"You'd Feel The Same"

You’d Feel The Same
Runaround Kids
Philophobia Music


With the utmost respect to the rest of the Philophobia crowd, the label’s 2012 truly kicks off with this release by Runaround Kids, one of their most established bands and one of Wakefield’s great hopes. You’d Feel The Same is the first in a series of varied and interesting releases they have planned for the year, including an upcoming split vinyl and cassette with We Are Losers and The Spills.

The track itself reminds me of Bloc Party – not in its’ sonics but in the way Kele’s crew tended to release a standalone single after an album (Two More Years / Flux / One More Chance) as an indication as to the direction they were going to develop next. With that in mind we can expect a louder, more anthemic, more stuttering year from the Runarounds.

Stuttering is an apt word here; the opening smashes open your stereo with heavily distorted drums and a large, pleasingly messy sound. The immediacy of this comes across like an excited yelp, a tourette sufferer desperately trying to express something sincere, jilting around to find solid ground to condense a relationship into a split sentence of honesty. Like the Manics trying to squeeze a whole youthdom of boredom into the three minute timescale of Motown Junk. And that’s just the first twenty seconds.

It does all come together shortly after. Multiple, heavily condensed sections alternate, the first seeming like a chorus, then another and then another. The hooks are everywhere. The production is varied too with lots of one-off quirks and effects working alongside the structures geared to those with short attention spans. I like that. It’s great to review a track and be half way through and still be hearing new things. There’s loads going on here, it’s a massively impressive three and a half minutes. It’s like a greatest hits compilation in one track. Kind of.

It certainly sets the band up for a great year. It’s a pleasing step forward from their still ace debut album and feels even more of a representation of their live show. Properly top stuff. If you are quick, you will be able to get yourself the ace bundle of everything they release over the year through their bandcamp. Otherwise, get a copy with a limited edition T-Shirt and you are laughing.

Dean Freeman

Hannah Trigwell 'Not Enough' Review

Hannah Trigwell

'Not Enough'

How many times does a busker stop you in your tracks and demand your attention? Well, Hannah Trigwell’s story begins in this unlikely fashion; Leeds-born Hannah has achieved over 2.5 million views on her YouTube channel and she has supported Boyce Avenue, among and attracted attention from Radio 1 Introducing… among others over the past twelve months.

Her first single, Headrush, was released in April 2011 and it’s a beautifully rich statement of intent; ‘stripped back acoustic pop’ will be the label that follows her around if this is anything to go by, she has an engaging voice which can sound delicate and powerful at once.

Not Enough showcases her ability as a vocalist while Break your Fall drips with the pain of the heartbroken and creates a mood that is at once upbeat and yet tragic. Herein lies Trigwell’s talent: less is definitely more and the power of restraint she shows, to avoid the clichés and stick to the basics, is the hallmark of talent and understated quality in my opinion.

Don’t just take my word for it, on the 23^rd March 2012, she’s playing at Henry’s Bar in Wakefield. Whether you see her live, or visit http://www.hannahtrigwell.co.uk/music to have a listen, do have a listen. It will be time well invested!

Matt Rhodie

The Grand 'Harbour' Review

Harbour

The Grand

Self Release

Wakefield three piece The Grand have released another impressive bout of powerful indie-pop having previously brought out a self-titled EP. There is obvious influence from bands like British Sea Power, however they have definitely put enough of their own stamp on the music to avoid sounding like a replica of anyone else. The EP opens with the understated title track which sounds like you could easily be at a harbour, the band then move into some much more bouncy pop music showing some good variety. On the more upbeat songs on the EP the lyrical content is sometimes less cheery giving out a good contrast. A lot of the beats on the latter tracks also have a 50’s and 60’s rock and roll feel brought into the modern day which really seems to work well. All six of the songs on the record are of good quality and if these first two EP’s are anything to go by any further recordings from The Grand will be highly anticipated.

Matt Hill

Soulmates Never Die "Dance Contest Winner" Review

Soulmates Never Die

Dance Contest Winner

(Cowsnail Records)

Dance Contest Winner is the debut EP from Soulmates Never Die which is the solo project of Leeds based singer songwriter Josh Lewis. The five tracks are rife with a brand of anti-folk which seems to be a response to the recent influx of folk music into the mainstream. As a completely DIY project, Josh records and produces everything himself, bringing folk music to where it came from. All five of the songs are short and sweet, whilst containing both honest and humorous lyrics. Although there is open bitterness towards the change in folk music the songs still speak for themselves and come across really well. It could be interesting if Soulmates Never Die start receiving some attention whether the whole anti-establishment attitude can last, but hopefully he can do it on his own terms as this is a highly enjoyable EP in which the home made feel adds to it rather than taking any quality away.

