On the last Mayhem Top 20 post, I mentioned that I was changing how it would be published. Instead of waiting for Obscurify to tot up listens on a seemingly random date, I will now take a snapshot at the end of each month. So the Top 20 for February is the first of those. Many of you know that I am a keen user of a site called Obscurify. It claims to tell you how obscure your listening on Spotify is. Compared to the rest of the UK I achieved a level of 100% more obscure than other users in the UK. 100%, is that even possible? Either way, I am proud of it! Anyway, regular readers will know that it also lists my most obscure artists, (the top two of which have been there since I began doing these posts) which currently are;
Woke Up Dead (One of the two bands that have been ever-present in my obscure list and an excellent band to boot!)
Promethium (This metal bunch continue to fly the flag for great British rock and like Woke Up Dead have been ever-present in this obscure team)
Black Acacias -(I have no idea how I found this lot. Their album came out in 2008 and they have 4 monthly listeners on Spotify. There seems to be no information about them online, apart from the music on Spotify. If you were in Black Acacias or know anything about them please contact me. They appear at number 13 in this week’s chart)
Folk The System – (folky protest and frankly great songs, this lot make their second appearance in the obscure list. They appear at number 27 in the extended chart)
As for the February Top 20, only Dame David and Kate Bush remain from the last chart. Other classic artists include Suede, Arctic Monkeys, Glen Campbell, Alison Moyet, Culture Club, Bob Dylan Dionne Warwick, and Frank Turner. Bruno Skibbild makes his second appearance and there will be another post about him very soon. Nine Inch Nails crash in at number one, I have just read a great book about their album ‘The Downward Spiral’, lookout for a review of that on these pages sometime soon. The rest of the top five is The Skinner Brothers, Hawksley Workman, Heartsink, and the aforementioned Kate Bush. Four of the artists who feature in the February Top 20 are current contenders for my album of the year for 2022, can you guess who they are? Who knew that there was a band called Diamond Dogs? I didn’t until now. Gonora Sounds from Africa produce some of the most uplifting music that I have heard in a long while! Here is that all-important top 20. I would love to hear your thoughts on it.
1 Nine Inch Nails 2 The Skinner Brothers 3 Hawksley Workman 4 Heartsink 5 Kate Bush 6 David Bowie 7 Glen Campbell 8 Paul Draper 9 Bob Dylan 10 Alison Moyet 11 Gonora Sounds 12 Culture Club 13 Black Acacias 14 Dionne Warwick 15 L.A.B. 16 Diamond Dogs 17 Suede 18 Arctic Monkeys 19 Frank Turner 20 Hurray For The Riff Raff
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Those purveyors of pop-punk perfection, York’s very own Heartsink recently unleashed a new EP onto the world, it is called ‘Mainspring’ and it is rather splendid! It is on Ernald Troutman Records. If you grew up with Sum 41, Blink 182, or even Green Day you will love this seven-song collection. The title track opens proceedings and although clocking in at just over a minute it serves as almost an overture to what is to come. “Starting Over” has “release me as a single” written all over it. It has an awesome production, riffs to die for and hooks, and a chorus that echoes in your head for hours after listening to it. “Andy Bernard Does Not Lose Contests” has a backing that stretches away from the band’s pop-punk comfort zone with some sky-high riffage that borders on great metal. Meanwhile, the harmonies soar and the vocals are packed full of emotion. I assume that Andy Bernard is Ed Helms’s character from the US version of The Office. Enlighten me Heartsink! If you like music that smacks into your head like a sledgehammer until you let it in then “Beacon” is definitely for you. The drumming here is on a kind of level with the power to cause an extinction-level event tsunami. “Keepsake” has a late 70s power pop feel to it and everyone in the band is on absolute perfect top form on this track. Check out the rather spiffing video below. Heartsink show even more depth on the beautiful power ballad “Getting Older”, which after listening to the EP five times is probably my current favorite track. There is real passion and soul on display. The EP closes with the hugely powerful “Chasing Moments” which boasts yet another hook to die for. This is a fabulous EP that shows that these lads are not afraid to step away from their pop-punk roots at times. This will be getting plenty of spins by me and it is a clear sign that the future for Heartsink may be very bright indeed! The band is playing an EP launch show at The Fulford Arms tonight, Sunday 27th February. Get along to it if you can!
