“I Know You Know I’m Perfect” is a synth-pop style song from the Norwich based duo Mega Emotion. There are hints of the Human League and other similar bands running through this track. A pleasant, melodic piece it is the polar opposite of “Move Motherf*cker” which is the other track here. This release is based around the idea of 2 bands as one with the same musicians in both. Lisa Horton, Jan Robertson, and Iain Ross are the instrument swapping players.
The skill demonstrated here is that both bands (Mega Emotion and Lady Di) produce such radically differing styles. “Move Motherf*cker” is a driving piece of punk meets the Pixies which sits in stark contrast to the synth track. All band members were originally part of Norwich Indie outfit Bearsuit. The question is which genre they will opt to focus on or will they stick with this novel speciality of split styles. Whatever the result, it will be fascinating to watch as they are equally good at both.
“Butterfly Candy” is the newest release on the innovative new label 72rpm Records and on this evidence they know quality when they hear it. Mike Guy is the creative brain behind this wonderful slice of ambient atmospherics, using the name 22 Oceans. The initial synth rhythm gives way to ethereal distant vocals which creates an added layer. The almost imperceptible drum rhythm drives the track gently along. Although the Eno influence is clear here, Mike’s earlier influences such as OMD and Blancmange have a spectral presence. My Eno reference would be the Apollo Soundtracks recently refurbished by Brian and Roger Eno but I do not want to give the impression that Mike Guy is copying in any way. This track has a life and feel all of its own. Its a calming and elegiac piece and I hope that we can hear more of the same very soon from this artist and label.
Written by Paul Bamlett.
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Mother are a magnificent new band from Oxford. They have a new EP out called “Masquerade” and it is one of the best I heard in a long time. Fronted by vocalist Ignatius J Harris this band really pack some punch. Their first EP was produced by Mark Gardiner from the legendary Ride and this one is produced by Chris Barker of Willie J Healey and Premium Leisure and great production it is too!
We start with “Strangers”, which has a strong melancholic tincture of Arctic Monkeys about it but that is not at all a bad thing. This track, in common with everything here, has a big helping of swagger.
Next up we have “Pretty Face”. This has a real bite and snarl about it. Fully equipped with a staggeringly good riff and excellent vocals this is a superb track. The rhythm section underpins this brilliantly and lends a real menace to this track, ending with a hint of Pistols style sneer.
“White Lies” summons up the Arctic’s comparisons again but as with every track, Mother add this to their own style and make it totally their own.
The alt-rock sound that opens the title track is a real breath of fresh air and “Masquerade” features beautifully impassioned vocals. A dark and cynical feel to this one which fades away to an echoey conclusion.
“LA” is a truly punchy song carried along on a bed of pulsing bass and drums.
“School Days” features some great guitar work and lovely keyboards. There’s a touch of an Iggy style croon here and this track really drips with sass and style.
Mother have completely and utterly got that “thing” that you find so rarely. You can see them getting that all-important break very soon. They are the tightest band I have heard in a long time from a rhythmic point of view. They have had praise and more importantly play from the legend that is Tom Robinson and have gigged with local (and national) hero Gaz Coombes so they definitely have the stuff to go all the way and stay there. Mother are not only one to watch, but they are also compulsory listening!
Written by Paul Bamlett
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The Galaxy Electric is a duo from New York specialising in electronic psychedelic pop. This track, “Stardust” is a masterful statement of intent. To start with, I had no real point of reference for this but it certainly grabbed my attention. In places, it sounded like Joni Mitchell doubletracked over a spacey soundtrack. The harmonies are truly beautiful and the jazz flecked vocal style lends this particular space journey a whole other ambience.
In its way this single is almost wantonly uncommercial and yet that is what gives it a very special feel and appeal. It is original. The central section of the song floats off into an entirely different universe before we come back to the theme of the song. I have to say I am inspired to explore the strange new world of Galaxy Electric‘s music. They are definitely going boldly and I for one am happy to follow!
Written by Paul Bamlett.
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Cat Ryan is an up and coming trio fronted by their multi-instrumentalist lead singer Mary Anne. This track “Mannerism” is a very pleasant lilting melody led off by some wonderful jangling guitar work that has a touch of the Smiths about it. Billed as an Art Rock/Modern Shoegaze band they will appeal to those of you who are into the mighty Wolf Alice. Tom Robinson has said nice things about them on his show and on this evidence Cat Ryan absolutely has what it takes to go places. More, please!
