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Dark Compass

The Molotovs are siblings Mathew and Issey Cartlidge, and though this is their debut album, they've certainly not been short of live experience, having played over 600 gigs. A lot has been written about them, with continual comparisons to The Jam and mentions of other mod associated bands like The Small Faces and The Who. Other bands mentioned in the same breath include Oasis, The Libertines and The Fratellis, to name a few. But I think this says more about their influences than their destination, as I think they very much have a sound of their own.
 
There's no denying the vibrant energy on the opening track, "Get A Life". It's high energy, grabs you by the jugular and doesn't let go until the track is over. It's quite the introduction, and I couldn't help but get excited about the tracks yet to come.
 
If "Get A Life" grabs you by the jugular, "Daydreaming" loosens the grip a little, but the energy is still very much there. If you wanted to throw out comparisons to Oasis, you could, but this feels slightly more refined, slightly cleaner, without compromising on the overall sound, which is brash but still melodic.
 
"More More More" brings us firmly back to the band's own high energy territory. I think it's becoming clear that this is a young band with a big future. With a rapid fire vocal delivery, I couldn't help but think, wow, I can understand every word. Where this kind of pace and intensity can often result in gibberish, here you can fully get behind both the music and what's being sung.
 
By this point, the energy is becoming something of a trademark, so "Come On Now" comes as a welcome change of pace. It deviates a little from what's come before, but rather than taking you out of the experience, it adds another flavour, another card to the stack. I think this is the track where I fully appreciated Issey's vocals, which provide a nice contrast and, again, give them a sound of their own, rather than being derivative of the earlier-mentioned bands.
 
Issey's vocals aren't the only thing that help broaden the band's palette, and "Nothing Keeps Her Away" takes another turn. I'm sorry, but it was hard not to make the comparison to The Jam's "That's Entertainment", and it's almost like a tease, with much of that coming from the acoustic guitar riff. As the song unfolds, though, I get more Kinks vibes than The Jam, which I think has a lot to do with the backing vocals.
 
I do want to raise one thing, and it's not me being a prude, as I'm totally OK with the odd effing and jeffing, but this song does feature that infamous C-word. I'm not sure if it would have been more effective to replace it with something totally non-rhyming, making the same point while leaving the listener to make their own replacement. Maybe it's just me, but I'm sure there are still many people who hate the word. It doesn't detract from the song, but just appears like a slap in the face.
 
Leaving that particular lyrical choice aside, the title track, "Wasted On Youth", takes us somewhere else again. This time, there's more of a pop-punk feel, while the guitar solo has more of a rock edge. Again, rather than alienating it from the rest of the album, it just works. By now, it's becoming clear that The Molotovs aren't afraid of a little change of direction.
 
And that continues with "Geraldine". Songs that are built around a name can be a tough one to get right, and I can't help but feel the chorus is a little lazy, built around four lines that end in the same sound, two of them with the same one, the aforementioned Geraldine. It just feels a little too much, which is a shame, as I like the song overall, but I can't seem to get past the chorus. It's more than likely just a "me" thing. Mind you that didn't stop Simon and Garfunkel's "Cecelia" becoming a classic.
 
If "Geraldine" is one of the album's more restrained moments, "Newsflash" wastes no time in bringing the energy back. It's hard not to get caught up in the high energy the track delivers. I loved the bass break towards the end of the track, which is then broken by the drums. A cracking track, and one I'm sure would be a blast live.
 
"Rhythm of Yourself" shifts the emphasis again, and this time it was the band's mod/Britpop side that caught my attention. Mod revival is mentioned a lot with this band, but I couldn't help but be reminded of another moddish/Britpop band from the 90s, Ocean Colour Scene, who were a great band. I suppose the Britpop influence is more prevalent here, but the memory for me is clear.
 
Unfortunately, not every change of direction worked quite as well for me. "Popstar" was the only track that didn't quite sit with me. It sounds like it doesn't quite know what it is. Influences abound, and it seems to lack an identity of its own, feeling more like a pastiche of some other bygone track. Maybe I'm being a little too harsh, but for me it really stood out as one of those things that doesn't quite fit with the others.
 
Fortunately, "Popstar" proves to be the exception rather than the rule, and the album closes with "Today's Gonna Be Our Day", the song I discovered the band through via Instagram. It's pretty much more of the same of the cracking tracks that appeared before it, which sounds like a mundane thing to say, but it truly caps off an absolutely fantastic album.
 