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Greetings dear readers how is 2022 shaping up for you. I am a little late with this post, so there will be a February top 20 on the way soon and some news as to how these Top 20 posts will change going forward. Many of you know that I am a keen user of a site called Obscurify. It claims to tell you how obscure your listening on Spotify is. Compared to the rest of the UK I still remain over 97% more obscure than other users in the UK. It also lists my most obscure artists, (the top two of which have been there since I began doing these posts) which currently are;
Woke Up Dead (One of the two bands that have been ever-present in my obscure list and an excellent band to boot!)
Promethium (This metal bunch continue to fly the flag for great British rock and like Woke Up Dead have been ever-present in this obscure team)
Penfriend – (Not Laura Kidd’s first time in this list and a welcome return)
So who were the top artists for January 23rd? Check the full lists below, in a first for this chart there are more female artists than male artists for the first time (11 versus 9). In fact the Top 4 are all women, including a first number one for Gwen McCrae, what a voice! The Dame hangs in at number five. My reggae taste is represented by Dr. Alimantado (7), Dillinger (8) and Marcia Griffiths (17). My favourite 90s band Gene sit at number 18. There a a few classic artists (Kiki Dee, Kate Bush, Judie Tzuke and Joni Mitchell to name a few). This was before Joni removed her music from Spotify of course. Confession time, I really, really fancied Judie Tzuke when I was in my teens! There is a great showing for new artists too, some are more new to me, including The Anchoress, Helen Love, Bruno Skibbild and Yard Act. Look out for an upcoming Bruno Skibbild post soon. Give Obscurify a spin and let me know what your chart looks like and how obscure your tastes are 🙂
1 Gwen McCrae 2 Kate Bush 3 Tori Amos 4 Millie Jackson 5 David Bowie 6 Kiki Dee 7 Dr. Alimantado 8 Dillinger 9 The Anchoress 10 Joni Mitchell 11 Tavares 12 Helen Love 13 Beverly Craven 14 Yard Act 15 Shabazz Palaces 16 Norman Connors 17 Marcia Griffiths 18 Gene 19 Judie Tzuke 20 Bruno Skibbild
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Underground and leftfield York band Tommyrot are about to unleash ‘Turkey Vulture Of Drug Culture’, a four-track EP at the world. The EP opens with the darkly comic and mostly acoustic-driven “Circles”. The song has the feel of a lost nugget from the 60s and creeps into your head quite easily and makes itself comfortable there. The slightly funkier “Waiting On Tobyn” is next and it maintains that gorgeous lo-fi acoustic feel if those lyrics didn’t come from a drug-induced dream then I might have to eat my notebook. It sounds like a lost demo from the 13th Floor Elevators or perhaps Strawberry Alarm Clock. Lead Single “A Very Real Field” grabs you straight away and stays with you for days afterward. While it has a laid-back vibe (I can imagine sipping a beer in the garden while listening to it) I think they will make the song rock like a bastard when they play it live. It has a strong early 70s Kinks feel for me. “Turkey Vulture” is driven by an exquisite bass motif and is the sort of the that The Band might have created had they jammed with the Velvet Underground and Iggy Pop. This is my favourite song from the EP and it needs to become the next single. If he was still with us John Peel would have loved this one. For you fact fans the Turkey Vulture is a real thing and is also known in some North American regions as the turkey buzzard and in some parts of the Caribbean as the John crow or carrion crow. Tommyrot’s earlier release “Funky Feeling” now has a brilliant younger brother in the B-Side of “A Very Real Field”, called “Funky Monkey” which does what it says on the tin, it is as funky as fuck and is like something that George Clinton might have produced for the Red Hot Chilli Peppers had they worked together. Currently, my second favourite of the five, and this one will be awesome played live. There is not a duff track on this EP. Get ‘Turkey Vulture Of Drug Culture’ in your life as soon as it hits the streets. You will not be disappointed! A big shout out to Edd Thomas who hand-painted the stunning cover, which is comparable with some of Roger Dean’s best work and maybe the cover of Elton John’s ‘Captain Fantastic and the Brown Dirt Cowboy’. Tommyrot will be playing an EP launch show at The Fulford Arms in York on 26th February.
