Live Review - The Pigeon Detectives at The Wedgewood Rooms

 The Wedgewood Rooms to me is like my second home, and last night (Saturday 11^th May) it was made quite aware to me that it also holds a special kind of place in a certain indie bands heart. Since forming 2004 Yorkshires very own Pigeon Detectives have played the venue 5 times, I've attended at least 3 of those, and every time the band has got more tight, performing harder and stronger than the last.

So, 10 years and 4 albums later The Pigeon Detectives return to Portsmouth, an air of anticipation is in the air, we all knew what was coming and it was clear from the off that everyone was prepared for the inevitable. The Portsmouth date was the final furlong of 15 on the ‘We Met At Sea’ tour, and it was going off with a bang, by the seaside.

As the venue filled itself up first support act HARES took to the stage, a bubblegum- grunge phoenix rising from the burning embers of The Holloways. Looking like they’d just walked off of Camden high street, the recognisable face of Robb Skipper (vocals/guitar) was joined by Jack Flanagan (bass) and Adam Sullivan (drums).

No strangers to a Portsmouth crowd having recently played The Cellars, HARES took to their set steady with a post-grunge/baggy indie sound, complimenting each other nicely with some top form between song banter. Check their new EP ‘Coastlines’.

Next up were 4-peice MUST, also hailing from London. A band that consists of funky bass lines, a sweeter kinda shoegaze sound and a lot of toilet paper (a reference that only those in attendance of the gig will understand). Stand out tracks from the MUST set include ‘Die For You’ and ‘The Devil Lives’.

Now near full to capacity, The Wedgewood Rooms was ready for headline act The Pigeon Detectives. A crowd ranging from teenage girls to burly older men, battle lines were drawn, the lights dimmed and they took to the stage. Opening with ‘We Met At Sea’ track ‘I Won’t Come Back’, the still audience was now a sea of arms and bodies, the stage a blur of the erratic Pigeon Detectives lead singer Matt Bowman.

A quick word and bow to what Bowman describes as his ‘beloved Pompey’ the band tore into first album anthem ‘I Found Out’, moving everyone into pure delirium. Only 2 songs into a 17-song strong set The Pigeon Detectives had the capacity crowd in the palm of their hands, the backline tight from the off, but this is what we all expected. Following ‘I Found Out’ from ‘Up guards and at’em’ was ‘What Can I Say’ into second album single release ‘This Is An Emergency’ which was complimented by the accommodating all singing, all dancing crowd.

Although new album ‘We Met At Sea’ has been approached in a bad light by the musical media, played live album tracks ‘I Don’t Mind’ ‘Day And Month’ ‘Hold Your Gaze’ and opener ‘I Won’t Come Back’ slip nicely into The Pigeon Detectives live set up, with confidence around previous albums materials.

As always Bowman was on top form with crowd interaction, at one point crowd surfing over the first few rows as well as apologising to a female on the front row that I can only name as ‘Amanda’, in the unfortunate case of having his crotch in her face. Bottles and bottles of water were disposed of over himself or into the raucous crowd and the trademark jumping splits and microphone swing were continuously in action.

In a personal first before ‘Go At It Completely’ Bowman kindly asked every member of the audience to climb the shoulders of a friend, or not a friend in my case, before he could finish his sentence I was on the shoulders of another member of the audience, crowd surfing alongside members of HARES and MUST. Now a sweaty and very wet mess Bowman confirmed that the band would be going off for an encore but we must not ‘mug ourselves’ into thinking they aren’t coming back, he also confirmed that the next time the band return to the city they would take the party down to the seafront itself and into The Pyramids.

 In their return they smash into second album track ‘Everybody Wants Me’ followed by the few final crowd sways and circle pits during ‘Take Her Back’ ‘Hold Your Gaze’ and Indie banger ‘I’m Not Sorry’. As the final thank you was said, some more toilet paper was thrown and water was poured, The Wedgewood Rooms crowd ran onto empty and into the night.