I've seen many comparisons for The Molotovs, from The Jam to Oasis. While I can hear those influences, I think this stands very much on its own. Throughout the album, those influences are there, but they never completely define what the band is. They're standing on the shoulders of giants, but are in no way reliant on them.

The Molotovs

The opening track on this six track EP, "I Wanna Be Your Man", instantly gives me Paul Simon vibes, specifically in the acoustic guitar. It's soft and clean and sets a wonderfully emotive tone. The vocals have a youthfulness to them, while at the same time carrying a hint of fragility. The result is a track that leaves you wondering whether you should feel carefree or vulnerable.
 
When "Thread" starts, there's a definite feel of the '90s, with echoes of bands such as Semisonic or Hootie & the Blowfish. That band sound soon subsides, though, and once again the focus falls on Hank's vocals. I'm not quite sure whether the lyrics refer to a relationship that's ended or a lover who has passed away. Perhaps that ambiguity is intentional, but either way there is a sense of loss, while still being tied to someone through that invisible thread.
 
While "Daddy's Gonna Buy You a Car" feels like an upbeat, happy song, the lyrics tell a rather different story. They seem to be about privilege, with one person complaining while the narrator clearly has little sympathy for their problems. Later, the narrator reveals their own struggles, only for the privileged person to say they understand. But how can they, when they have "Daddy" to fall back on? I'm not quite sure whether "Daddy" refers to a father or a sugar daddy, and either interpretation gives the song a very different feel.
 
Falling back to a slower pace, "Seinfeld" documents the ebbs and flows of a relationship and compares them to a Seinfeld episode. I'm not sure that says much about the relationship, though I suppose that very much depends on the episode in question.
 
I wasn't quite sure what to make of the title "Hank's Heaven's 113th Wet Dream", but there's something deeper to it than the shock value of the title. It's a sweet, affectionate tale of romance and inadequacy. It's told in a matter of fact way, but doesn't dwell on the negative; it simply states what is seemingly obvious. There's that feeling of punching above your station. We've all been there, but sometimes the punching is worth it.
 
I wasn't quite sure what to make of the last track, "Dog Needs Man". There's the obvious parallel of being loved no matter what, something dogs are renowned for and their unconditional love. But there's also a hint of transformation and wanting to become something different. The idea of changing yourself, or becoming something more, only really has meaning if someone else can see that change in you.
 
This was one of those releases where I was instantly enamoured with the overall sound, which is very much acoustic, with some light accompaniment. On listening more deeply, though, there's much more to it, and you get the sense that there's a lot invested personally in the words. I could delve much deeper, but I much prefer to let the music do the talking, which I think it does so very well. A great release.

Welterweight

This album is an interesting collaboration between Jah Wobble and his sons, performing as Tian Qiyi. I have to admit, I don't know much about either, though I have heard of the former before. What we have here is an interesting cover of ten Beatles songs. Some need no introduction, but some are likely lesser known to anyone but the most ardent Beatles fans.
 
The album opens with “Tomorrow Never Knows”, the last track on the "Revolver" album and probably the song that was the seed of the Beatles' psychedelic sound. It's not as intense as the original, but has a nice spacey, chilled sound, with a little more Eastern mysticism. It's a nice introduction to what's to come.
 
Coming later in the canon is “Strawberry Fields”, recorded during the creation of the "Sgt. Pepper's" album, but not released on the album. It has an interesting piano intro, recorded on what sounds like an old pub piano. Again, this has a more expansive sound and takes things at a much trippier, more relaxed pace.
 
Recorded around the same time and actually making the "Sgt. Pepper's" album is “Within You, Without You”. I think this track gets a lot of flack, but I've always had a soft spot for this George Harrison creation. Given the previous two songs, I very much think I knew what to expect. The vocals are delivered at a slightly faster pace than the original, but the track itself still weighs in at just over six and a half minutes, with much more emphasis and deliberation happening musically.
 
The next track, "I Am the Walrus", is one I've never been overly fond of. It stems from the original "Magical Mystery Tour" EP and later album that many are more familiar with. Originally, it's a pretty raucous track, with John really belting out the many nonsensical lyrics. Here it's much more laid back and sedate, which I think takes the edge off it, for me anyway. Given the rest of the tracks on the album, it's still likely going to be one of the weaker tracks on the album.
 