If you love screaming guitars and sumptuous, swanky 70s style rock then you will absolutely dig the delightful new platter from York band Anthea Drive. The band formed in 2019 and has been through a couple of line-up incarnations before settling on the present team of Cash Richards (Guitar), Sam Elliott (Guitar), Conor MacKinnon (Drums), Dec Suddaby (Bass), and newest recruit Michelle Jade (Vocals). While Michelle doesn’t feature on the forthcoming ‘Russian Roulette’ EP and the lead single “Yes, I Want To Be A Ballerina” she has joined as lead singer. Having heard her playing solo, I think she will improve an already fabulous sounding band. A quick shout to all you fact fans, in case you wondered the band is named after a road in York.
“Yes, I Want To Be A Ballerina” encapsulates every ingredient that a great rock song needs; riotous riffs, pounding drums, bone-shaking bass, great vocals, and hooks that really do hook you. Some of the bands’ key influences can be heard at different points. Notably Guns N Roses and the Foo Fighters on top of that there is a real sense of post-punk and power pop here. Bands like Sniff ‘n’ The Tears, the Motors, Be Bop Deluxe, and in the melody possibly the Buzzcocks. Given the right exposure, and I think they can get it, this is a band with huge potential. Based on this track I am looking forward to experiencing Anthea Drive live very soon and to hearing more music from them!
The single is available now on all major platforms, including Spotify and Amazon (click the links and check it out)
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Maybe it is that I am ancient, but tonight’s crowd seemed like a youth club crowd. But oh boy were they a brilliant crowd. First up was Vaquelin whose current album is a contender, along with Yard Act, for my album of the year already. The band absolutely stormed it and whether they set out to do this they played their set like they were headliners. Adrian’s vocals were soaring and powerful, do you think he looks a little like Enrique Iglesias? (Asking for a friend). Callum’s guitar playing was comparable with both Mick Ronson and Jimmy Page. How long will it be before he uses a violin bow on his guitar a la Page? Jack smashed his drums like he was possessed by the spirit of John Bonham and you could feel Luca’s bass in your chest. The so-far unreleased “Broken Windows” was incredible and needs to be a single! Vaquelin has a very strong core group of fans and I would like to name them Vaquelinians, Gaga has her Little Monsters so why shouldn’t Vaquelin have a fan family? You need this band in your life.
Next up was Rolla who signed a record deal this week. They are from Manchester, they have Brit Pop style, the lead singer, James Gilmore, wears a parka and sports a Liam Gallagher style haircut. That is how they appeared to me, but what did they sound like? Well the band seemed really tight and well-rehearsed and they do have some great songs, particularly “Sweet Lullaby” and “Show Me”. Gilmore also has the swagger, confidence, and charisma of a great frontman. But for me, they were a bit identikit Oasis. Is the world ready for a new version of the boys from Burnage? I said maybe………
The final band tonight was York’s excellent City Snakes and they were a bit special. Scuzzy garage rock like a punked-up Arctic Monkeys with an added portion of that dirty glam sound that the New York Dolls were so good at. The crowd went mental and created some pretty amazing mosh circles for such a brilliant intimate venue like the Fulford Arms. This is a band that knows how to entertain and they have an innate ability to whip their crowd into a frenzy!
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Since forming in 2008 this Worcester-based punk rock band has lived by their motto: “If you’re not having fun, then what’s the point in working this hard?” Fights and Fires are often described as emotive rowdy hardcore punk bangers or melodic hardcore-infused punk-rock, but however you want to think of them, they deliver a sound that is exhilarating and incendiary (pun intended). Since their formation, the band have released 4 albums, an EP, two split releases, and a handful of singles, which are now completely sold out on all formats. After turning their focus to touring mainland Europe, the band has built a solid underground fanbase throughout the continent. These guys love Star Wars, professional wrestling, and superheroes. Fights And Fires, offstage, look more at home in your local comic bookstore, than at a punk rock show. But, come stage time, it all changes – it’s nice guys, playing hard, in your face music, with wide smiles across their faces. Fights & Fires are Philip Cox (Vocals and trained professional wrestler), Ryan Price (Guitar and roller coaster fanatic), Philip Cook (Guitar and Football Manager supremo), Luke Tasker (Bass and lots of hidden talents), Lee Jackson (Drums and self-confessed football lunatic). Lyrically, this fun-loving quintet is not afraid to show us their emotions and musically not ashamed to wear their classic rock and post-hardcore influences side by side on their sleeves. What you get is a cleverly crafted sound of the likes of Thin Lizzy and Motorhead, as well as US punk bands Rocket From the Crypt and The Bronx.
