GARFIELDS BIRTHDAY Typically Stereo CD/Download (Pink Hedgehog)
SIMON FELTON The Cost of Living CD/Download (Pink Hedgehog)
Highly underrated jangle/powerpoppers Garfields Birthday celebrated their 25th anniversary in 2020. Their first couple of years were dedicated to home recording, but from 1997 onwards they took their music into the studio, and the new compilation Typically Stereo selects 23 tracks from across their 23 year history of studio recording, including alternative mixes and previously unreleased tracks, all remastered for this release.
Thick Ear is harmony-laden janglepop tinged with US folk-rock. Ambulance is crunchy powerpop adorned with joyous ba-ba-bas. Eye to Eye is a prime example of 90s noisepop, with rumbling bass and distorted vocals, its chorus soaring and anthemic yet infused with bleakness and melancholy. We Know Your Name is an absolute classic of bright jangly pop, which I count among my all-time favourite songs of this genre. Molly's Eyes distills the best bits of 90s above-ground indie music into one song, the main part of the track coming across like a cross between Ride and Teenage Fanclub, while also taking a stomping detour with tinges of Blur. Sugar Pop is as addictive and uplifting as the title suggests. Punch and Judy Man is super-catchy, Beach Boys-referencing summer pop. Cambridge is gentle and dreamlike, with shades of 60s folk-pop and ornamented with a lavish string arrangement. Cool Your Jets is top-notch powerpop, heartily recommended for fans of the powerpop output of labels like Sugarbush or Big Stir. These are just a few of the fantastic songs on offer here. In short, Garfields Birthday are unsung heroes of guitar pop. Their music sits comfortably alongside indiepop, janglepop and powerpop bands, yet they seem to be rarely mentioned by fans of these genres. Let's hope this great compilation changes that.
Garfields Birthday's Simon Felton has also released a number of solo albums. His latest, The Cost of Living, is home recorded yet far from lo-fi, and favours a largely synth-based approach. Drowned in Sound is effervescent early 80s synthpop with an indiepop heart, which would sound right at home on Happy Robots Records. Casualty Ward is melancholic observational pop underpinned by a knotwork of snaking piano and augmented by bursts of spiky noise guitar and fizzing synth. Butter Fingers is sentimental, wistful keyboard-led pop that could easily have been a chart hit in the days when the charts still had room for music with depth. Uninspired Child is classic guitar pop juxtaposing strummy jangle and atmospheric distortion, underscored by a bouncy drum rhythm and topped off with smooth vocal harmonies. Both albums here are highly recommended and available at www.pinkhedgehog.com
ARREST! CHARLIE TIPPER Red LP/Download (Old Bad Habits Label)
Latest album from Bristol band Arrest! Charlie Tipper, who include members of The Flatmates, Beatnik Filmstars, The Groove Farm and Rorschach, and were formerly known as The Charlie Tipper Experiment and The Charlie Tipper Conspiracy. The LP is pressed on heavyweight red and black marbled vinyl, with artwork by Ian Jay (ex-Half Man Half Biscuit), and a printed inner sleeve with lyrics. The music here is often noisy pop with roots in the 1980s underground, which travels into other territories with the original and effective addition of instruments from outside the usual guitars-and-drums format that's the norm for this genre. The lyrics deal with relevant contemporary issues, such as the need to keep social media-fuelled negativity and stupidity out of your life (Bubble) and a forceful attack on those who misuse the important value of free speech to spread hatred and fear (Freedom of Speech), the latter song an effective meeting of searing noisepop and something more psychedelic with its hypnotic repetition and whooshing cosmic synths. Hurt is deeply melancholic pop, inventively overlaid with mournful cornet and the spacey whirrs of an analogue synth. Poets is fuzzy buzzy noisepop with an ultramelodic, harmony-driven chorus, combining the spirit of the C86 era with contemporary commentary on gentrification. Don't Leave Me Alone is thoughtful, personal pop, with an inventive arrangement taking in cornet, retro organ and synthesised strings. A recommended listen for those who love 80s indie pop while also appreciating forward-looking musical innovation. Available in limited numbers at oldbadhabitslabel.bandcamp.com