I think "Norwegian Wood" will likely be one of the most popular songs featured here, along with “Strawberry Fields”. It was originally on the "Rubber Soul" album and I think was pretty much the turning point for the Beatles, starting their transition from cheeky mop tops to musicians taking much more interest in the production of their music. Here, I think it loses a lot of the essence of what makes it such a popular song, receiving the same treatment as the earlier songs, but I don't think the source material really suits this kind of adaptation.
 
Also from "Magical Mystery Tour", “Blue Jay Way” was originally a pretty minimalist track at a tad under four minutes. Here, it feels much longer and I think this is definitely so far my least liked track on the album.
 
I was quite excited to see "The Inner Light". This is one of the Beatles' lesser-known tracks, and featured as the B-side to "Lady Madonna" and later was included on the "Rarities" album. This is another George composition and I always felt it was a crime that it was so lost in the Beatles' canon. I love the musical treatment of the track here, especially what I think is the use of the hammered dulcimer. I did feel the vocals were a little too weedy and pushed back in the mix, but the music thankfully is very much the core of this track. A George classic.
 
The follow-on track, "Love You To", is another George pick, this time from the "Revolver" album. The original of this track was very much about the vocals, which had some wonderful harmonies that unfortunately don't make their way to this cover, but the music does have that same ethnic, trippy quality to it.
 
One of the few Beatles tracks to feature no conventional vocals is "Flying", again from the "Magical Mystery Tour", and I think probably the track that gives the best source material to pull from. While a nice track, I don't think it does enough with the original and feels a little like a missed opportunity.
 
The final track on the album is "Rain", originally the B-side to "Paperback Writer" and featured on the "Hey Jude" compilation album. This is one of my favourite Beatles tracks. The original has a thumping drumline and shows the Beatles' harder side. Here though, it loses that immediacy and excitement.
 
This has been an interesting album, with a lot to like. There are some truly great tracks here that pay homage to the Beatles, but also add something interesting and unique. I think the only issue is that many of the tracks start to feel similar, given the treatment they receive.
 
I'm not sure which fans will get the most out of this, but it does give a wonderful opportunity to revisit some of the greatest songs ever written.

Mystic Liverpool: The Beatles Psychedelic Psongbook

Major New Features. Build 2.32.

There have been many great bands to come out of Liverpool, without even mentioning the absolutely obvious ones. The La's, for me, were a band in the '90s that burned so brightly with a single album before seemingly disappearing. Cast were another band born from that same scene and indeed band, and both had a distinctive sound and swagger. That distinctive sound is there in spades with Keyside.
 
The album opens with "Runaway". As it starts, the guitar has a hint of The Smiths, but when the vocals come in, there's no mistaking the neck of the woods they come from. There's something instantly apparent here, this is a band that has all the DNA to make hits. This has "radio hit" written all over it.
 
Again, with "Angeline", there's an indie sound that's right in your face, but then it drops back, allowing the vocals to take a more prominent position. I don't know if it's purely the female name, but I keep hearing hints of The Zutons' "Valerie", and for some reason I can also hear Amy Winehouse singing this. Funny, I just looked it up and The Zutons also hail from Liverpool. It's a small world.
 
While I loved the music on "Down My Way", the vocals were, for me, at times really hard to make out. I don't think it's the accent, so it could be more to do with the production. It reminds me of Adriano Celentano's "Prisencolinensinainciusol", which sounds like it's being sung in American English, but is actually pure gibberish. Of course, it could all just be my soft Southern ears.
 
"Lemon and Lime" has a more relaxed delivery. I have to admit, I couldn't help but smile at the mention of Hackney, my old stomping ground, although here it's being used as slang for a cab, something I can't say I've ever used, despite Hackney Carriage being the proper term for one. So, four back-to-back great songs so far.
 
Continuing that '90s sound, especially in the guitars, is "Heaven", with its bright optimism. There's also a hint of synth, which adds another layer to the overall flavour. The vocals do much of the heavy lifting too, resulting in a track that just rips by and I can't help but feel the excitement of discovering another great band.
 
"Comedown" provides an interesting change of direction, with a different rhythm and sound. Rather than feeling like an outlier, though, it provides an interesting diversion and shows that Keyside are more than a one trick pony. There's a slightly more wistful quality to it, while still retaining enough of the band's character to feel like it belongs.
 