Matt Hill

Nick Toczek - "The Britanarchy EP" Review

Nick Toczek and Threshold Shift-The Britanarchy EP (Not-A-Rioty)

Writer Nick Toczek has collaborated with Bradford based band Threshold Shift to release this riotous punk rock EP. The record is definitely high energy and lots of fun to listen to without exploring any new horizons within the genre. Despite not being particular innovative the band provide some good, simple and sun songs with Monkey Brain and Shitsong standing out the most. Nick Toczek and Threshold Shift have shown that music doesn’t always have to be new and exciting to be good as they have provided a fun record which is an enjoyable listen.

Matt Hill

Boxing Club "Bunch 'O' Fives" Review

Boxing Club

Bunch ‘O’ Fives

12 Rounds Records

The first thing that grabs your attention about this EP from the Wakefield trio, Boxing Club, is how it’s been packaged as an old jukebox record giving it a nice retro look. The retro feel continues with their music as they provide some impressive blues inspired rock. The first two tracks, Bound by Design and Passing Through, are far more in your face with big riffs and some nice harmonies from the start. The final two tracks on the EP, Right on Trend and Scumbag, are more melodic but still carry the same energy as earlier songs on the record. Throughout the record the band have provided some infectious pop with opener Bound by Design standing out the most. With a forthcoming album out soon as well as impressive recordings such as this all the signs seem positive for Boxing Club.

Matt Hill

Marble Valley 'Breakthrough' Review

Marble Valley

Breakthrough

Sea Records

Released back in October, this is the 4^th offering from Steve West (Pavement) and his long time ‘other’ band and it has been my soundtrack to the early part of this fledgling new year.

I had never come across this band before, but they were easy to like; from West’s laid back vocals to the catchy and insistent melodies, I found time passed quickly with this album playing. They have crafted a delicate collection of sonic landscapes that range from the country-tinged clear blue mountain lake of Sweet Compression and The Dan Map Experience to the rockier outcrops of Tokyo Hands and Groover, the lithe guitars of which demand one’s attention with their measured persistence. Even the seemingly Burns inspired ode to drinking, Chin Chin which closes the album, is alive with understated charm.

Lyrically, there’s some skill here as shown in the bittersweet, philosophical phrasing of Good Life, which laments that other than dying everything has been grand! Across the 13 songs on offer here there is a sense that attention to detail and an ear for a pun matter more than mainstream success, although the word pop isn’t one I would hesitate to level at this album at times and that is no insult. Compared to some of the music you will hear this year, this definitely deserves your attention!

Matt Rhodie

Tiny Planets - 'The Trick Is To Keep Breathing' Review

Tiny Planets

The Trick Is To Keep Breathing

Philophobia Music

Recent explorations through the archives of Rhubarb Bomb led me to find a review of the first ever Tiny Planets gig, which took place on 5^th September, 2009. It was hotly anticipated as they shared members, including singer Craig Newman, with former Wakefield legends The Old House. Without wishing to speak for everyone in attendance, I think that peculiar pop brilliance held by The Old House WAS present, but it was also clear this was something different. At that time, it was hard to tell whether it was a step forward, or sideways, but was promising all the same.

Regardless, there was a definite desire for a record. A free demo and an appearance on a Philophobia Compilation aside, this is that first record. It may have taken along time, but now I hold it before me I am actually glad for the wait. For one, the band have slowly improved over the last 2 or so years. More importantly, the shadow of The Old House has long passed, allowing this to be judged completely on its own merits. So, with that in mind, I command you to delete this paragraph and the last from your brain and begin afresh.

‘The Trick Is To Keep Breathing’ is a 5 track EP by Wakefield alternative rockers Tiny Planets. Initially, it caught me off guard. I think I must stand far stage left at most gigs because my overriding memory from any Tiny Planets gig is the huge crunch of guitarist Ash’s looping squall bashing around my head and making it happy. With a few exceptions (‘I Was Born’) that is less to the forefront than I’d expected. What IS present though is some mighty fine songwriting, delivered with real skill and character.

Opener ‘Jetstreams’ is a great example of this; knowing when to sit back and let the story tell itself with relatively gentle movements, slight intonations in the guitar lines over direct, prowling beats showing utter confidence. The emotional swell bubbles under the surface, carefully released at key points. I guess what I’m saying is that it’s the smart way to rock the fuck out.

