On The Radar : Yungblud

When you’re greatest city exports are Leslie Garrett, Louis Tomlinson and Kevin Keegan what aspirations in life do you have? Well, earlier this week my first comment after hearing ‘King Charles’ by Yungblud was “Stop the world I want to get off” but the track stuck and I went back to it days later and I’m still listening.

You’d be mistaken to think that from the opening of ‘King Charles’ could be the vocals of YouTube star Devo, but don’t get confused because it’s actually 19 year old Dominic Harrison from Doncaster. Now I’m not going to tell you that I’m well in touch with the youth of today as I’m pushing 30 but the vocal aggression and downright honesty of the lyrics in this track is straight fire, talking of the ongoing troubles with youngsters today and their feelings and thoughts on the world. With musical heritage coming from a granddad in T-Rex, Harrison is clearly steeped in talent with a sound that is handpicked from early Jamie T, second album Arctic Monkeys and the catchy riffs of Kasabian.

Yungblud have that polished feel, maybe so much so that it’s already gone too commercial but they are having a good punt at it...What more can I say? Have a listen and make up your own minds.

Gig Review : Wedgewood Rooms Showcase Final 2017

Another year over, a plethora of bands passed and only one winner could be crowned, welcome to the Wedgewood rooms showcase grand final. 5 bands had battled through heats and semi final stages to take to the world famous Wedgewood stage which has seen the likes of Gorillaz, Oasis, Kasabian, Vampire Weekend and Muse to name a few, and now it was the turn of Station 47, Cyprian Sceptre, Flowvers, Demonheads and Grief Daddy.

The wonder of the showcase is the pure raw talent that it throws out every year since it’s conception, every year that I have taken part I am taken aback by just how much talent is actually in our little island town of Portsmouth and the surrounding areas, which makes platforms like the showcase so important for local live music, creating a permanent position for those who would like to strut their proverbial musical stuff in front of an audience whilst also having the opportunity to get a foot into the music industry. What is also great to see is the unbridled support for every single band that not only took part in final but overall through the whole competition.

The first of the bands to take to the stage of the evening were Station 47, a 4 piece consisting of 2 guitarists, a bassist and drummer. It had always been so clear from heats that Station 47 hold every single chess piece needed to become a well established band, from their dueling vocals to tight guitar solos adorned by jazz like bass rhythms. One special mention from me goes to a catchy little ditty of a song called ‘Red Stripe’ which has me whistling and singing away from the showcase for the first time. One thing I hope from the band is that they get a few releases under their belt as they could hold their own as support for any band passing through these parts as well as headlining their own shows.

Next up were possibly the youngest and most supported band in showcase history Flowvers (yes that is how you spell it) with an energy that was palpable from the front to the back of the room. Their support packed the first few rows of the stage including their dads who garbed band t-shirts in support of their sons. With a sound that falls somewhere in between shoegaze, indie pop and The Stone Roses from the get go it’s pretty obvious where the bands influences come from, speeding through their set at 101kmh they kept the energy at a high with the occasional time issue. What is great about Flowvers is that they have so much confidence for a band so young, with the right support system around them and hands pointing in correct directions they could go on to do great things either as a unit themselves or separately in different projects.

Talking of firsts, for the first time also this year we had “in fighting” between 2 bands which also managed to make the news and bring attention from a local MP. The rivalry between Cyprian Sceptre and Grief Daddy dragged itself from the heats all the way to the finals intensifying as it did, including the popping of balloons, stage invasions, stickers and general anarchy. Safe to say it was as entertaining to watch as it probably was to take part in also, well done to them.

Up to the half way stage of the night we were all introduced to Cyprian Sceptre, which is where also the night took a sharp right turn. I had never seen them before so I was exposed to a genre of music I had never experienced before with instruments including flutes, clarinets, a banjo, an old organ, hand drums, cow bells and an acoustic guitar to name but a few. I can only describe Cyprian Sceptre as Sea Shanty folk, if you’re trying to work out what that would sound like imagine Pirates Of The Caribbean crossed with Fishermans Friends with a little bit of Frank Turner added in for good measure. Although niche the set was enjoyable from start to finish keeping the concentration of the crowd, which I feel they could also do anywhere else they would like to play.

Demonheads followed Cyprian Sceptre in what I can only describe as a full on assault of the eardrums, another band that bought 110% to every one of their sets from heats to the final. Demonheads are 2 piece consisting of only a guitar and drums. Like every great 2 piece that I could list Demonheads bought everything and the kitchen sink with them to their performance with energy that a full band could produce and a sound to boot. Demonheads win the award for only band of the night to get half naked, living up to their rock influences which possibly included Band Of Skulls, Biffy Clyro, Queens Of The Stone Age and maybe Royal Blood. Any direction that the band takes from here is a successful route as they are a tight knit unit with a great selection of original music.