The Pigeon Detectives are now to embark on a European tour on the back of their new album which you can buy in all good record stores, and in the words of the band themselves “Keep music alive, buy music”.

Images courtesy of TomLangfordPhotography.

On The Radar : DoubleOSessions

Sometimes all the best things are right under your nose, even then you don’t pay attention to them, I certainly smelt what was cooking this time.

Last Wednesday, as a part of ‘Big Jugs Wednesday’ at The One Eyed Dog (Portsmouth) DJ Lemon cast his net out for all the best local talent from all genres, a massive challenge in itself, and he came out with some bangers, one of them came in the form of DoubleOSessions.

DoubleOSessions are a 2 piece from Portsmouth, going under pseudonyms K.O and Oh Kay. Influences are what feel like the chilled out vibes of A Tribe Called Quest, the licks of Jurassic 5 and ‘Ill Communication’ Beastie Boys.

Radar Track (and only track released) ‘Hit’Em up’ has the old school hip hop style while sounding fresh, social commentary is spot on and I’m not the biggest connoisseur of hip-hop and rap or fully in touch with the UK scene, but I’m feeling DoubleOSessions going from strength to strength in the near future.

On The Radar : Asta

Those Australians have done it again, just as April properly rears its beautiful head into sunshine, this time with a wonderful solo artist in the form of Asta.

Back in 2009 I became addicted to co country dwellers Empire Of The Sun and their first album ‘Walking On A Dream’, tracks such as ‘We Are The People’ and ‘Half Mast’ were constantly propping themselves up on my iPod shuffle and practically sound tracked my summer. Hailing from Hobart, Australia, she could quite well become my Empire Of The Sun for 2013.

Asta is Karen O meets Empire Of The Sun, hypnotizing vocals encapsulate themselves around a soft kick, hi hat and acoustic guitar. Radar track ‘I Need Answers’  is a tiny bit early Daft Punk meets Ellie Goulding with a bit of Gabrielle Aplin, a nice gentle tune you’d have on in the background on a sunny Sunday afternoon.

On The Remix : Hot Natured - Reverse Skydiving (Shadow Child Remix)

I lost touch once again and my email inbox overflowed with music, a top of the pile was some electronic goodness in the form of Hot Natured, a 4 piece that have been bubbling the musical surface for a while now.

New release ‘Reverse Skydiving’ features Anabel Englund and is to be released through Pete Tong's label FFRR label. This version however is the Shadow Child remix, which boasts tech/house beat and dub breakdown, a dance floor mover and beater.

Hot Natured are set to appear in a headline slot at this year’s Glastonbury festival, in the giant sonic super tent on the Friday night. They are also set to appear at Parklife, Sonar, T in the park and Bestival as well as released an album later this year.

On The Radar : Fryars

I guessed it was about time I should touchdown on home soil musically, as lately I've been travelling (not literally) the world on a wave of indie-pop from Australia, America, Norway and Sweden.

Into the big smoke of our capital city reigns Radar act Fryars (real name Ben Garratt, 22 years young) a natural poetic genius of the 21^st century gathering speed through an off the cuff bet by the NME and Zane Lowe causing mass hysteria though his next hype.

If anybody remembers Dave Grohl and his keynote speech at this year’s SXSW you’ll remember him grabbing his guitar along with 2 tape decks and recording himself, Fryars is the true example of this. Self recorded and self released, gaining attention far and wide.

Take a metaphorical stirring pot and add the ingredients of the fingers of Gold Panda, the vocals James Blake, the more emotional Jack Penate and the musical dust that Dépêche Mode leave in their absence. You should be left with something that creates Radar track ‘On Your Own’, a plethora of emotion, a brick wall of lust, like that punch to the stomach when you see the person you can’t gather the guts to speak to, yes, that feeling.

You can see Fryars at London’s St Pancreas Old Church on 2^nd of May or Leeds Holy Trinity on 7^th May.

‘On Your Own’ is set for single release on 13^th of May 2013.