‘Future Plans And The Things That Ruin Them’ EP, the latest addition to their repertoire, releases February 18 through Lockjaw Records. The EP was written throughout 2020 during the various lockdown periods, countless hours were spent writing over Zoom calls between the members’ homes in Worcester, Wales and France. In the summer of 2021, the band were able to re-unite, socially distanced of course 😉, to spend a day rehearsing before heading straight into the studio to record this well-crafted and poignant EP. “The only real theme of the EP is hope. The subject matter is often about hard times or struggles but the message is always one of finding a better way or a light at the end of the tunnel,” explains vocalist Philip Cox. I am pretty sure Philip, and the rest of his soulmates know about ‘Fights and Fires are the Flowers of Edo’ and how this expression is used to describe the destruction and rebuilding of Tokyo over the centuries. As we continue to destroy what’s around us, at some point we will rebuild and improve, giving us that hope of what may lie ahead in the future. The deep and meaningful stuff to one side, what about the EP? The hard-hitting opening track, “Disposable Dogs”, is their first single to be released at the back end of 2021. Cox’s distinctive vocals lead the way with his very own expressive style, reminding me at times of Robert Smith from the Cure and even Feargal Sharkey from the Undertones. Guitarwork from Price and Cook from start to end is always raw, pacy and sharp. Nicely complimented with Taskers pummelling bass throughout, this song is made up of many varied movements, a bit like a piece of classical music. The vocals, tuneful and melodic during the chorus, are very satisfying and anthemic. I can imagine being there at their gigs, singing along with the thousands of other fans. The lead up to the chorus focuses on the angst in Cox’s vocals creating the perfect backdrop for lyrics like ‘These are the problems that we face every day, these are our problems, and they don’t go away’. During the track, there’s a satisfying instrumental break, picked guitar and pounding floor toms, shining a light on how musically accomplished this band are. A belting opening track.
“Shitty Year”, released in January, begins where “Disposable Dogs” left off. ‘My indecisions are the source of my bad luck’, no wishbones, no four-leaf clover‘, the song takes a look back at a shitty year and looking forward with hope. Philip Cox and the band deliver another well-structured piece of melodic punk, thundering along with anthemic choruses. It’s been another shitty year yeah yeah – you have to love this clever wordsmanship creating a truly pop hook. Throughout Messrs Price and Cook hit us with clean and choppy guitar interlocking with a delicious sustained distorted sound. The solid drums and driving bass do exactly what you’d expect. Just over halfway through, after an unexpected and quite satisfying key change, we are treated to a powerful bass and drum interlude, before normal service is resumed, and the band continues to thump out to the end. Just when you thought you had this band’s style and genre sussed, the next 2 tracks stop you in your tracks. In “Bed For Bones”, the chaps show us that they know how to really rock. In your face guitar work, which often sounds very Iron Maidenesque and then some well-constructed and tight rhythms, where for a moment I think I am listening to Rage Against the Machine. This track has an abundance of styles and variety – it’s a love song…not a sing-along. It’s my favourite by far. “Up, Down, Labour, Conservative, A, B, Start” goes to the other end of the spectrum. It’s a real punk banger, bouncing along and politically charged. Less anthemic and catchy choruses than previous tracks, the band releases their angst through the music and vocals. ’History just repeats itself, but we just keep on letting it, we just keep on letting it’ – it’s a powerful message and let’s just hope that we do something about it. The closing track on the EP is “Pocket Full Of Flowers”, which was released as a single back in 2020. Vocalist Philip Cox said, “The song is about the naivety of love, and how focused we can be on it to cement our happiness…So, just as a token gift of a flower to a mother is put in a pocket to wilt away, a wedding ring can too end up in a sock draw wasting away. For the first time in my adult life, I felt like I could start again and build a new better version of me.” This track returns the EP to a more melodic and singalong style life as the punky and trembling vocals pack a mean punch on top of gritty guitars sitting perfectly with the full and round sound of Jackson’s drums. It’s a catchy number, energetic and melodic.