Now, I can only say that I have been left speechless by very few things in my life but the final act of the night Grief Daddy not only left me speechless but also completely blew my mind and left me without thought or feeling generally. From the first song members of the crowd were either fully into the band or they were picking their jaws up from the floor in total shock. With a backdrop highlighting lyrics partnered with images of Rupert Murdoch, babies dancing and money raining down adding in their own personal smart dressed man dancing. Grief Daddy play what I can only describe as Chromeo meets Art Brut on acid with influences of hip and trip hop, even then I don’t feel I’m getting across everything that Grief Daddy actually do. Where do they go from here? Aldi...I don’t know? Wherever they go it’ll be brilliant for whoever is going to witness it.

The votes were then counted, the judges scores totted up for around 10 minutes and compere (me) returning to the stage the winner was to be announced along with their prizes. Up for grabs were 2 slots at Icebreaker Festival next year, recording time and monetary vouchers for The Wedgewood Rooms. The runner up of the evening winning an afternoon slot at Icebreaker were young outfit Flowvers, and the winner of The Showcase 2017 were...Grief Daddy.

In closing I can say that it’s great to be a part of the showcase this year, a massive well done to everyone involved and a big well done goes to Mike Hartley for his ongoing efforts in organizing and making every heat happen. The Wedgewood Rooms staff from promotions, security to the bar staff for also supporting the nights and keeping everyone safe and hydrated, all of the judges that took part this year your knowledge is second to none and it is well appreciated and last but not least once again well done and thank you to every band that took part in The Showcase 2017, see you all in 2018!

EP Review : Kassassin Street - Moloko Vellocet

One thing I pride myself on is covering the endless musical talent that Portsmouth has to offer, one band that are currently creating sounds that no other band in the city are Kassassin Street, a 5 piece previously introduced to SouthSolarCity when they supported Rolling Stone cover stars The Sheepdogs for ClubNME Portsmouth.

Back then they were on the brink of releasing 5 track EP ‘Finger On The Pulse’ a roller coaster recorded ‘in the middle of nowhere, in a barn’. Since then the band have gone on to storm a mid-afternoon set at The Wedgewood Rooms as part of Southsea Fest, to a widely near capacity audience that included myself. It is continuously clear from their most recent set that the band are ever growing and perfecting a sound that could be purposely morphed in many a direction. I pick up just under a week away from the release of new 3 track EP ‘Moloko Vellocet’ with a track run down and overall review.

It’s clear from the outset that EP opener ‘Play Dead’ intents to not do that, a social commentary run down (systematic/democratic/visual dreams with tattered seams) from lead singer Rowan Barnstable is bounded by pounding bass drum while conduced by the ever present pre-90’s shoe gaze guitar sound that Kassassin Street are forever converting to something more modern.

As building bridges goes ‘Play Dead’ could link continents,  the repetitive vocal of ‘I think that we play dead/and keep our heads under the cover’ that follows is somewhat resembling early Kasabian, aside a hybrid Charlatans/Stone Roses bacchanal until the track abruptly ceases.

‘Centre Straight Atom’ proceeds ‘Play Dead’ into a more raucous cataclasm of sounds, a lyrically more aggressive approach comes with a indie/electro edge, adjacent of the more contemporary bands of the late noughties. With their fingers on the pulse, this track has the ability to have feet tapping  and fists pumping among many.

Honorary mention goes to the magnificent drum skills of Kassassin Streets Nathan Hill (below) who continues to give and give to the cause, within the EP he is ever present and clear strong string in Kassassin Streets already strong bow.

If you've ever seen ‘A Clockwork Orange‘, the third and final track on ‘Moloko Vellocet’ is right up your street. ‘Talk In Riddles’ is hypnotising from the off, a psychedelic ode in which where the lead vocals from Rowan are mysterious yet brilliant, while every single member brings their own amount of workmanship to Kassassin Street the sound in which the band makes blends together almost effortlessly and ‘Talk In Riddles’ champions just that.

As the ever growing army behind Kassassin Street marches on ‘Moloko Vellocet’ boasts a maturing band moving forwards, while we can hear the influences the way the band adjust and twist leaves themselves space to grow and continue the journey they are on.

‘Moloko Vellocet’ is officially released on 13th of October at The Fat Fox in Southsea, Portsmouth.

ClubNME : Two Wounded Birds preview

After the roaring success for Rolling Stone cover artists The Sheepdogs back in May, ClubNME Portsmouth returns once again to The Wedgewood rooms.

Headliners on Saturday 28th July are lo-fi, enthralling Margate 4 piece Two Wounded Birds. A band who have been bustling around the musical radar sporting compilation appearances, EP releases and most recently a self titled hit album.