Craig’s distinct vocals are key here. He avoids lyrical clichés, but wraps his unlikely musings in the sweetest melodies, with a pinch of melancholy, and a side of optimism. I really connect with that voice; it works for me, but that’s different for everyone. What is clear, taste aside, is the fantastic way which the lead vocal and that lead guitar intertwine; a gorgeous and complimentary duet (‘Islands’ is a great example of this).

If you retrieve those first two paragraphs from your minds recycle bin, I will say that there is a certain ‘Old Wakefield’ vibe to this record, which is NOT to say it is looking backwards. It has charm in bucketloads and an untouchable sense of carefree enjoyment, just in its own existence. It is music for the love of music, the big group vocals of ‘Hardly At All’ and ‘The Trick Is…’ drawing that sense of community and friendship together in uplifting fashion.

But, I hate myself as I write these words. Why does this need to tie in to Wakefield? What has that got to do with it? With this EP, Tiny Planets showcase some things that I, personally, tie to Wakefield, but this has got fuck all to do with geography. It’s a masterful example of what it means to young and full of the joy of exploration; condensing the fleeting moments of wide eyed wonder into warming pop songs, with your friends alongside you. I love the feeling that it inspires in me and I love this record.

Dean Freeman

Imp - 'Sewerpop! How The Castle Was Stormed' Review

Imp

Sewerpop! (How The Castle Was Stormed)

Philophobia Music

Imp are one of the oddest bands in Wakefield. I don’t think they’ll mind me saying that. Despite having seen them numerous times over the past… God, maybe 5 years, I still don’t ‘get’ them. By which I don’t mean I don’t like them, I mean simply don’t understand how they ‘are’.

Live, they are the ultimate expression of the runaway freight train; it MUST fall off the rails right? Any minute now, I’m sure of it. I don’t know how they write songs, they just seem to filter them into existence, each member playing their version of some half remembered childhood nursey rhyme. Or a vicious argument conducted in 5 different languages. The brilliance - and the reason most people cant take their eyes off them - is that it simply works, the perfect wall of reason at the centre of the storm.

Following on from last year’s ‘Just Destroyer’, which was a bit of a direction change, yet a positive one, ‘Sewerpop!’ sees Imp get their pop back. I thought that’d just be the PHOP hype machine churning me a line, but it’s spot on. ‘Just Destroyer’s instrumentals are gone and we are left with a sharp, urgent kaleidoscope of fractious battle to ponder over. The wandering guitar lines find their separate shapes, head out on explorative drives in country but make it back in time for the chorus. Drums and Organ hold it all together really, smart rhythms and lines. The vocals sound better than ever, the sweetly shouted hooks the horse in the glue that ties this band together.

‘The Timings All Wrong’ opens with some odd seaside soundscaping. Suggests they’ve gone real prog on us. But it’s just a warm up. The free flowing tempo and odd beats here break you in to the wandering dynamics across the record. ‘Back From Battle’ and ‘Sharkbay Nevermore’ are the beating core of this quick trip into Imp’s world. Generally, it’s a less riff-tastic record than the last, but better for it; instead a warm glow, a concise widescreen account, a smiling room, a lost letter found.

As with the music, it’s hard to tell what is going on with the lyrics, the ideas, the themes (if there are any) seem to wash over, leaving more of an impression than a firm idea. I think that is what Imp excel at. They are a pop band; the dirtiest most disturbed pop band, that tie the oblique and the half-seen, the half caught conversation and the swamping drunken declaration in a direct and sumptuous package. They don’t do it by stepping into our world, taking a look around and spewing out a reply; it is purely on their terms. You must go to them and step inside their minds. I cant recommend that, admittedly terrifying prospect, highly enough. Sewerpop! Is the best thing they’ve done thus far, though I’ve still honestly no idea ‘what’ it is they’ve done, let alone ‘how’.

Dean Freeman

Post War Glamour Girls - Suburban Barbarian Review

Post War Glamour Girls

Suburban Barbarian

Sturdy Records

Suburban Barbarian, the second single from the Post War Glamour Girls is available now; but the question is, do witty vocals and shimmery, twanging guitars do the trick? Of course, the answer is yes; this has the feel of having been crafted over many a late night singalong and who could complain about that!

The mix of male and female vocals adds to the rich, slowly building air of menace as the track reaches its crescendo and the mood they conjured up in my head is of a scene from Rebel Without A Cause if it had been set in Yorkshire- all leather jackets, girls with dyed black bobs, lipstick stained cigarette ends and spilt coffee in a greasy spoon caff, but that might just be me…

The band is only just a year old but Leeds based Sturdy records have already seen the act receive praise for their first offering, a double-A side single ‘Ode To Harry Dean / Spitting Pearls’ released in October. They’ve got one live show left this year, at the Head of Steam in Newcastle on the 17^th of December, so if you can’t make it there, get over to www.postwarglamourgirls.bandcamp.com and have a listen for yourself.