On The Radar : Atlas Genius

Remember when I said the southern hemisphere was creating some great music over the last year, well, I’m not going to say it’s the weather, or possibly something in the water but there are some wonderful sounds coming from down under.

Radar 3 piece Atlas Genius hail from Adelaide, they grew up among a very musical family and were heavily influenced by The Beatles, but fame wasn't to come first hand in their native country.

A track recorded in their very own self built recording studio by the name of ‘Trojans’ was scooped up by US blog Neon Gold which catapulted them into the spotlight. Since then they have charted in the US Billboard chart and gone top 10 in the US Digital charts, as well as appearing on numerous American chat shows and becoming Zane Lowe’s next hype on Radio 1.

Radar track ‘Symptoms’ is Bastille, with a twang of Empire Of The Sun and just enough Foster The People to get by. It’s an acoustic guitar layered with a persistent drum beat nicely partnered with some dulcet tones. A melodic lo-fi pop hit that’s going to surf its way into the UK charts within the year. And I ought to mention, they've just finished a tour with previous Radar band Imagine Dragons.

You can catch Atlas Genius debut at London’s Elektrowerks (Tickets : http://www.livenation.co.uk/artist/atlas-genius-tickets)  on 7^th May, a day after the release of radar track ‘Symptoms’.

Live Review - King Charles at The Wedgewood Rooms

I remember my introduction to the song ‘Bam Bam’ quite well, when I heard it I did a little chuckle, the same kind of chuckle I did when I first heard Mumford & Sons, retorting “that will never catch on”. People that know me will tell you that I have the attitude of always being right, but on both these occasions, I was completely wrong and 2 and a bit years later I found myself in a very cold room dancing to the said song while King Charles played to a packed out Wedgewood Rooms.

A year or so before this, King Charles had visited The Wedgewood Rooms (at this point, I was fully converted) to play ClubNME, a gig that is way up there with some of my favorites  His onstage braggadocio is laboriously backed up, showmanship only you would imagine seeing among established artists; he held the room in the palm of his hand, with ease. In his presence once more, the story unfolds
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A whole hour before doors, outside of The Wedgewood Rooms a queue formed of a middle aged man, a huddle of teenage girls and the teenage boy looking awkwardly on, it was ever growing. Inside the venue, final sound checks were being finalized and merchandise was being frustratingly counted, while out of nowhere like a sudden smoke King Charles appears, excited and animated 11 days into his 30 day tour of the UK, props to him for the amount of energy nearly 2 weeks into the jaunt with another 2 on the horizon.

As the room gently filled itself with the broadest aged crowd I had seen since Gabrielle Aplin (3 weeks previously) first act Giovanna, who if I am not mistaken is a close relative of the man himself, took to the stage to play a 4 track set that aligned itself somewhere between Ellie Goulding and Florence Welch, nicely seconded by Alt J. A commanding voice that is slightly left short by stage persona, but it’s nothing a few lessons with KC wouldn't fix, a definitive future.

Next up were Story Books, influences formed out of the embers of the late noughties indie, think Bombay Bicycle Club, The XX and a vocal that sounds like Ezra Koenig of Vampire Weekend. Enticing tracks, steeped with emotion with added in between song banter, we all like a band that can joke in between songs, or while tuning their guitars (you can’t get the staff these days). Well worth your time; check out the track ‘Glory & Growth’.

Now for the headline fight, the lights dimmed down and the introductions followed, a pitch black Wedgewood Rooms staged was filled with King Charles’ foot soldiers, with them in toe he followed. Like a true king leading his men into war he took no prisoners from the first chord, the battle was already won it seemed. Instantly charming the crowd into ‘Love blood’ then competently hypnotizing every female in the radius of the room with ‘Mississippi Isabel’ with added crowd sing-a-long.