I can't help but play The Smiths card with "Rock My Love", musically anyway. As the track starts, the jangly guitars have that distinctive sound which, I'm sure, is shared with many other bands, but for me it's always going to be strongly associated with Johnny Marr. That said, the sound is very much in the opening before the song quickly transitions into something that's much more its own thing.
 
Another track with a bright sound is "Cocodamol". A happy, upbeat track about a painkiller, and yes, I did have to look that up. It's perhaps a curious subject for a song, but who hasn't wanted, at one time or another, to take the pain away from someone close to them?
 
The guitars in "Red Ruby Red" reminded me a lot of The La's track "Liberty Ship". Doing a side-by-side comparison, they may feel like totally different tracks, but they both share some common DNA. Here, though, the sound is much cleaner. Maybe that's the result of 30 years of improvements in production techniques, or perhaps the source material here is simply in a much less "state of funk".
 
It's hard to not think of the Elton John's song when I see the name "Nikita". Unsurprisingly, this is a very different track, rooted firmly in the indie sound prevalent throughout the album. Vocally, there's a much heavier accent present, something I always enjoy, as it adds a wonderful sense of authenticity.
 
I loved "Michael (What's Your Call?)". It's a slow track, with more of a narration, a story, an attempt to reach out. I couldn't help but think of someone reaching out to Michael Caine when he was filming Jaws 4. It's funny, going a little off track, because there was a famous quote when his movie was panned. He was on a chat show being grilled about it when he said he'd never watched the film, but he loved the house it bought him. Can't argue with that. Nor can I argue with this track, which potentially feels like a set-up for the killer closer.
 
I have to admit, though, I was a little disappointed. I was hoping for a killer closer, like The La's "Looking Glass". Something dark, stirring and emotionally charged. Maybe that's me not being fair on "Echoes", which is, in itself, a perfectly nice track. To some degree, I think swapping the last two tracks would have given the album a stronger conclusion, but again, that's just my opinion. Needless to say, the album closes out with not a single duff track among the twelve.
 
It's always a double-edged sword when you discover a new band with their debut release. You want more, but at the same time, you don't want them to change. Keyside may be a new band on the scene, but they are surely destined for great things. I'd be amazed if we don't start to see and hear them everywhere.
 
They are a band destined for greatness, and I will continue to champion them, hoping to play even a small part in helping them on their way.

Keyside

For me, The Mountain Goats' "Through This Fire Across from Peter Balkan" wasn’t just my introduction to the band, it was also my favourite album of last year. Although I’ve dabbled in their back catalogue a little since then, I’ve still barely made a dent, when lo and behold, here comes another new album. This time around it wasn’t such a surprise. I’d kept track of the singles released from the album, but only in passing, deliberately wanting to save myself for the full album. And here we are.
 
The album is a loose collection of songs influenced by the 70s, 80s and 90s, centred around an accumulation of days, each one seemingly a little further back than the last. It’s a concept that sounds simple enough, but as you work your way through the album, those days become populated by musicians, bands, tragedies, memories and stories, some familiar and others requiring a little digging.
 
The album opens with “Song for Layne Stanley”. I have to admit, my first instinct was to find out who Layne Stanley was, and it turns out the song is about the former lead vocalist of Alice in Chains, someone whose life was clearly troubled and who died tragically young in 2002. It feels very much like a song about someone who isn’t happy with the life they’re living and wants out. It’s a simple song, but one with a lot of heart, with that element of tragedy wrapped up and delivered in a way only John Darnielle can.
 
From one tragedy to a true survivor, and "Charlie Sheen Reaches Out to the Feds", which is based on another true life event, although I’ll leave that particular story for you to discover. The track is fast paced and contains what I would call a signature Mountain Goats chorus. This was one of the previously released singles from the album, and it also has a really good video to accompany it.
 
"Shallow Grave" could, for me, almost have been a track on their previous album. It has that same feel, although perhaps that’s simply my limited exposure to their back catalogue showing through. It’s another upbeat track, but one with some very dark overtones. Somehow, that doesn’t stop it from being something of a foot tapper.
 