Matthew Rhodie

Hymms - Cardinal Sins / Contrary Values Review

Hymms - Cardinal Sins / Contrary Values

Another day, another duo! I was lucky enough to see Hymns live in the Bowery during the Tramlines Festival in Sheffield- heard of it? Small town near Rotherham? No?- this summer and they impressed with their range then as they do now on their double album Cardinal Sins / Contrary Values which builds a sense that any one of these tracks could be on the advert for the impending apocalypse. If, of course, you believe the Mayans!

Samuel Manville and Peter Reisner craft vocals, guitar and drums into an engaging garage rock meets classical meets some sort of cinematic soundtrack, but it works here, maybe more than in the flesh if I’m totally honest. The production is smooth and accents the strengths of each track without allowing one element to dominate, the guitars soar from delicate to brash and Hymns always manage to squeeze more out of it than you might reasonably expect two blokes from the midlands to manage. Worth a listen and another chance live.

Matthew Rhodie

The Do's 'Quick Fix' Review

The Do’s

Quick Fix

Self released

This year, it seems that some of the most interesting bands I’ve seen live have been two-piece outfits who manage to create walls of sound from a drum kit, a guitar and a couple of voices.

The Do’s are one such combo, consisting of Elliot Oldroyd on guitar/vocals with Matthew O’Leary on drums/vocals they manage to create an interesting mix of light and shade. Quick Fix sees them open with a grunge dynamic that then relaxes into a confident slice of fuzzy guitar-driven riffing which is all good clean fun. Leave This All Behind comes in like McLusky passed them the rulebook for killer intros and never fails to please.

Between the insistent rhythm and understated vocals this Wakefield duo hit the mark and for a first outing, this free download, available from: http://thedos.bandcamp.com/ left me hoping to stumble into a boozer on a cold winter night and catch them live. You can do just that on the 11^th December at the Inns of Court and on 23^rd December at The Hop.

Matthew Rhodie

Constellations 2011 Review

Constellations Festival

Leeds University

November 12th 2011

So Constellations returns for a second year. Last year I made it through Runaround Kids' set before going to home to spend the following week in bed with Flu. I missed a good do by all accounts so i've got high expectations for this year.

Things don't begin especially well as i arrive in time to catch the last twenty five seconds of Hookworms in the alcohol free Riley Smith Hall. Bugger. I then make my way to Mine to check out Outfit. I wish I hadn't bothered. They do nothing for me, seem a bit dull and pedestrian and each song bleeds unrecognisably into another. The beer soaked copy of The Independent on the table soon becomes more appealing.

Back To Riley Smith Hall for Zulu Winter who I know nothing about but think their name is good. They don't sound as good as their name but they do a similar thing to Outfit in a more interesting way. I reckon they probably sound better on record though. Staying in the Riley Smith Hall for Islet. I've been looking forward to seeing these again since they were a highlight at Leeds Festival in the summer. And they don't disappoint. They are quite frankly awesome. I don't suppose you can really say they have structured songs as such which lets face it doesn't matter. Their playfulness and experimentation finally fully gets the day going for me. Perhaps understandably they appear to polarise opinion in the crowd and that really is always a good thing.

Needs to be something good after that, and I could probably do with checking out some of the other venues in this festival. Well wow look at that Stephen Malkmus is on inexplicably early. Surely he should be headlining right? Apparently not and it doesn't matter really does it? I guess it goes without saying working closely with so many bands who have Pavement deeply embedded in their DNA and never having got to see Pavement myself, I was really looking forward to this. Unfortunately I'm not as familiar with The Jicks material so can't sing along even though I feel like doing so. I probably ought to rectify this as I really enjoy the whole set. I would have done so even if he hadn't dedicated a song to the people of Wakefield.

After you've watched the real thing there doesn't seem to be much point in watch a pretender straight afterwards. That's a little unfair as I have enjoyed them earlier in the year and Get Away was one of my favourite songs of the summer. But it's hardly a fair slot to put them in. So anyway, I don't watch Yuck. Instead I head back to Mine for Vondelpark. Interesting ambient atmospheric stuff for sure, very soothing, I like what I hear but I head back to Riley Smith Hall again in time for The Antlers.