What’s most clear a year on is how tight King Charles a band have become, expanding slightly but without a need to know, no bum notes or eerie silences, the back-line was taut and without fault. If you translate the music King Charles play to the sold out audience who were watching  you’d be mistaken to think it was just sweaty teenagers, as either side of me through the majority of the gig were pockets of middle aged women gushing at KC’s every move, and with reason.

A quick guitar change led King Charles slaying into ballad ‘Polar Bear’, enticing the crowd once more, the sheer power of the track threw the audience into a quite uncontrollable frenzy which was then soaked up by the band and prolonged into a cataclysm of break downs and a stage dive.

 As the lights dimmed once more, and King Charles fixed his hair (that’s a lot of hair) his dulcet tones introduced everybody to Mumford duet ‘The Brightest Lights’ at one point managing to silence himself and leave The Wedgewood Rooms crowd to sing the chorus for themselves. A diamond in the ever glistening King Charles crown ‘Bam Bam’ followed alongside ‘Beating Hearts’ ‘Coco Chitty’ and the lyrically brilliant ‘Ivory Road’, things then began to wind itself up, in the same sense as jack in the box.

When you talk about encores you imagine them to be short and sweet, uneventful, enough to send the crowd home smiling, but not tonight, King Charles had different ideas. He returned to the stage a solo artist, playing alone to a crowd that looked on deflated, momentarily deflated, He then introduced his foot soldiers back to the stage and we were all treated to the brilliant KC rendition of Billy Joel classic ‘We Didn't Start The Fire’ but the story doesn't stop there. The first verse whipped the crowd into a what can only be explained as unequivocal hysteria which led to an extended bridge as this caused 2 teenage girls to faint (something I’m told isn't a regular occurrence at King Charles shows) that aside, the song is adapted lyrically, to which a credit to King Charles himself who in 3 words said his bit for Thatcher, in jest, maybe, who knows.

And just as we were all ready for all out war the lights went up, the dust was settling, the empty cups were being picked up, and the girls who had fainted returned for a hug. In short, The Wedgewood Rooms had once again had the roof blown from it and it was gently resting itself back, all thanks to a brilliant performance by King Charles.

 Do you remember that feeling when you were 15 and you left a venue covered in sweat and thinking ‘what just happened and why’...Well, that’s the feeling I have about Kings Charles at The Wedgewood Rooms, April 11^th 2013. March on, squire. 

Album Review : Pixie Carnation - The New World Record

First there were Iceland’s Of Monsters And Men, then came Sweden’s MO and following just behind are Pixie Carnation, there is just something about northern European pop, electro, rock or folk that really gets me.

On the cusp of releasing their debut album 5 piece Pixie Carnation are to play London’s XOYO, hailing from Malmo (that’s in Sweden) they play the middle ground between ‘Because Of The Times’ Kings Of Leon and ‘Sigh No More’ Mumford & Sons, a great combination, faultless even. The last 3 years has been a culmination of hard graft, touring, band members coming and going and a re-recording of soon to be released album ‘The New World Record’.

For anybody that has ever seen The Beatles ‘Yellow Submarine’ you won’t forgive me in saying the opening seconds to ‘The New World Record’ is Sgt Pepper’s Lonely Hearts Club Band just before the Meanies decide to mute, a wonderful matrimony of sounds flows into opener ‘When Did The Lights Go Out’ which gently pushes you into the journey beyond, the indie/rock influences begin to bubble on the surface. A southern American guitar twang chimes ‘We Can Lie’ into the mix, the vocals of Ola (Lead Singer, Guitar) pierce the versatile composed musical ensemble that contrasts to early Mumford crossed with Band Of Skulls, A slow building indie/rock hit.

Three tracks in and the strong Kings Of Leon/Mumford similarities begin to inch its way into the Pixie Carnation sound, ‘Speed Up Your Heart’ is ‘On Call’ meets ‘Winter Winds’ though the burden of the sound surrounds the band, the influence of either bands could well be vacant and be a complete act of innocent genius. ‘Keep It Coming’ takes Arcade Fire to the next level, a journey within a 5 and a half minute track, a weaving ride through long country roads on a mid-Sunday afternoon.