Written by Paul Bamlett 🙂
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AXLS say in their press release that they draw on old school electro such as Kraftwerk and the Human League but also on more recent explorers of the genre such as CHVRCHES and LCD Soundsystem. As a fully paid-up member of the old school electro appreciation society I regularly dig out my John Foxx, Gary Numan, and Depeche Mode albums. Needless to say, I had high expectations of this band and their debut and trust me I was not disappointed.
The opening track “Magnificent Emptiness” is a fabulous brooding intro that any band would kill to walk on stage to. This leads into the first vocal track “Alone”, which paints a bleak electronic picture of a desolate world. This is a great lead-off track with a superb melody. “Snowblind” is a pleasing earworm of a tune with great hook. Next track “Integration” pulls on a New Order vibe with some great bass work from the wonderfully named Conrad McQueen whose low key work throughout gives the music a great resonance. The mesmeric vocals of Victoria Ownsett are poured over a strong beat in every song and although not mixed prominently are always the chief focus of every track. Unexpectedly the central section of this song has a moment when the beat drops out and gives “Integration” a chance to build to a fascinating climax and makes it one of the strongest songs on the album. It’s excellent Kraftwerk /Depeche style fade courtesy of synth wizard Chris Simmons.
There are lots of songs called Heaven or with Heaven in the title. This one is one of the better ones. It has a beautiful melody with a less intense electro feel and a clear pop sensibility. A melancholy track with a hint of New Order again and a strong touch of Blondie in their pomp. Captivating stuff. This album gets stronger as it moves along. The ideas seem bolder on the later tracks and more intricate. “ICBM” brings together all the strengths of this brilliant trio. Melody, Beat, Atmosphere and devilishly catchy hooks abound. Once again the Kraftwerk feel is strong. On “Alias” the rhythmic aspect of the track is superb. What is great from my perspective is that this is not nostalgia, this is truly innovative stuff. “Battle Song” gives off the feel of the wondrous Yellow Magic Orchestra and is surely destined for a film soundtrack appearance. I know there is a game associated with this music but it stands up strongly in its own right. I ‘m a sucker for a catchy synth melody and this album has them by the bucket load.
This music stands multiple listens, a rarity in a good deal of music these days ( old codger alert!). There are many layers to this bands approach. “Ripples” draws the album to an elegiac close and I really didn’t want to get to the end of this one. As debut albums go ‘First Contact’ is right up there with some of the best recent offerings. I shouldn’t show bias but I know that this band, like myself, hail from the North East. Actually, yer know what, I don’t really care where they come from, I am much more interested in where they are going and I will be following with interest. More please AXLS and soon!
This review was written by Paul Bamlett.
All the photos were “borrowed” from the bands FaceBook page, We are happy to credit the photographer. The videos were found on YouTube and again we are happy to credit you if it is yours!
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Pengshui,s first album, on MVKA Records, is a dangerous mix of punk rock ideals and a grimy attitude. It’s a vicious cocktail of monstrously bangin’ tunes with great rhyming over the top. “Wiseman” is one of the outstanding tracks a little more cool than its raucous mates.
Throughout the album, the energy level does not drop for one nanosecond. “Leave It” with its challenging language and “No Joke” both carry a heavy flavour of violence laced with more than a hint of the late great Keith Flint’s coruscating vocal style, fired out over a spectacular looping riff. “Rise” is carried on a frantic backbeat and “Control” builds to a spectacular full-on climax. On “Blame” the double-tracked vocals bring added menace and when the band says “Nobody Cares” you know that they are tapping into the fearsome style of none other than Mr. John Lydon. The absolute highlight though is their superb and respectful take on the Prodigy track “Light Up The Sky”. Pengshui absolutely brings something new to this already great track. Live I can imagine these boys will more than fill the room and the mosh pit must be a thrilling place to hang out. Fatty, Illaman and excellent drummer Pravvy Prav have tapped into a new energy source and on this evidence, they are gonna drain every last drop. This music is for real with a no-bullshit attitude to all the hangups and problems of now.
A little more variation in the vibe would be nice but if you want mega loud tunes with gargantuan riffs and in yer face rhyming then this trio surely brings the noise in no uncertain terms.
Ave it!
This review was written by Paul Bamlett
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With Just A Hint Of Mayhem 