After the disappointment of no 'Hospice' material in their festival set during the summer, I was at least prepared but still hopeful of a 'Two' or 'Epilogue'. They didn't make an appearance but the 'Burst Apart' material has become familiar to me now and I don't miss the older songs too much now. After seeing a couple of bands not quite getting atmospheric quite right, The Antlers are a joyous sight (sound, surely) to me. It's a perfect ending to the day for me, anything after that will only be an anticlimax for me. So; taking into consideration I've already missed a good portion of Wild Beasts due to Riley Smith Hall running further and further behind as the day progressed; I decide to leave. I've done better than last year after all.

Rob Dee

Wilco - 'The Whole Love' Review

The Whole Love

Wilco

dBpm Records

During their career Wilco have been perceived by many as a contrary bunch, shifting stylistically between albums and line-ups; this stigma is one that frontman Jeff Tweedy has been eager to dismiss whenever the subject of his integrity has come into question, rather he wishes to be perceived purely as a songwriter who is interested in one thing; the song, and how best to serve it. And so when Wilco delivered their 4th studio LP to Reprise Records in 2001, the radio-listener conscious major label decided to pass, deeming the record too difficult to market, dropped the band and sent them on their way. As it happened Yankee Hotel Foxtrot proved to be the bands most successful effort yet, allowing them to drop their Alt. Country poster boy image, paving the way for the band who was to be labeled "America's answer to Radiohead". Fast forward 10 years, and the revolving door of band members seems to have jammed shut with their finest line up yet. Their live shows have bloomed into an all encapsulating experience covering material from nearly all of their previous records (see the brilliant live DVD "Ashes of American Flags"). Sadly this newly founded confidence hasn't always worked well in the studio. That's not to say they have produced bad records, it just seems to me the band were still testing the water, but now with their new self-produced record (and the first released on their own newly formed record label dBpm) Wilco sounds like a band finally firing on all cylinders.

The album's opener 'Art of Almost' is the only track on offer here that really delves into the crazy world of the electronic freak out that has been explored on previous records. Kinetic buzzes, bleeps and glitches flow alongside the rock solid rhythm section of Glenn Kotche on Drums and bassist John Stirratt, who delivers one of the dirtiest, and dare I say it, funkiest bass lines ever committed to a Wilco record. Tweedy croons over the chaos with his cut-up lines and phrases, while guitarist Nels Cline intermittently cuts through the din with chord stabs and arpeggios. Just as the song comes to it's conclusion it starts up again, this time paving the way for the biggest guitar freak out since Sky Blue Sky's 'Impossible Germany', only a hell of alot louder and faster.

After the aural onslaught of the opening track Wilco slide into the acoustic groove of the album's first single 'I Might', this song most of all shows off the talents of this band as a whole and as individuals. Mikael Jorgensen's chirpy hammond organ bounces along side Tweedy's effervescent acoustic work and another brilliant bass line from Stirratt, Cline's sinewy, distorted slide guitar adds the vinegar to this otherwise bubblegum sweet pop number, and much like Johnny Greenwood's chain-saw-buzz-stops in 'Creep', sets this song alight.

The ethereal 'Sunloathe' follows, with Pat Sansone taking the lead on piano while the rest of the band provide a swathe of dream like sound washes and prepared percussion until the 2 minute mark when the drums strike up and Cline's 12 string guitar drops in. There's more than a hint of Sgt. Pepper here, especially in the Lennon/McCartney styled backing harmonies and unusual chord patterns.

'Dawned On Me' possesses the album's first toe-tapping, head nodding, gem of a chorus, with Tweedy professing "I can't help it if I fall in love with you again, I'm calling just to let you know it dawned on me." With it's lush arrangement, instrumentation and heartfelt lyrics this track oozes summer sun and is enough to carry anyone through the coming wintry months.

'Black Moon' takes the album down a step, with a finger picked, country tinged number, complete with sweeping strings and pedal steel guitars, Tweedy delivers a near whisper through the track asking "I'm waiting for you, waiting forever, are you awake now too?".

We're back in sunshine territory now with "Born Alone", again we're carried along through the verse by Tweedy's upbeat vocals and another toe-tapping back beat from Kotche, until the instrumental refrain which sees Nels Cline rioting through a sugar sweet guitar riff until the song ultimately culminates in the band blasting it's way through an ever descending power chord assault.

Once again the band returns to it's country roots with 'Open Mind', Tweedy delivering heart warming lines such as "I could base my whole existence upon the cherry strands of your gold hair".

The next track 'Capitol City' is a bit of an odd one stylistically, even for Wilco. This is a jolly, jazz inflected ditty, replete with the odd Grandaddy style arpeggiator and some barber shop backing vocals thrown in for good measure, immediately standing out and yet fitting perfectly with the albums constant dynamic shift.