The ebbing flow from track to track in a prominent feature within ‘The New World Record’ as well as the never ending ability to pin down the exact sound of the band, from one track to another different sounds and influences arise but not one exact pigeon hole is available. ‘From The View Of A Gun’ puts us in the middle of the album, looking backwards at a now darker light and forwards to the next single ‘Young And Free’ the definitive Pixie Carnation sound at its strongest, the track to make you stamp your feet and sing at the top of your voice, a sure fire crowd pleaser a la ‘Little Lion Man’.

A celebration of life and everything it includes ‘Dreaming Still’ flows from ‘Young And Free’ with a positive resonance, Pixie Carnation take the traditional ensemble of musical creation, every track included within ‘The New World Record’ begs no less a duration of 4 minutes, inviting you in to feel every lyric and chord, something of which some artists and bands lack, throwing tracks out thick and fast than throwing their arms around them to create the spectacular music that can be appreciated.

Into the last quarter of the album ‘Little Sister’ throws a much later radio friendly type spanner into the works, the long dulcet tones of Ola collaborates pleasantly beside the bass of Lars and drums of Kristoffer, the collective as a 5 piece come together throughout to create brilliance. ‘Smile’ is the penultimate build-up to the drop and all out ballad that closes ‘The New World Record’ that is ‘Easy Love’.

There is a musical niche that surrounds Pixie Carnation, lots of ‘not quite...’ but ‘really likes...’ if you are a fan of certain bands and a certain genre then this is the band for you, there is also a certain success that will surround the sound that they own and will see them through to chart around the world.

‘The New World Record’ slips itself into one of the best albums I have heard in 2013, alongside Justin Timberlake’s ‘20/20 experience’ Biffy Clyro with 'Opposites’ and Bastille ‘Bad Blood’. A possible outside runner for Novembers Mercury Music Prize, young and free Pixie Carnation keep it coming.

Pixie Carnation play London's XOYO on April 22nd, Tickets are still available. Single 'Young And Free' is set for release on May 6th with the album 'The New World Record' being released on the same date.

On The Remix : HAIM - Falling (Duke Dumont Remix)

I didn't get the hype, I could not understand how this 3 girl pop group had got themselves to the top of the BBC shortlist of ‘ones to watch’ in 2013, and it has taken me until now to perk my ears up and take notice, but not by the way of original outing.

HAIM are a 3 piece who do what Niki & The Dove were doing early 2012 but with added dance moves (you tell me, I don’t understand) add to that everybody’s favorite remix artist and soon to be number  1 in the UK charts Duke Dumont and you've got something quite special.

On the remix is HAIM track ‘Falling’ an infectious pop (it’s not indie) hit that’s been reworked to feel summer.

On The Radar : BOY

It snowed today, in April. I don’t have any real solution to the weather or anything currently going on in world relations, I just keep my ear to the ground for new music and it just so happens that I’ve stumbled across the German equivalent, they are called BOY.

BOY were formed in 2007, a two piece partly from Hamburg, Germany and Zurich, Switzerland. The pop-folk paired alongside catchy lyrics were enough to get them signed back in 2011 and debut album ‘Mutual Friends’ reaching top 20 in the German album charts. This then led them onto movie soundtracks and multiple uses on German television adverts and TV shows (we’ve heard this story before).

Radar track ‘Little Numbers’ is a catchy pop gem with a clap and piano ensemble, vocals slightly contrast Lykke Li with a touch of Zooey a la She & Him. 

On The Radar : Ace Bushy Striptease

It was only a matter of time before those of us that were influenced by the mid noughties uprising of blunt indie pop-punk were going to rear our ugly heads, and tell everyone how it is once again. Ridiculously brilliant titles to songs with lyrical misogyny dabbed in a sherbet of lust, utter brilliance I would say, coming in the form of aptly named Ace Bushy Striptease (not even google will show you the search answer, go on and try it).