TERRY EDWARDS Very Terry Edwards triple CD box set (Sartorial)
TERRY EDWARDS Stop Trying to Sell Me Back My Past (vol 1) double LP (Sartorial)
Terry Edwards celebrates his 60th birthday with the career-spanning triple album Very Terry Edwards, featuring 60 tracks recorded across 40 years. There are solo tracks along with his early work with The Higsons and collaborations with countless other artists, the music covering almost every imaginable genre. Blues, tango, jazz and classical appear alongside punk, noise and experimentation, as well as the alternative pop sounds that are more often covered in Aquamarine. There's the jerky, angular, funk-infused post-punk of The Higsons, the woozy electronic pop of kNIFE & FORk, and the dreamy ethereal indie pop of Lush. The Wolfhounds' My Legendary Childhood is punchy 80s indie pop overlaid with joyous bursts of trumpet and wailing sax. Stuart A. Staples' Say Something Now juxtaposes dark, melancholic songwriting with skronking sax. 18 Wheeler's Stay combines sunny powerpop with the atmospheric haze of shoegaze and a luxurious string arrangement. The Nightingales with Vic Godard's Commercial Suicide Man is spiky, twisty-turny underground pop with a punk spirit. Snuff offer a melodic punk-pop song and a horn-driven surf instrumental. Darren Hayman and the Secondary Modern's Art and Design brings together chug-along DIY pop and banjo-led folk, with something of a punk snarl to the vocals. Entirely different from everything else mentioned above is The Havering Youth Orchestra, with their rousing, dramatic performance of Sibelius' Finlandia. Truly something for most tastes on this album.
Also available is Stop Trying to Sell Me Back My Past (vol 1), compiling the EPs of cover versions Terry Edwards recorded in the 1990s, including the Cure covers EP intended for release in 1994 that never actually surfaced at the time. There's a trumpet-led version of The Jesus and Mary Chain's Never Understand, the guitar feedback of the original replaced by squalling sax, and a ska reinvention of The Fall's Totally Wired, with Terry accompanied by members of Madness and Serious Drinking. Three Miles Davis pieces get the noise treatment, with inspiration from fast and furious punk and speed metal, while The Clash's Version City goes funk, The Cure's In Between Days features thrashy punky elements alongside Motown influences, and The Damned's New Rose is played by a classical string quartet. Find out more at www.terryedwards.co.uk
KEVIN HEARD Welcome to Wickerworld CD (self-released)
Kevin Heard has a long history in music, having been in various bands since the 1970s, including amongst others The Carpettes and Somebody Famous. More recently he has released solo material via Stone Premonitions. For his latest project, recorded during the Covid-19 lockdown, he has turned his attention to the works of other artists, recording a series of acoustic-based cover versions. Three CDs of covers have been released, with Welcome to Wickerworld the first in the series. Tim Jones at Stone Premonitions mastered this album, but it is actually self-released by Kevin and made available for free.
There's a very lovely acoustic version of The Kinks' Waterloo Sunset, while Tears For Fears' Mad World is completely reinvented as gentle, melancholic, acoustic contemporary folk with a subtle psychedelic undercurrent. The traditional folk song Scarborough Fair appears here, with nice use of harmony vocals in keeping with the version by Simon and Garfunkel. The folk staple John Barleycorn, as performed by the likes of Martin Carthy, Steeleye Span, Fairport Convention, the John Renbourn Group, and underground stalwart Steve Andrews, was also famously recorded by Traffic as John Barleycorn Must Die, and it is this latter version Kevin Heard has used as a starting point for his own rendition. Acoustic guitar and mandolin are effectively combined here with atmospheric washes of psych-tinged electric guitar - a must for fans of all the classic 70s folk-rock bands. Bob Dylan's The Times They Are A-Changin' is cleverly rewritten with Covid-themed lyrics, offering a stark reminder to the cynical and the complacent of the real threat this virus poses.