Although it’s a fictional tale, "Candlebox" could very well be drawing heavily from personal experiences. It tells the story of an unknown rock band being chosen to open for Candlebox, who were big in the 90s and, in fact, are still going. The irony is that The Mountain Goats will actually be opening for the band at a couple of upcoming gigs, so life is, to some degree, mimicking art. The track itself has an uplifting, feel good quality that makes it hard not to enjoy.
 
The next track has a name I’m more than familiar with "Annie Haslam Imperial Phase". She was the singer for Renaissance, who had a huge hit in the 70s with "Northern Lights", a track I still play to this day. This song covers a slightly earlier period and is another great biographical story set to some great music. That description perhaps sounds a little underwhelming, but at over three minutes long, the song is seemingly over in a blink of an eye, which, to me, says a lot.
 
The historical references continue with "Crying on Eddie Nash’s Grave". Again, it was a name I wasn’t overly familiar with, but a little digging soon nudged a memory or two. Every now and then, the song gave me Bare Naked Ladies vibes, particularly in the chorus, although perhaps that’s just my brain making connections where none were intended.
 
And so on to the title track, "Days", which is a great, simple song with a great sound. For some reason, I think it would have made a great opening track to the album, almost reinforcing what’s to come. There’s a lovely light synth section towards the end, which gives the track a beautiful tone and provides a nice change of texture.
 
"Best Hard Rock Albums 2013" is a curious song. I suspect the year is more of an arbitrary choice, although it’s a curious one given that the album is meant to allude to the 70s, 80s and 90s. Part of me feels there are hidden jokes or references in there somewhere, but before I disappear up my own wazoo trying to work them out, I’ll focus on the song itself. It’s another more relaxed, reflective track, although it still maintains a fair pace.
 
Apparently, "Going to Fennario" continues the Mountain Goats tradition of "Going to..." songs. This time it centres around a mythical place referenced in a Grateful Dead song. It opens with multi-layered voices before transitioning into a more traditional, single voice, folk based song. I’ll admit, when the song opened, my first thought was, “Oh no!”, but it soon won me over. I especially liked the harp, which adds a lovely texture to the track.
 
Now, “Woodstock” needs no formal introduction, although this is apparently about one of the later Woodstocks, with the choices being 1994 or 1999. I have faint memories of both, but no real recollection of either, and neither was able to match the heady heights of the original in 1969. This is a curious song, but one that, for some reason, didn’t really resonate with me, even though I enjoyed it musically. Maybe it’s the many cocaine references.
 
Another blatant shout out to a band that started in the 70s comes with "Hidden Majesty of Later Venom Albums". Again, Venom is a band I have no real recollection of, other than in passing. This feels like another deeply personal recollection, and given that the song is soft, lilting and reflective, it seems somewhat at odds with a band renowned for heavy metal. Perhaps that contrast is exactly the point.
 
The album closes with the aptly titled “Last Day”, an almost literal discussion of the end. It’s upbeat and dark, but at the same time strangely uplifting, making it a great way to close out the album.
 
Reviewing this feels a little unfair. I formed a huge emotional connection with their previous album, my introduction to the band, so coming to anything else was always likely to be something of an anticlimax. There’s a lot to like here, though. The fact that it’s a little all over the place is either a blessing or a curse, depending on how you connect with it.
 
For me, I think I’m going to need a few more listens before I truly get a feel for where it sits with me. That being said, I think it’s a solid album, with plenty to like, and I’m looking forward to continuing my journey with The Mountain Goats.

Days

The opening track, "Axis", gave me that same feeling of excitement I had when I first heard the opening movement of "Canto Ostinato". Driven by piano, it's the repetition and subtle variations that really drew me in. The melody is constantly evolving, but only in the smallest of ways, creating something that's both hypnotic and endlessly engaging. If I had one criticism, it's simply that the track is too short, coming in at just over three minutes. I could happily have listened to it for twice as long.
 
"Lake" follows a similar approach, but with a different palette of sounds. I found myself trying to work out exactly what was driving the piece. At times it feels like an electric guitar, at others percussion, while a xylophone weaves through the arrangement. On paper it sounds like an unusual combination, but once you're immersed in the music it all fits together naturally.
 
Taking things in a slightly different direction while retaining the same underlying sense of repetition, "Plotted Graph" introduces what feels like a subtle Caribbean influence. Oddly enough, it also reminded me of parts of the soundtrack from Schwarzenegger's "Commando". As the track unfolds, it gradually becomes more frenetic, shifting the mood and introducing a stronger electronic flavour without losing the hypnotic quality established earlier.
 