A five piece from the center of the country, distracted in university making 1 album per year, and lately highly influenced by football references. Sounds like a recipe for disaster, but it is really not. Why I've not stumbled upon Ace Bushy Striptease before is beyond me, but I know in my better mind that knowing they exist, I can sleep at night.

If I was going to try and tell you what they sound like, I’d fail, but I can tell you what you can listen to which will make you think ‘Oh..Yeah’...think Art Brut, Jarvis Cocker at the brit awards, the middle class honesty of The Young Knives and Test Icicles, you’re onto a winner.

Radar track ‘More Parts Milijas’ from their 5^th album ‘Outside Its Cold Just Like Inside Of Your Body’ is a clanging, football referencing, brutal but brilliant cataclysm of indie greatness. I really do hope that other than the independent labels they are signed to, someone takes a gamble that will pay off.

On The Remix : George Maple - Fixed (Maribou State Remix)

I spend most of my days scrolling aimlessly (maybe not aimlessly) through blogs, I can only explain it as digging for gold or a needle in a haystack, but on the odd occasion you will find something really quite beautiful, and today I found just that.

Her name is George Maple and their names are Maribou State, both of them are London based. Her single ‘Fixed’ is due for release in the very near future and is a vocal down the scale from Florence Welch, the upper scale, with less shouting alongside the sounds of what can only be described as early Passion Pit meets Gold Panda.

Maribou State spin ‘Fixed’ on its head, by what only seems as playing it back on itself with a twinkling of piano and a Jamie XX-esq re-work, not something anybody could grumble at.

 What bothers me at most about blogging about music is that the brain can comparison everything you hear with something similar, even as it sounds so fresh. Although a comparison is clear with ‘Fixed’ a contrast is also present, and that’s what makes it a gem.

On The Radar : The Colourist

It’s been a while since I have indulged into writing anything music related, but I heard this band, while looking out into the grey of Great Britain and suddenly all was well.

Coming in somewhere between Vampire Weekend and Owl City with a twinge of Beach Boys pop, currently touring with Metric are The Colourist, a 4 piece from Orange County, California.

Throw yourself in around the southern hemisphere and the same musical uproar is on the horizon and has been bubbling for just under a year, these tight guitar pop riffs and summer licks could be the ones to replace the current folk stamping indie that is dominating the airwaves.

Radar track ‘Little Games’ is a slow burning sunshine intro with a love/lust lyrical back story, duel male/female vocals make out the Owl City contrast while the guitar and bass cohort with the drums equaling a sure song for 2013’s ‘soundtrack of the summer’ playlist.

Album Review : The Shutka Champions - Chaos,Mutiny & Magic

I’d have forgiven myself for what felt like I was falling knee deep into the brain of Julian Barrett mid-writing of the second series of cult classic TV series The Mighty Boosh. If we work this sound through an old boot, a crab in pain and somewhere between A and G with added oaky timbre is the ‘Shutka note’, something I’d completely made up, but that’s what this feels like, this feels like ‘Chaos, Mutiny & Magic’.

Opening and album title track ‘Chaos, Mutiny & Magic’ is a drumbeat and a bass line straight out of the deep house handbook, a dim lit spinning room of sounds that graciously align with each other, lyrically leading you down into the rabbit hole. Still reeling ‘Hand In My Pocket’ weighs in with early 90s grunge guitar with a baggy indie twist a la Stone Roses, the monotonous lyrics recapitulate but part of me still feels like I’m searching for ‘the new sound’.

The spouse of a world war spy, clinically insane, most successful, James Dean admiring long distant relative of a folk legend has a song written after him. ‘Dennis Hopper’ could be the man that you try to motivate for more or people you watch from a distance, continuously unraveling  There is a Jimi Hendrix twang to that ever evident baggy synth/drum conglomerate with enough Derren Brown to take you under.