Following that 'Standing O' blasts into action with all guitars blazing, in many ways it's very similar to the other more upbeat numbers on the album, in that it features familiar key board punches and Nels Cline rips it up throughout but it still manages to hold itself with Tweedy's penchant for a strong melody, culminating in another huge sing-along chorus.

'Rising Red Lung' is another finely tuned acoustic number, again showcasing the band's unnerving ability to create dramatic sound collages, while Tweedy once again in a near whisper delivers more of his trademark quasi cut-up lyrics: "I want a wig that's been blown by something unknown, buried under a mile of snow."

The album's title track 'Whole Love' slips back into the groove with swung acoustic guitars, shimmering lead lines and Tweedy doubling up his vocals in whispered baritone and cracked falsetto simultaneously, resulting in a group vocal refrain chanting on the song's title, before the band are granted another psychedelic wigout; this one far removed from the opening track boasts delicately tumbling drums, sweeping synths and pitch-twisted guitar lines echoing throughout as the song quietly resolves.

'One Sunday Morning' continues the album's theme of alternating between upbeat songs and slower, acoustic numbers, only this time Tweedy's acoustic strumming is backed up fully by the band with Kotche providing a brushed snare (complete with egg shaker), Sansone back on piano duties (and a spattering of glockenspiel), while Nels Cline manufactures lap-steel like shimmers on his guitar (according to the sleeve notes Mikael Jorgensen provides 'wavetable scrubbing'...? Whatever the hell it is, it's working). The song flourishes into an almost ambient middle section before starting up again instrumentally; pockets of warm free form noise rise up and float along and then drop again until after nearly 12 minutes the song, and the album, fades out.

Wilco are a band I've know about for a long time, but I hadn't really given them much attention until this past year or so (in which time I've devoured all the albums, watched the DVD's, read the book and now I'm about to delve into their bewildering world of side projects), and so this is as a result my first ever brand new Wilco release, one that I'm hearing and holding in my hands for the first time alongside everyone else who has bought into the band over the years. It's a great feeling to finally catch up with a band, and for that matter catch up with a loyal fanbase that have followed them since the beginning. The feeling is made all the better for knowing that this really is the band's best album since YHF, and I can feel justified in pestering everyone I know into listening to it.

Harry Rhodes

Post War Glamour Girls Debut Single, Review

Post War Glamour Girls

Spitting Pearls / Ode To Harry Dean

Sturdy Records

Post War Glamour Girls formed around a year ago in Leeds and this is their debut single on Sturdy Records, also home of The Wind Up Birds.

It’s always a good start when 30 seconds in I’m thinking; there’s nothing else on my ‘to review’ pile that’s going to sound like this. ‘Spitting Pearls’ is a sprawling, subterranean claw through queasy Nick Cave atmospherics, superb dynamics twisting the dark, looping tale round to an epic, screaming conclusion. It takes a few turns to get your mind around what is actually happening, so odd in its construction that it’s hard to know where it is going, a real horrorshow descent into some form of madness.

The flipside is ‘Ode To Harry Dean’ which starts off as a far more discordant beast, crunching, fire and brimstone ranting driven by rumbling tom and snare crashes and super fuzzed up lead guitar. And then it’ll cut to a sweet vocal and guitar part. And with 4 minutes down it cuts to something else that could even be described as an anthemic chorus. It works though. Similarly to SP it’s a journey, unorthodox structures surprising at every turn and it takes a while to settle in. So, a bizarre combo leaving us with; an in-your-face-slow-burner. I’ll take that.

There’s a lovely reverberating sound across the record - plucks and clicks and ghostly backing vocals - mixed with over distorted drums and crunching, abrasive vocals. It’s a massive, full sound that benefits from repeated listens. So, if you splash out for the limited edition 7”, I can assure you, it won’t be one of those that gets played once and sits on the shelf. Post War Glamour Girls just keep drawing you back for more, albeit in a rather sinister and disturbingly pleasing manner.

Dean Freeman

PWGG BANDCAMP

The Cat That Walks Alone - 'Evans Throne' Review

The Cat That Walks Alone

Evans Throne
Allign Romance

The Cat That Walks Alone is the title of one man band Cameron Laing who has experience writing for ‘various major label artists’. Which of course turns me off immediately. Yes, for no good reason, but hey, I’m reviewing it and I’m just being honest.

The sound here is some kind of dense folk pop with an impressive propulsion and sense of momentumn evident throughout. Synths and beating drums open things up and the song is built around the chord progression of a thousand 80’s Indie Pop songs, though most of all ‘The Streets Have No Name’ is brought to mind. This is where I kind of feel the ‘songwriter’ aspect coming through – ‘yes it’s predictable chords, but look what he does with it’. Well, to a point, the voices in my head are correct; the levels and layers of instrumentation and melody are smart and very well done, as is the clean and upfront production. But nothing new here.

