Has anyone ever recorded their anger so perfectly as James Minas has on his new track “Stress”. He punk raps about his anger with life and I think his anger with himself. This is a dark and deep track that wears its heart on its sleeve and leaves you unsettled and angry. Maybe that is the result that MINAS wanted. It is a colossal tune and, for me, is a real torchbearer for true punk ethos! It will be on his upcoming EP, ‘Grazes’. I love it. MINAS is off to SXSW and the Yanks won’t know what is about to hit them! Click here to listen to the song on Spotify.
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This was to be the final Howl And The Hum Show. Frontman Sam Griffiths, Bradley Blackwell (Bass), Conor Hirons (Guitar), and Jack Williams (Drums) have decided to call it a day on one of the best bands to emerge from York. Will they ever come back together? Who knows, but whatever happens I am sure that each of them will continue to make music in one form or another and the canon of songs they leave behind will remain truly wonderful. But before I get to that final performance I must tell you about the fabulous support act, Bar Pandora. What a performance! A truly gorgeous synth-pop sound, a bit like Kate Bush and Siouxse Sioux arriving on the electronic pop scene in the UK in 1981/ 82. While there were influences this is very much a talented and original artist. I loved the glitter apparel, although the synth/ bass player didn’t get the memo on the glitter look. But to be fair he made up for it by looking like a cooler version of Graham Coxon. I bloody love Bar Pandora!
Finally, it was time to say a final goodbye to the magnificent Howl And The Hum. This was the final of a few farewell shows at the Crescent and it was an emotionally charged night for everyone in the room, myself included. Alongside the palpable emotion inside the Crescent, the songs, as expected, oozed emotion. “Hostages” always brings a tear to my eye and tonight was no exception, I witnessed many others leaking salty liquid from their eyes too. While “Hostages” was probably the peak moment for me both, “Godmanchester Chinese Bridge” and “The Only Boy Racer On The Island” were awe-inspiring. “Sweet Fading Silver” deserves a special mention too. The band even took us back to their days as a covers band with a rousing and rollicking rendition of AC/ DC’s “Highway To Hell”. I have been lucky enough to see the Howl And The Hum play live a few times and until tonight I had never really noticed the Talking Heads influence, but it is deep in their sound. So farewell you wonderful band and I am looking forward to whatever comes next from all of you!
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Over the years Norway has given the world some spectacular hard rock and Black Metal and huge pop success via A-Ha and current pop icon, AURORA. But now there is another Norwegian act about to break big, they are from Oslo and are called Das Body. Following the release of their album, ‘Peregrine’ in 2019, they have blasted a string of fine singles into the world. The latest released last month is “You Look So Pretty When You’re On Your Knees”, and it combines everything that makes a perfect tune. It has sublime hooks, great beats, pop melodies, funky sounds, and vocals that would turn black metal heads into teddy bears. Vocalist Ellie has something of Kate Bush in her vocal style and that just adds another gorgeous layer to this wonderful track. The lyrics appear to straddle a line between fun and darkly strange. When this is playing you will dance, that is not an order, it is simply a fact! The single comes from the band’s forthcoming sophomore album, ‘True Vulture’, which is due out later in January.
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New Zealand music funksters and funsters SKRAM have a new single out; and with it, they have invented a new word, serendripity. This song oozes fun, and classy humour and makes you want and need to dance. It would fit perfectly alongside the Danish band Junior Senior’s 2003 smash “Move Your Feet” in any good playlist. “Serendripity” is chock full of hooks of both a pop and rock variety and in style owes some debt to the Scissor Sisters and Jamiroquai. The rap element perhaps pays homage to “Wham Rap” and Harry Enfield’s Loadsamoney character, but it works well. If the pop charts actually meant much anymore this song created by Kiwi music powerhouses Henry Ashby and Felix Nesbitt would be number one for months. The video is rather splendid too. The band has explained “Serendripity” or ‘serendipitous drip,’ as “the idea of wearing whatever you want, feeling safe and confident when venturing into the world. The act of wearing what you want, the “drip,” becomes a medium through which you express your unique identity and personality. “Serendripity” celebrates the freedom to make choices based on your own tastes, rather than conforming to societal expectations or trends.” Well, that certainly works for me!