Fights & Fires will be hitting the road throughout February 2022, in support of the new EP, with remaining shows in Lincoln, Birmingham, London, Glasgow, Edinburgh, and Dundee – Tickets are on sale now. See them live on the following dates: February 2022 Fri 11th – LINCOLN – Akedo Sat 12th – BIRMINGHAM – The Victoria Sun 13th – LONDON – New Cross Inn Thu 17th – GLASGOW – Bloc Fri 18th – EDINBURGH – Banshee Labyrinth Sat 19th – DUNDEE – Rad Apples
Written by Juan Brooks
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This was my second Independent Venue Week gig for 2022, this time at the Victoria Vaults in York which had a fantastic overhaul during various Covid lockdowns. This night was put together by Trailer Park Promotions and it was great to meet the Head Honcho himself, Sam. The boy done good! Four bands in one night, does it get better than that? Maybe but not often! The opening act tonight was Pennine Suite who I saw for the first time in their current incarnation around two weeks ago. It is clear that the band in this expanded form has a much greater depth of sound and they use it incredibly well to showcase their canon of banging tunes. Lead singer Nick continues to build and develop his array of frontman skills. He owns it and totally understands his crowd. The band is on top form Louise’s keyboards add a sublime melodic wave to the sound. Harry proves himself to be an excellent guitarist, having switched from the bass. Meanwhile, Moses, who has only been playing the bass guitar for six months smashes a great groove. But there is clearly no stopping the band’s own nuclear reactor Louis on drums, he was insanely good. If I had to pick a highlight, and there were many, it would have to be “Impatience”, a real barnstormer!
Next up it was the turn of Silvertones who I have seen just once before, back in January 2019 when they supported the Receivers (who became Pennine Suite fact fans!) at the Fulford Arms in York. Silvertones are a power trio that puts the emphasis on power. There were moments when the guitar sounded like none other than Johnny Fucking Marr. The bass player’s vocals were reminiscent of Liam Gallagher back in the days when he was good. There was also that idiosyncratic nasal whine a la John Lydon. Their slower tunes suggested perhaps Cast or even Hard-Fi. Essentially this was an uplifting riff-laden set from a band who know their stuff.
A band that is new to me, Everything After Midnight, were next. This York five-piece was truly epic in sound and performance. Imagine Tori Amos if she took a much heavier direction with some added prog undertones, that is how Everything After Midnight sounded to me. The title track of their current EP “Still Sleeping” was majestic and at times was like a slowed-down Nightwish. Was that three guitars and no bass that I spotted? If it was then there was no negative impact on the sound. The chanty backing vocals were a perfect foil to the singer’s gorgeous, ethereal, enthralling voice. The band were tight and well-rehearsed, the drummer was a very classy player.
I first saw headliners Where’s Slater when they supported Tommyrot at this same venue back in August 2021. For that gig, they were missing two band members but still put on a great show. There is a huge 70s influence here, but they are also very much their own original band. This is a polished rock sound, made by a highly talented band. While there is a darkness to some of their songs Where’s Slater are a bunch of people that seem like they are having a hell of a lot of fun on stage. If you took the Ray Manzarek’s keys away from the Doors and added extra heavy guitar riffs then you might get closer to that Where’s Slater beautiful noise. Their cover of “Hey Joe”, a song which many people have claimed to write and which became a huge sixties hit for Jimi Hendrix, was masterfulIt wasn’t just a cover version, these boys took it and made it their own. Where’s Slater look more like a group of final year nerdy Uni students than rock gods, but when they perform they also transform into their rock n roll personas. This is a band with a bright future. Incidentally fact fans, did you know that a “slater” is also the german term for “feeling of two moments of time not colliding, staying far, far apart” (according to the band bio on Spotify anyway)
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This was one of the many wonderful gigs that celebrated this year’s Independent Venue Week. It was at the fabulous Fulford Arms, one of the best venues in York. Headliners were the much-hyped the K’s. Did they live up to the hype? You will need to continue reading to find out because first I need to tell you about the support band. Also, this was another show from Simon of Northern Radar and so far he has never let me down! Support was provided by a great upcoming local band, YouVee. I have only seen them once before this, back when they supported one of my favourite bands, Apollo Junction at another great York venue, the Victoria Vaults back in September 2021. YouVee have grown in presence and talent in those short few months, particularly Travis Kyle on lead vocals and guitar. He really owns the stage now and is developing into a great frontman. Given that this month, February, sees their second anniversary as a band their development is as remarkable as it is mercurial. Ben Layfield’s guitar skills are easily comparable with Graham Coxon of Blur and also Steve Mason of Gene (my favourite British band of the Brit Pop era). YouVee has a kind of psychedelic pop sound with some tasteful indie elements thrown in. If I had to pick a highlight it would be their signature tune, “Ultra Violet” which is begging to have a major dance remix, it is a proper full-on indie banger. This is a band for anyone who appreciates great music. I hope they go far!