The short, sharp title track leads into B-side ‘Love Will Always Come’ which is a much gentler creature (you can imagine it now right – picking guitars and fat piano chords?), predictably so. Except it kicks in half way through with what a friend of mine would call ‘disco’ beat. Distant horns swirl in and it’s pretty affecting, more homely and honest.

It’s these moments of surprise that work best on this single. In many ways it feels too much like they’ve thrown everything bar the kitchen sink at it; an approach which on the whole works, but I’m not convinced the songs underneath are strong enough and perhaps the thing most lacking is a strong personality behind it. Cameron’s voice has a sweet C86 tone to it, perhaps too laid back for the full on folk rock attempted here. Technically, the whole package is faultless but I feel I’m lacking something to hook onto. Still, could imagine hearing it on Radio 2, so maybe I’m not the fish it is trying to lure.

Dean Freeman

Two Trick Horse "S/T" Review

Two Trick Horse

Self-Released

They may purport to only have two tricks, but the duo of Stephen Livesey and Sam Coyle offer us three tracks on this demo. That one of those is an instrumental means that we don’t get too much lyrical insight, a shame given that they cite David Peace’s novels as an influence. Opening track “Kensington Gore” charges out of the blocks, repeating the line “This is a dream”, which given that Peace’s novels frequently blur the lines between reality and dreamlike sequences (Well they’re usually nightmarish!) seems appropriate. They then slow things down, introducing a slightly Sabbath-y air of menace (Think “Electric Funeral”) to the proceedings, which works well.

Instrumental track “Horsepower” reminds me of Therapy?, particularly their pre-“Troublegum” work. Placing it bang in the middle of the running order does seem curious though, as it does rob the release of what little momentum had been built up. Closing track “Assassination Summer”, as with all the songs, was recorded in December of 2010, yet its title, which is repeated frequently, and the opening lines, can’t help but bring to mind the recent shootings in Norway. Musically it is upbeat hardcore, along the lines of sadly short lived Dutch band Razor Crusade (Must dig out “Infinite Water” for a listen), although Livesey’s vocals lack the level of intensity that would befit such subject matter.

As a demo there’s definite promise, the production sound is not overly polished, coming across more like a rehearsal tape (I swear the sound at the start of the CD is a tape recorder button being pressed), which if I’m honest suits the stripped down material.

Andrew Whittaker

Lorenza Woods "S/T" Review

Lorenza Woods

S/T

Self-Released

Lorenza Woods may be an unfamiliar name to readers of the Bomb, but if you’re a Wakefield based music lover I suspect you will have come across some of the band’s members down the years. Significantly three quarters of their line-up (Guitarist Mik Crone, bassist Trevor Nicholls and drummer Matt Larkin) were previously in the long running K.O. Kaine. With Adam Phillips departing in late 2010 they opted to change their name before recruiting a vocalist.

Whether they ever contemplated retaining the K.O. Kaine moniker I’m not sure, but replacing Adam with Sarah Green (Not the Blue Peter presenter of the 80’s!) surely forced their hand. I can think of only one precedent of a metal band replacing a male singer with a female and going onto bigger things whist retaining their name, Swedes Arch Enemy. Their demos with Angela Gossow fooled many people into thinking that her vocals were in fact those of former Carcass frontman Jeff Walker. Whilst Green can unleash an equally fearsome roar at times, she often employs a clean style, which for me doesn’t always sit comfortably with the music.

What of that music? Well a recent piece on the band in the Wakefield Express hinted that they are looking to hark back to the sound of local bands such as Pylon, Milloy and Wrinkle; but that this release was comprised of K.O. Kaine music that never saw the light of day. What could be said is that they hark back to the time said bands made their mark, the late nineties and early noughties. Opening track “This Part’s For You” kicks in with a riff very much in the mould of Atlanta, Georgia’s finest rap-metal export, Stuck Mojo circa 1996’s “Pigwalk”. Later there’s a groove the size of that state that closes out the song which brings to mind the not so fine nu-metal band Coal Chamber. When Sarah is at her most aggressive, spitting out lyrics with an almost rapped delivery the deceased Wakefield band that most readily springs to mind is Crone and Larkin’s pre-K.O. Kaine outfit, Freak K.O., who were also female fronted (Confused yet!). This is the sound of the band operating in familiar territory, but there are hints of them stretching their wings into more melodic areas.