Into the middle ground of ‘Chaos, Mutiny & Magic’ is covered by a ‘Beetlebum’ meets Babybird, ode to a lady friend or companion of a Friday night. ‘It’s You’ is deeply introvert of looking into a pint glass, looking up in admiration, looking back down with every thought flowing through and then delving deep for the confidence then it flowing on. Take it or leave it, no matter where you are. ‘DB5’ is a shoot down, for your wants and needs, in a Bond track motion picture, walking along the street, Richard Ashcroft like down a backstreet to every spaghetti western you could think of.

‘Prenzlaeurberg’ (say that when you are drunk) pronounced Pre-nz-ler-berg is a borough of Berlin, steeped in history.  One can only assume after a visit to said city the Shutkas brought out experience which subsequently painted this picture of a journey and what they had visited in the exile. Back up and out of the rabbit hole is ‘Glorious’, the light shining brightly in the wonderland that Shutkas spin you through closely followed by ‘The Shutka Shanty’ a self-proclaiming confessional of where they've been and where they are going. A social commentary, pushing you back out of the door, into the bright lights of the current day.

The Shutka Champions aren't what you’d find in your top 40, but place them somewhere between 1991 and 1891 and you've got the drift. A nice listen of a sunny Sunday afternoon on Southsea seafront.

On The Radar : MO

As the month of January closes we are all still sat firmly on our seats still waiting for the first movements from the bands tipped to make 2013, but there are always that fair few diamonds in the rough. Channeling somewhere between Gwen Stefani, Lana Del Rey and Azelia Banks sits MO, hailing from everyone’s favourite European musical export Sweden.

Radar track ‘Glass’ partners the elements of 2012 breaking band Alt-J with the vocals of previously mentioned Lana Del Rey (think ‘Breezeblocks’ v ‘Born To Die’), a duel vocal chorus with a sing-a-long of native noises with added addictive guitar riff churn together to make an instant pop gem.

News Hit : The Strokes release new track 'One Way Trigger'

Earlier this week I found myself reading NME’s ‘Album A&E’ featured was The Strokes album ‘First Impressions Of Earth’ the angle grinder of the 5-pieces masterpieces, bring us back to real time 25^th January 2013 at around 7pm and new track ‘One Way Trigger’ bursts into a life, out of the blue.

Casablancas vocal are somewhat missing from the track, taking the prince approach, hitting the higher notes. The influences of the bands last release ‘Under The Cover Of Darkness’ is present throughout with a keyboard ensemble, Hammond Jr’s ever present guitar strum partners a Moretti drum beat on the backline at fast pace.

What can we expect from this, recording was in motion but a release so soon?...We await word from The Strokes camp to confirm more.

EP Review : Biffy Clyro : Black Chandelier

The calm before the double album storm has been brewing in a settled sea just off of our fair coast, and it’s debatable if the double edged storm will cause any damage at all. Many will be holding doubt around the release of Biffy Clyro and their now imminent outing with ‘Opposites’ but for now we can sit and watch it brew nicely on the horizon with the EP release of ‘Black Chandelier’.

The rock 3 piece come sailing in gently with EP opener and title track ‘Black Chandelier’, everything we expect from the ever existent badge of approval we continuously hold for our flag baring Scottish counterparts. Spinderley (even if that isn't a word) guitar riffs we expect of Neil are present throughout, the bass build and drum break, the gentle ease and final all round smash...It’s all included within ‘Black Chandelier’, the perfect Biffy Clyro song. Lyrically Simon Neil is still driving us around the houses, plucking verses of confusion then translating them into simplicity. ‘Black Chandelier’ is the perfect medicine to follow their epic previous return of ‘Stingin' Belle’.

Following the opener is ‘The Rain’ a ballad of sorts, the expected bubble wrapped commercial based X factor chart pleaser, the most simple of songs which is a complete disappointment but not what we shouldn't expect of the only out and out rock band in the UK (minus Band Of Skulls and a few others). For if it wasn’t for a certain Matt Cardle and the over filling wallet of Simon Cowell, the ever growing plethora of fans from previous album release ‘Only Revolutions’ would cease to exist and the hardcore would still remain, for what thanks we have.