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Is there a new Frank Turner album on the horizon? Possibly, given he released a brand new single on January 4th. It is called “No Thank You For The Music” and it sounds and feels like angry Frank is back! I am very happy about that! It is most definitely a rock number with a great pop vibe. I can see some of those lines being sung by festival choir crowds for years to come, myself included. Particularly “I don’t want to be in any gang that you’re in. I refuse to take part in gatekeeping people’s art“. I have been a Frank fan for years and this is one of his best! Apparently, Mr. Turner says this about the track, “a song about defiance, rejection of mainstream culture, pride in the underground, and staying angry as you get older.” Check it out!
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Just before Christmas Vaquelin unleashed their new single, “Centrefold” and in case you wondered, it is NOT a cover of the J Geils Band 80’s hit “Centerfold”, it is so much better than that. It is heavier than a planet. The armada of spectacular riffs stuns you into submission and highlights an air of dark menace in the music. Is this the best Vaquelin song yet? Probably! Take a listen and let me know what you think.
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Lancashire-based Ian M Bailey recently released his third album on the USA label Kool Kat Musik, following ‘You Paint The Pictures’ (2022) and ‘Songs To Dream Along To’ (2021). Ian has again been working with Scottish songsmith Daniel Wylie to write and produce the new record. Ian plays guitar, bass, drums, and some keyboards and provides the heavenly harmonies. Meanwhile, Alan Gregson adds string sections, Hammond, Rhodes, piano, and lap steel sounds.
The opening track “The Last Chime” is Beatlesesque with fine Byrdsian harmonies. This is a far better song than the awful “Now And Then” which was scraped from the bottom of the Fabs barrel last year. If you like sad-feeling songs with an underlying happy tone you will love “It’s Summer Rain”. I do, especially the ethereal jangly guitar sounds. I felt the ghost of an eastern influenced George Harrison on the delicious and delightful “Mother Nature (Giving Out Signs)”. Ian laments the fate of our planet in “The Clock Is Ticking” and adds his own positive message. It is a tune that feels like the Small Faces fronted by Just Hayward. The organ is also reminiscent of classic Inspiral Carpets. Classic blues rock sounds, maybe a bit of Deep Purple, help deliver the wonderful “She Waltzes With The Devil”. But the waltz elements give the track a nightmarish circus feel. If Ian added some yodelling to this instrumental track it might sound like something that Focus would be proud of. “Dance Around The Room” is the kind of song that leaves you with a smile and a happy feeling, and yes, I did dance around the room while it played.
One of the rockier Byrds-style tracks on the album is the hook-laden “Pray For Me”, my second favourite song on the album. A sad song about divorce, but it has such a vibrant tune. “California Desert Sundown” is a laid-back, chilled song that has an Eagles feel to it. I can imagine sitting after a long day, sipping wine while that song plays, the perfect wind-down soundtrack. Country-style rock is back in the truly heartfelt “The Sweet Smell Of Roses”, once again the harmonies are ethereal and perfect. The title track, “We Live In Strange Times” is probably my favourite track on the album. Everything is perfect here the music, the vocals, and a cracking tune. While “Country Girl” does have a beautiful country feel to it, I felt it would fit well on a playlist alongside some of Ronnie Lane’s great songs with Slim Chance. The strings are spot on here. The album closes with a kind of lament story song called “The Moon Floats On A Cloud”. This evokes folk, the best story songs, and showcases Ian’s writing talent. This is a fine album from a very talented artist. Give it a spin!
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Chloe Munt oozes talent and following some absolutely stunning tracks in recent years when fronting My Wonderful Daze and Please Remain Calm she is back as her solo alter ego Pick The Flowers. Her new single, “Jigsaw”, is haunting and emotional. Chloe’s musical versatility has no bounds and this new song shows her skill as an electronic artist. She certainly doesn’t allow herself to be genre-boxed, this tune is very, very different from her previous bands’ much heavier output. I would love to hear a dance remix of “Jigsaw”. I think it would work really well. Check out this gorgeous tune now! It is available on all streaming platforms.