For much of “Outside In Fading Out” the band continue to trigger memories of the late nineties, especially the Tarrie B fronted Tura Satana. Although the mid-section serves as a breathing space, allowing Green’s clean vocals to take centre stage before Mik Crone displays his shredding skills with a suitably OTT solo. For me the contrasting styles don’t quite gel on this track, coming across as somewhat contrived. Thankfully “Non Believers” steers away from this approach, sticking almost exclusively to a commercial goth-metal sound ala Lacuna Coil et al. Although at nearly six-minutes in length it could outstay its welcome for some. At just over four minutes “Soldier Boy” continues along these lines with greater success, Green’s almost operatic wail being tempered by some subtler guitar work from Crone and an undercurrent of keyboards.

With the more commercial leaning of the final two tracks it almost feels like a game of two halves (Tracks 1-3 and 4-5). Clearly Lorenza Woods are still honing their sound and I do wonder if defining themselves with a physical release at this early stage might later be something of a millstone around their necks. As I alluded to earlier their present sound brings up a lot of memories of bands that I listened to in the past and if I wanted a nostalgia trip I’d more than likely dig out something by Clawfinger, Kill II This or Lacuna Coil rather than reach for this. But if those sounds still rock your boat you’d be advised to head down to the dark waters depicted on the cover.

Andrew Whittaker

Mondo Cane - 'Do It' Review

Mondo Cane
Do It
Self Released

Back in Issue 1.2 of The Rhubarb Bomb’s physical format I remarked that Mondo Cane shared their name with one of Mike Patton’s many musical projects when reviewing their “Guaranteed Personality” EP. I suppose they deserve some kudos for sticking to their guns and keeping the name, despite the competition. It’s not only the name they’ve retained since that last release, the title track showcases a familiar quiet/loud song structure, with fuzzbox a plenty. “Popular View” is more evenly paced, but relies on the same dynamics. At two tracks long “Do It” is a useful reminder of this band. I’m not sure I’d want to hear a full album along the same lines, some greater experimentation would be welcome, but if you’re already a fan of the band I’ve no doubt this one’s for you.

Andy Whittaker

Redwood Thinkers - 'Fade So Simple' Review

Redwood Thinkers
Fade So Simple
Self-Released

Summer’s here, which means that not only is it festival season, but there are also all manner of villages galas, summer fetes and such like. Yours truly was in attendance at one such event recently, a beer festival in aid of my old scout pack (I’m guessing Redwood Thinkers enjoy the odd alcoholic beverage as they thoughtfully included a bottle opener / key ring with this CD.) where for the majority of the day we sat outside, enjoying the weather and a range of brews. As the sun set and temperatures dropped we headed inside the scout-hut where we continued to enjoy a range of brews! An acoustic duo played a set in the corner of the venue, although I suspect if you’d asked any of my fellow drinkers what they thought of them they’d probably have replied “What band!” I can easily imagine Redwood Thinkers playing similar events and garnering a such a reaction.

“Fade So Simple” is on one-hand an impeccably performed and produced effort, on the other it’s such an ‘easy-listen’ that it actually began to irritate me. In fact I nearly flung it out of my car window when the song “No-one Looks Happy In Cars” came on. As someone who cycles to work quite regularly and then proceeds to monitor the North East’s motorways for 8 hours plus I would agree that a lot of motorists look pretty glum. However, I had been enjoying that days drive until that point (Mental note, I should have stuck to the Turbonegro CD I’d been listening to previously!) Somewhat bizarrely the next song, “Falling Down”, starts with the words “Take a car”, talk about mixed messages!

Having established that “Fade So Simple” does not make for good driving music I then attempted to listen to the album whilst doing the dishes. Suffice to say I didn’t make it all the way through. It took something approaching masochism for me to finally sit through all ten tracks in one sitting (During a coach trip with my earphones in to block out the driver’s skipping CD!). There are hints of Kate Bush in Kezia Roberts’ vocals, but her frequent repetition of vague emotional sentiments such as “But no one can deny this feeling, this feeling, this feeling etc” during “This Feeling” and “So nice to meet you, so nice to meet you, etc” on “Burnt” would have had me checking if the needle was stuck had I been listening to this on vinyl. I would say that “Chemical”, with male vocals akin to Eddie Vedder and a whiff of ‘grunge-lite’ is one of the few songs that doesn’t rile me. Closing final track “Worship The World” with a ‘funky’ bass workout, organ flourish and drum solo, seemingly in an effort to showcase the musician’s talents one last time, however, set my blood boiling again!

In the interests of professionalism I have listened to the album again whilst typing these words, an experience which has left me desiring a nice cold beer to relax with, now where did I put that bottle opener?

Andrew Whittaker