold's wide-scale wails and spacious openings, Ry X continues to give in to his innermost pain. His embroiled emotions and suffering are relived in almost sadistic fashion for our consumption, and we love him for it - each chord change and saddened stringed section dragging us deeper in to his spell. The first real change on the record comes in the form of YaYaYa as we hear guitar for the first time. A contrast amongst the vast and sweeping synth pad textures and resonating soundscapes that populate the LP. With each listen the instrumentation only gets richer as the intricate layering reveals hushed percussion, piano, what appears to sound like Xylophone and bustling tribal-esque vocals.

Elsewhere, Hounds is another bitter-sweet, meticulous effort that shows just how powerful the quiet can be as we witness the Australia-born, LA-based songwriter in his purest form. Slow burning, its quaint strings soon begin to circulate around his broken vocal rasps, rising up to deliver a knockout blow on its finale



Upbeat isn't something that comes naturally to Ry Cuming, and Foreign Tides is probably the closest we'll ever get to it. As quick as the bright guitar and pulsing percussion unfold, Ry finds himself immediately backtracking to a familiar ground as the intimate and delicate work of The Water slowly ebbs to life. The record is awash with these lamenting tones and bereft despondency, and yet it still continues to breathe life, its elongated closing track giving you one last cathartic release.

Underpinned by pulsating electronic percussion, sorrowing grief and melancholy that nobody could remotely match, 'Unfurl' will no doubt become another timeless art form, despite its on times repetitive tones.

RY X's new album 'Unfurl' will be released on February 15th via Infectious Music.
f: www.facebook.com/RYXmusic

Love them or loathe them, The 1975 are a band of our times. And one that still truly cares for their fans, something rare to see these days when their level of stardom's reached. The lyrical content on their debut self titled record is as relevant today as it was back then. If anything's changed, its Matty's eye liner and true sense of identity channelled in to their sound. Across their album's, they've mastered a plan and stuck to it, traversing the world tenfold from performing in grotty Manchester bars to Madison Square Gardens, all the while still reaching out to the people who've put them where they are today. 

Whether it's this camaraderie, the sense of involvement or just their innate ability in creating ground-shattering, relatable music, the band continue to leave me bereft and emotionally drained. Diving in to their Twitter feed, I'm not the only one.

Never to do things by half measure, they returned to the studio earlier this year to put the finishing touches to their long-awaited third studio album A Brief Inquiry Into Online Relationships and this is the result - a heart-wrenching look in to the beautifully dark online dimension. Let's face it, for the good or bad, the world wide web has played a pivotal role in almost everyone's lives. It's only right that someone attempts to unravel it and who better for the job than the mind of Matty.

The albums opening track has become a theme over the years, ever so slightly altered, stretched and remixed. Its latest variation a sparse piano led piece punctuated by Healy's autotuned vocals. The first bit of real meat to sink your teeth in to comes in the form of their silence breaking single Give Yourself a Try. Having checked himself in to rehab before recording this most recent effort, it seems only fitting to give ode to yourself. Lyrically it's one of my favourites. "I found a grey hair in one of my zoots. Like context in a modern debate, I just took it out. The only apparatus required for happiness is your pain and fucking going outside And getting STDs at 27 really isn't the vibe". It's underrated, so subtle it could often be overlooked but the depth in each flowing word builds him in to a true modern day biographer.



Recent single TOOTIMETOOTIMETOOTIME carries over a similar theme which uncasts their darkened stylistics revealing tropical imagery atop of a bouncy accessible beat. It's an indulgent record and many of the tracks carry with them a distinct emotion of sadness. Whilst there's highs on How to Draw / Petrichor's glitchy electronics, its intro quickly reminds me of the painstaking beauty the band conjure from their spacious twinkling piano strikes and eerie atmospherics. Be My Mistake serves as a prime example for this as Healy's honest truths and sparse guitar strums only add fuel to the fire.

There's a vast array of dynamics present on their third outing. From the soulful arrangement of Sincerity is Scary to I Like America & America Likes Me as haunting synth pad textures are met with the band's best Bon Iver mimicking attempt through heavy autotune. And who'd have thought SIRI could make you think so profoundly. The Man Who Married A Robot / Love Theme is a wonderful look at the lonely world we live in, surrounded by the fake lives we build through the internet - Its an anthem for when you feel everything yet at the same time, absolute nothingness.

Compared with their previous albums, A Brief Inquiry.... delivers a lot of rawness. Inside Your Mind encompasses this to an extravagant degree as jarring string sections occupy space between Healy's soft tones and its percussive chimes. Where equally, Surrounded By Heads And Bodies comes fully-fledged with ushered snare drum hits and a simmering energy that drives a band toying with their disparate nature.

Elsewhere on the record there's a a glimmer of She's American in It's Not Living (If It's Not With You) through upbeat melodies and polished overtones where As I Couldn't Be More In Love soothingly rolls in to the album's finale, not least before its soulful onslaught of prince-inspired harmonies and brass sections take hold.

There's a lot going on but if there's one thing The 1975 do well it’s connecting the dots. This romantic exploration in to the de-sensitising online world has been nothing short of a love-affair. And to think we get to do it all over again in such short succession with the band promising a follow up, no one can deny their ambition and work-rate.

'A Brief Inquiry Into Online Relationships' will be released this Friday 30th November 2018.




f:  www.facebook.com/the1975