 The subject of weather continues to dawn on us with ‘Thundermonster’, which wouldn't have been out of place on the ‘Infinity Land’ track-list  A thrashing riff-driven rock track of which we expect from Biffy of the past, something that some still long to return. It’s nothing short or long of acceptance and if this is what is expected in the contents of ‘Opposites’, those fans who have just got a ticket and joined the Biff bandwagon could soon be in for a shell shock. The final track on the EP is a live version of ‘Many Of Horror’, the track plucked from ‘Only Revolutions’ and propelled into the public eye, the EP filler and fan collectible  We all know the real lyrics, sit down Cardle.

In a rocking chair on the front porch of a city somewhere non-existent, we all sit and wait with baited breath, a 90-minute storm named Biffy Clyro is waiting to hit land. We can all batten down the hatches or lovingly embrace, ‘Black Chandelier’ is the tornado taster which causes minimal damage, sit tight as the blackened sky approaches.

On The Radar : Drenge

Drenge are a rock-garage outfit from the steel city (Sheffield, those who aren't aware), they fall somewhere between The White Stripes, The Strokes and The Black Keys, cue every two-piece comparison you can.

The music that Drenge play is something ‘between a rock and a hard place’ bluesy guitar like switches accompany a drum clattering worthy of an ASBO and vocals that mirror Morrissey, Casablancas and Wilson.

Radar track ‘Bloodsports’ is gathering pace in the music industry currently,  getting exposure in numerous magazine outfits, radio play and propping up in late night tweets a plenty, and we here at SouthSolarCity can see why. There is just something about Sheffield, isn't there?

They've supported The Cribs, They’re going on tour with Deap Vally and you can buy the ‘Bloodsports’ EP via Itunes now!

EP Review : The Planes - On Demand

How many bands do you know that is ½ formed by twins? Other than The Cribs, possibly not many. Portsmouth born and bred (we are making a habit of this), previous Wedgewood Rooms showcase finalists, previous ClubNME under-cards and all round talented 4 piece The Planes are imminently planning their first audio assault into the music world with debut EP ‘On Demand’.

This 4 track smash starts with the aptly named ‘See You Next Tuesday’ ode to the girl that’s led you on, to the guy that’s across the bar giving it some or the surrounding area, as you please. The Planes have matured since their showcase days, there is a much tighter edge to who they are and what they want you to hear, such is the age they are, we should all stand up straight and listen.

From the onset mid-noughties influences shine through, these youngsters were teething around the sounds of previously mentioned Cribs, The Kooks and The Strokes. The jangly-garage rock ensemble is perfected, vocally on form with not a note out of time. ‘Lose it’ follows with a foot tapping beat, a lyrical commentary from lead singer Mike Smith describes the moments of regret any male or female has felt in sight of the ex, or the girl/boy you lust for on a daily basis. The pent up sexual tension marred with pure emotion shines through the lyrics, these boys are growing up, with every page written (or ripped and thrown) the daily troubles of a teenager in the 21st century is ever present.

Title track ‘On Demand’ is the flagship in the first sail of The Planes maiden voyage, the all cannons blazing balls out indie love-esq song with duel vocals, the common twang and catchy riff partnered with a breakdown to add. The Planes fuse themselves within the local scene so easily, with room to flower in a bed that’s continuing to grow and prosper, age is a huge strength, picking the right opportunities they could well be on to bigger things in the near future.

Closing track ‘Stay The Weekend’ winds us up and out of this teenage angst ridden ride, another story based on the rumour mill of The Planes social surroundings, from the wrong decisions followed by the Chinese whispers. Like any boy should, it’s shrugged off like it will come out in the wash. They are musically tight and lyrically strong, young and ready to take on the world, well dressed and meaning business and The Planes first outing ’On Demand’ is a jab and roundhouse knock-out.