I'll leave the track by track breakdown there. All nine tracks share the same core ingredient of repetition and drone, yet each develops its own distinct soundscape and personality. If this kind of music appeals to you, as it certainly does to me, it becomes almost like a personal soundtrack, something to put on when you want to focus, reflect or simply lose yourself for a while. For others, it may not have the same immediate appeal, but I'd encourage anyone not to dismiss it out of hand. Given the time and space to really listen, I think many people would come away pleasantly surprised.
 
If there was one thing I'd love to hear explored in the future, it would be a piece built around a pipe organ. There's something about these compositions that feels quietly Bach-inspired, and I'd love to hear this minimalist, drone-based approach applied to the sheer power of an organ. Imagine the weight and grandeur of "Toccata and Fugue in D Minor", but filtered through this repetitive, slowly evolving style. I think that could be something truly special.
 
Another excellent release, and one that will definitely be finding a place in my playlist.

Solar Calf

I think I've seen the name Saint Clair in passing for a few weeks, but it wasn't until I saw a shout out from another reviewer that I decided to take a closer look. There are four tracks on this EP and, for me, that's the perfect balance, especially when each song feels so carefully considered.
 
The EP opens with "Too Young To Notice", where you're initially greeted by rock guitars that are soon joined by thumping drums. When the vocals arrive, they bring a relaxed confidence with just a hint of attitude and swagger. The overall sound feels like a fusion of '90s rock with touches of psychedelia, but it's more an influence than a defining characteristic, giving the track its own identity rather than leaning too heavily into nostalgia.
 
The mood shifts with "Gretchen", which strips things back considerably. Built primarily around acoustic guitar and vocals, it gradually introduces additional instrumentation as the song unfolds. There's no rush here, instead, it takes its time, allowing the melody and atmosphere to breathe while maintaining the laid-back feel established by the opener.
 
From there, "Something To Be Said" nudges the energy back up a notch. It has a familiar, immediately accessible quality, and I was particularly drawn to the vocals, which remain clear, expressive and engaging throughout. It adds yet another dimension to the band's sound while still feeling entirely at home within the EP, helping to maintain a strong sense of cohesion.
 
Closing things out is "Warm". It begins with a slow, deliberate build, introducing wailing guitars and ominous chord progressions before settling into something much softer and more reflective. It's a satisfying change of pace that rounds off the EP on a thoughtful, understated note.
 
This has been an interesting EP that explores a surprising amount of musical ground without ever feeling disjointed. You can hear influences from the '90s and beyond, with echoes of Supergrass, Dodgy and, to some extent, Oasis. Vocally, though, I kept coming back to Tim Booth from James, and that's high praise indeed. Rather than wearing its influences on its sleeve, Saint Clair uses them as a foundation to build something that feels fresh and confident. It's a strong release with plenty of memorable moments, and it certainly leaves me looking forward to hearing what a full-length album might bring.

Something To Be Said

I stumbled across this artist on Instagram, thinking I'd be approaching him to feature a single on the podcast, but lo and behold he actually has a recent EP out, so fortunately I was able to take the EP for a spin and review.
 
Opening with "Cherryade" and the song doesn't take long to get under your skin. It's a track with a nice, relaxed style, infectious hooks and an Essex accent that comes through nice and strong. I was reminded a lot of Bruno Mars' "Marry You", which may have a little to do with the ukulele, but they do also share very similar DNA, predominately in the opening, but also, maybe less so for the rest of the track, but it's there.
 
When listening to "Tina", you can't help but be thankful her friend was Sabrina and not Polly or Milly, because that would have likely resulted in a whole different story. This is one of those tracks that tells a story as old as time itself, or maybe it's more of my youth. There's something that reminds me of The Streets, which I think comes down to the accent and biographical style. The delivery is rapid fire, energetic and just so much fun.
 
"Bang Bang" is another full on assault of a song that hits you at breakneck pace and barely gives you time to catch your breath. Lyrically, the song is very laddish, the sort of thing that would have ridden the huge wave of lad culture back in the '90s, back when I was heavily invested in afters, which, for anyone not from the UK, is were pubs serve drinks after closing time, more commonly known as lock-ins. I'll be honest, I love it, but you can't help second guess everything these days, particularly the double-digit reference. Now, I'm not being a prude, just sitting on the fence and watching where public sensibilities fall.
 