Formed of Johnny Danger, Ally Blackgrove, James Shand and Joe Stevens they bring a Last Shadow Puppets viciously corrupted by The Beach Boys sound, receiving BBC Introducing acclaim and a very close relationship with 2011 surf pop band The Drums.

Supporting Two Wounded Birds on the night our are very own indie city dwellers Guilded Youth, formed of brothers Harry and Ben alongside friend Dan they’ve recently played Guildfest and Glastonbury. The Guilded Youth sound spans from Kasabian to Kings Of Leon around the block to The Hollies crossing The Beatles, The Kinks and Stone Roses.

As always the night will be sound tracked by ClubNME DJ’s who’s experience span over 20 years and knowledge is infinite. Tickets for the night are available from The Wedgewood Rooms box office situated just inside the venue doors or online here (link) for a bargain price of 4 English sterling with doors opening at 10pm sharp.

Fathoms : Souvenirs

Late last year I was browsing through the news online, where on the side menu an article title read ‘When Bands Fall Off Cliffs…’ intrigued I clicked said title with picture of Kaiser Chiefs below and read on.

A on going swirling thought of mine is about bands that have fallen off of the radar of the vast musical industry mostly indie bands from my teenage years, who sold thousands of records and hit the scrapheap quicker than you can say ‘I predict a riot’, but there are bands who have seen off the tough times, bands who have worked through the second album sludge and still shine through…But why?

In the week that The Queen marked her diamond year a band mentioned in the article and already previously mentioned released greatest hits ‘Souvenir’, A band that saw off the second album sludge but fell flat soon after…Kaiser Chiefs. With 8 years in the spotlight behind them, albums that have sold multiple times platinum and a bathroom shelf so full of awards that it’s bowing to burst and break. The never ending hits of the band can rile the smallest amount of bodies into a frenzy while having thousands upon thousands screaming choruses at festivals worldwide but flip the coin and the story changes.

From the roaring success of ‘Employment’ with hits such as ‘Oh My God’ ‘I Predict A Riot’ and ‘Everyday I Love You Less And Less’ they released another hit machine in ‘Yours truly, Angry Mob’ which included ‘Ruby’ and fitting ‘The Angry Mob’. Then occurred a ‘downward spiral’ of sales, ‘Off With Their Heads’ shifting just over 200,000 copies not even half eclipsing the numerous double in sales of previous albums and the outright failure of ‘The Future Is Medieval’.

With a fan base bigger than Leeds United football club the only question worth asking is…Where did the fans go? A band that so quickly prospered with hit after hit ran out of hits consequently taking the biggest hit with lead singer Ricky Wilson confirming the band a ‘Singles Band’ and the greatest hits release almost possibly hammering the last nail into the Kaiser coffin until festival reincarnation years on.

A band who reign within the same indie timeline are Kasabian, lad rockers who have written indie anthems for fun whilst reinventing themselves behind a ‘like what we do or fuck you’ attitude. From the release of self titled album ‘Kasabian’ in the same year as Kaisers ‘Employment’ they’ve gone on with a succession of albums in ‘Empire’ ‘West Ryder Pauper Lunatic Asylum’ and most recently game changer ‘Velociraptor!’. They go on minus a greatest hits with attitude intact.

The indie roll call of bands from the ’04 rise to the present day is endless…The Fratellis, who unfortunately fell at the second album hurdle are to re-unite, Arctic Monkeys who continually succeed as a band and Alex Turner as a solo artist, Bloc Party are set to release new album ‘Four’ already receiving critics acclaim after empty rumours of a split and The Enemy possibly kicking a reigniting ember to form a flame once again for British guitar music.

From the negative we lead to positive while still asking questions, who should the finger of blame be pointed at?…Is it the record label who simultaneously place bands on pedestals that they shouldn’t have to hold, lead into a musical direction too quickly without time to gather themselves in a clouded haze.

Two Door Cinema Club over 2011 became a band of indie folklore, 2010 saw the release of ’Tourist History’ supported by French label Kitsune who have nurtured Cut Copy, Delphic, Tom Vek, Hot Chip, La Roux, Phoenix and Klaxons (to name but a few). A label who (in my opinion) let the artist breath and write their own story, Two Door Cinema Club are currently in Miami (not by choice) recording a second album minus the drum machine with added samba. It will be anticipated to be as if not better than the first album, in a ’fly or die’ situation what are bands to do?.

Other labels aren’t so forgiving, Kitsune are a large label but are shadowed by big players like Columbia Records, Domino or EMI who (in my opinion) look for the quick fix, take the band who make the hit and build them into a money making machine but when the cord is cut, who picks up the pieces?

In conclusion, the cut throat attitude of the current music industry in personal opinion is that a outwardly reckless 2 and out album by decreasing sales by numerous bands is devastating .When the dust finally settles and guitar music is ripe and strong once more we will take a clearer outlook on our musical surroundings, but for now we have to stress for the new and worry for the old.