So then it was time for headliners the K’s, an unsigned band who as I mentioned earlier have been subject to much hype and occasional comments about them being just a mod band. Well on the evidence of this set they deliver beyond the hype and they are far from just a mod band. There are influences from the best of British rock in their sound, notably the Who, the Jam (no these were not just mod bands either), and the Clash. They certainly know their pop, rock, and indie history too, throwing in a little piece of Cyndi Lauper’s “Girls Just Wanna Have Fun” in one song and a bit of “Dirty Old Town” the Ewan MacColl standard made famous most recently by the Pogues. Jamie Boyle has a great stage presence, really knows how to work the crowd (and this was damned close to a full house), and is the epitome of what a superb frontman should be. There was not a dud song in the set and their energy never waned for even a moment. Lyrically there is a strong social conscience and stories of real life. “Dacton And Wanderella” is a song that early Arctic Monkeys would be proud of and they closed an electrifying set with it. The best moment for me, and there were plenty, was “Sarajevo”, an instant anthem, although “Glass Towns” possibly pushed it close. In the olden days, these lads would have been signed a long while ago and would be reaching the higher echelons of the charts on a regular basis. The K’s are a really tight band with great musical chemistry. They play with power, passion, and purpose. I hope there is a K’s album in the offing because it will be bloody brilliant. I am now most definitely a huge fan of the K’s, give them a listen and you will be too.
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Vaquelin, a band I saw for the first time on All Hallows Eve last year have just released their debut album, ‘Where Dreams Hurt’. In reviewing that gig I said, “If Led Zeppelin had sweaty, dirty, illicit sex with Bring Me The Horizon, Vaquelin would be the haunted offspring.” Having listened to the album I can confirm that I absolutely stand by that statement.” The album opens with “Soliloquy” which sets off at a sedate pace in a soft style but builds to a planet-destroying crescendo with riffs that could break the tops of mountains. “Voice Cracks & Blackjacks” has a dark, menacing undercurrent but in contrast the melodies and hooks are immense. Adrian Boudry’s vocals are supreme on this track. Having listened to the album twice I think “Iridescent Streetlights” is shaping up to be my favourite track, at least for now. At times Callum Scott’s playing borders on Mick Ronson at his peak, especially in the last part of the track where he freaks out in his own Moonage Daydream! It would fit perfectly into a 70s rock playlist, but just in style, Vaquelin are originals, not facsimiles. There are classic rock influences all over this record, but every one of them enhances rather than detracts. In a parallel Universe “The Garden” would be all over the radio. I am not sure why I think this, my mind is warped, but I would love to hear Harry Styles cover this one live.
If the Red Hot Chilli Peppers collaborated with Led Zeppelin I think it might sound like “Hyperdepressant”. Jack Stephenson’s drumming on this track is hard enough to wake John Bonham. If Muse had gone really, really heavy they may have recorded something as powerful as “Though The Heavens Fall” which smashes into you like Thor’s mighty Mjolnir at full pelt! I think the band realise that a small respite is needed after the sonic assault of the first six tracks so they give you a short but rather nice instrumental called “Interlude”, it does what it says on the tin. The towering sonic attack continues with “Mad Alice Lane” with some axe work that Slash would be proud of. For those fact fans among you, Mad Alice Lane is in York, although it is now known as Lund’s Court. Mad Alice is said to haunt this snickelway.
Vaquelin prove they have a wide-ranging talent with the quite funky “Silence”, it’s as if the Average White Band took a more rock direction. The effects that open “Six Miles Deep” before Callum Scott’s masterful riffs kick in would fit well on a film soundtrack, maybe a slasher movie. There isn’t a bad song on the album and I think this one is where every band member gives 110%. The rhythm section of Luca and Jack is monumentally magnificent. On “Rebound Effect” use their funk credentials again in the choppy acoustic sound which supports one of Adrian’s best voice performances on display here. Currently my second favourite track! The title track is the penultimate tune here and it rocks like an absolute bastard, like Motorhead with Patrick Stump of Fall Out Boy on vocal duties. Album closer “A Wave Of Poisoned Joy” is as close to a power ballad and chilled as Vaquelin come. This album is so well written, produced and played it is hard to believe that this is a debut release. This York band have the potential and ambition to do great things and I want to follow them on that journey, you should too.
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