Taking the tempo down a bit is "Dolla Dolla", well, for the intro anyway, after which it reverts back to a more banging style. This track has more of a swagger about it, with less of the humour that I think I prefer. It's by no means a bad track, but for me it's probably the weaker one on the EP.
 
"Platform 9 3/4" is an interesting track. It has much more of a rap feel to it, with a darker edge, which is kind of ironic given the title. Again, it's written in a very biographical style, with plenty of London references, which I can't help but enjoy hearing. After all, it was once a place I called home. Usually this style would sit a little outside my comfort zone, but packaged the way it is, you can't help but be taken along for the ride.
 
It's funny, I heard the brass at the start of "Feelings" and Amy Winehouse immediately sprang to mind. The track is almost a fusion of jazz, rap and hip hop, softer than the previous songs but still carrying enough of an edge that it doesn't detract from the vibe the EP has already built.
 
The EP closes with "Four Strings & the Truth", paring everything back to just vocal and acoustic guitar. This gives much more weight to the lyrics, which now feel far more autobiographical. Whether that's simply good songwriting or heavily influenced by personal experience doesn't really matter, because either way you find yourself completely invested.
 
On the last song you sing, "What am I supposed to do?" From this release, I think the answer is self-evident, keep on keeping on. This is a stunning release and one that has me genuinely excited for what will hopefully be an eventual full length album.

Personal Space

According to YouTube Music, this is The Durutti Column's 28th album, and their first since 2010. In all that time, I have to admit I'd never heard of them, that is until earlier this year. I was in the UK taking my daughter around my old haunts in London when we found ourselves in Rough Trade East, in Brick Lane. I was actually looking for something specific, which unfortunately they didn't have, but we split up and I eventually picked up a few vinyl LPs. After I'd paid, they were playing this music in the store. It was mesmerising and made the hairs on the back of my neck stand up. I went back to the till and asked what album they were playing. It was, apparently, The Durutti Column's debut album, "The Return of the Durutti Column", which, as it happened, had just had a new vinyl pressing. Fortunately, they had a copy, so I found myself in possession of one, which unfortunately I then had to wait nearly a week to listen to.
 
Playing that album for the first time was quite the experience and will forever be associated with that trip. As I dug deeper into the band, you could have knocked me over with a feather when I discovered the man behind the band was Vini Reilly, the very same Vini Reilly whose distinctive guitar sound exudes from Morrissey's first album, "Viva Hate". So, even though this band was a new discovery, the sound was always somewhat familiar.
 
Now I'm not going to attempt to break this album down into its constituent tracks. Upon first listen, I have to say that, for me, it was much more accessible than the debut, where I found there were many tracks I loved, but a few that took a while to grow on me. With this album, I put it on and can honestly say I was transfixed from beginning to end, which I know can sound a little like blowing smoke, but honestly there's just something about this album that feels like going on a sonic journey. Needless to say, if you're not listening on headphones, you're maybe missing out on some of the intimacy, though I'm sure that can be counterbalanced by cranking this up to 11.
 
Many will know my love of ambient, drone, repetition, and the like, and this album has all of those elements. What sets it apart, though, is a vibrancy that you don't often find in music of this nature. There's far more going on here than you might expect, and I think that makes the album much more accessible to those who might otherwise be put off by ambient or new wave music.
 
OK, so if push came to shove and I had to point the finger at some highlights, I would say the opener, "Echoes in the Memory", is one, as it is, I think, instantly recognisable as their sound, so it's always a good way to start proceedings, even though it's a tad under a minute and a half. I loved "Time Present and Time Past", which almost has a classical underpinning, but don't let that scare you off, it's built on faint hints of historic brilliance. "Liars" jumped out at me as one of the tracks to feature vocals heavily, and I think they are very much a welcome addition, similarly "Sargasso Sea". "For Friends Everywhere" is also an interesting track, with a nice use of brass, which may sound like an odd thing to throw into the mix, but it works so well, as do the eventual strings.
 
I can espouse and pontificate endlessly, but at the end of the day, you will either take the leap and invest 41 minutes into an album that probably won't change your life, but will, in my opinion, leave you better for having done so, or you won't. I'm hoping the former. This is certainly a contender for Album of the Year.

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