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Regular readers know I have shown disdain and been somewhat disparaging about X-Factor and its predecessors and similar “talent” shows. However, there have been a few exceptions that came close to making me rethink those views. But even Harry Styles, who I believe is an incredibly talented artist has moved me to change my mind. He is one of the exceptions produced by the show in my opinion. Have there been others? Will Young is excellent and, Girls Aloud were ok, but the new album by Rebecca Ferguson, who finished second to Matt Cardle on X-Factor in 2010 and pushed One Direction to third place, is bloody good. More of that in a moment. As with all finalists she released a top-ten single, “Nothing’s Real But Love” off the back of the show. She followed that with four UK top-ten albums from 2011 to 2016.
Rebecca performed at the Eurovision Song Contest in Liverpool, her home city, last year
Since then she has suffered terribly thanks to the extreme misogyny that sadly still exists within the music industry. She has used that experience to push for change in the industry and has appeared before a House Of Commons Women and Equalities Committee, whom she told that she was “fleeced” both “financially and morally” by executives and others in positions of power, whose “disgusting” conduct was part of a “rotten” culture. She added, “Unfortunately there is a bullying culture to make artists behave how people want them to, often for others’ commercial gains.” The committee heard that Rebecca was pressured into signing contracts; was denied royalties and medical attention; had personal and professional relationships deliberately wrecked; and was forced to carry on working after collapsing through exhaustion and having a miscarriage. She is one of the driving forces and key voices behind a new body called the Creative Industry Independent Standards Authority (Ciisa), which will investigate complaints in the music, film, theatre, and TV industries. Rebecca has also said “For so long, I harboured those secrets for very powerful men about what they were doing to me, and the truth of what was happening to me is it was a form of abuse. In fact, it wasn’t a form of abuse, it was abuse.” adding “The sad reality is it is an abuse that many creatives – be it models, actors, musicians or singers – go through, and we harbour the secrets“.
Rebecca has written, recorded, and released the new album, ‘Heaven Pt. II’ independently. I exchanged a few comments with Rebecca on Twitter when I saw her announce the album’s release. I said that I have huge respect for what she has done in calling out the misogyny, abuse, and vileness that exists in the music industry, but that I wasn’t a great fan of her music. She suggested that I at least give the album a spin, so I did. If I had listened to it earlier it might have made it into Mayhem’s top 20 albums for 2023. It is an album that exudes emotion, and highlights struggle but has incredible strength and positivity throughout. This suggests to me that Rebecca Ferguson is not just a talented singer-songwriter and performer but also a wonderful human being. Overall the album is a fabulous slice of modern R&B, but it has so many other influences and themes. There is also pop, electronic, and hip-hop among others.
I think I might target one of these dates!
The album kicks off with “Digging For Gold” a song with a message of hope in adversity. The lyrics are inspirational, “I’m just surviving by the skin of my teeth but tomorrow’s just another day” kicks off the chorus. The production on this track is perfect. Next comes “I’m Going To Love You” which wears it’s gospel influences with pride. Rebecca’s voice is deeply soulful here and at times has a feel of one of her heroines, Aretha Franklin. “From Now On” has a guitar sound that made me think of New Order. Lyrically it perhaps deals with some of the things that Rebecca has been through, “I figured I’ll take my chance and choose the life I want“. “Shallow Breathing” is an epic power ballad and it feels like a celebration of being loved. The vocal performance from Rebecca on this song is stupendous, it made the hairs on the back of my neck stand up and I even shed a little happy tear. If you like listening to songs with a 100% positive vibe, then play “I Have A Dream” It will lift you, I promise. If the Spice Girls ever decided to reform and record new songs they should definitely cover “Diamonds In Her Shoes”, although they might do the song justice I doubt that they would be able to top Rebecca Ferguson’s supreme performance. The hook and chorus stick with you long after the song has ended and I love the strings. I felt that “Found My Voice” sums up how Ferguson felt when she finally decided to move on up and do things her way. Once again there is a magnificent gospel feel and how can you not love this track. I am not sure how personal “Hollywood” is, but is a cinematic pop-rock tune that would make a great single. “Run Rebecca” is a fun song with some wonderful rap input and feels like Rebecca is showcasing her lack of fear in her life now. The album closes with “You Don’t Have To Leave” and frankly I didn’t want to leave this collection of gorgeous tunes, so I played the album again and again! I don’t know who the musicians who played on the record are but the music throughout is spot on. Ferguson appears to have worked with several co-writers and producers on the album, but for me, that simply enhances her own talent. Give this album a try, you will not regret it! Rebecca says that this will be her last album, I hope that is not true.
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