Contact www.facebook.com/kevinheard.music for a free copy of the album. For more info on previous Kevin Heard albums on the Stone Premonitions label, contact www.facebook.com/stonepremonitionsUK
THE CONSPIRACY Apple Zapple CD/Download (self-released)
The Conspiracy are a long-running underground outfit known for their musical eclecticism. Starting out in the DIY tapes scene in the late 80s, they later moved on to the Pink Lemon and Jarmusic labels where they became labelmates of artists like Martin Newell, Captain Sensible, R Stevie Moore, and Alan Jenkins' various bands including The Creams and The Deep Freeze Mice. Their latest album Apple Zapple is self-released, though the band seek a label for future recordings. Quite astonishing that they don't currently have a label behind them, as this album includes some of their strongest material yet. The album opens with the title track, in which stream-of-consciousness word-associations are forcefully recited over a vigorous mix of electronic dance music and heavy psych-rock. Magnolia is an effective blend of goth, punk and pop, with brooding post-punk verses adorned with chiming arpeggios giving way to full-on punk aggression in the chorus. The Race is spiky, energetic pop-rock, with a driving, chugging powerpop rhythm juxtaposed with heady, meandering psychedelic guitar soloing. Rapunzel is angry punk-infused noisepop, with a thudding rhythm and slicing guitar as backdrop for lyrics of resentment and rage; definitely no fairytale! Mahler is dark, woozy pop, with atmospheric use of slide guitar and sustained, swelling keyboard sounds. All these are top tracks but my absolute favourite is Sound of One, a melodic pop exploration of introversion, much in the style of classic late 80s/early 90s indiepop, with the jangly guitar sound that I so love. This album and selected back catalogue available at theconspiracy2.bandcamp.com
THE SPANISH AMANDA Golders Green CD (self-released)
To celebrate 20 years since the release of their album Brave New Girl, and also to thank their supporters, The Spanish Amanda have released this compilation of archival material from 1998 to 2001. Well-crafted, poetic lyrics show a laconic wit and stark, vivid realism, while the music covers a broad mix of indiepop and electronic sounds. Shao-Lin's Road combines pulsing synths, chiming guitar and deadpan lyrical recitation, the end result sounding something like an indiepop Pet Shop Boys. Gael is spiky noisepop, with guitar and piano providing an insistent juddering rhythm. Gaga Id and Gaga Yod is an instrumental piece taking in snaking, pulsating electronics, soaring flute, and guitars that range from chuggy and noisy to intensely psychedelic. Fuschal appears in its original acoustic version, delicate minimalistic indiepop that reminds me in places of early Mary Queen of Scots. Her Body Was Home is slow, atmospheric pop, combining soft acoustic guitar, dreamlike keyboards and backwards effects as backdrop for erotic lyrics that prove wrong the lazy journo stereotype that indiepop is childish and asexual. This is a fans-only CD that's not available to purchase, but the band have other CDs for sale at www.spanishamanda.com
VARIOUS The Layering CD/Download (A Year in the Country)
Described as an "audio slicing through the layers of time", this themed compilation explores the cycles of history and prehistory, the forming of land masses over millennia which are then quarried to build new infrastructure, and abandoned buildings being replaced, repurposed, or simply hidden away and claimed by nature. The CD is packaged in the label's in-house style in a foldout wallet with giclee ink art, a string-bound badge, and an info sheet with the backstory behind each track, while the album is also available for download or streaming via the usual channels. You will find eerie cinematic incidental music with drones, rumbles, analogue electronics and found sounds, as well as explorations around the darker and stranger corners of folk music, and pieces that pull both strands together into an inventive experimental whole.
The Heartwood Institute's music sounds like a sinister reinvention of early 80s TV themes, with brooding electronics and rumbling noise underscored by a hypnotic chug. Field Lines Cartographer provides a woozy, fever-dream-ish sound sculpture with dark undertones. Howlround creates a surreal, nightmarish effect with chattering and rumbling tape manipulations. Folclore Impressionista contribute a superb retrofuturist piece setting gentle acoustic guitar and dreamlike flute-effect Mellotron to a driving analogue synth rhythm; the piece has much to appeal to fans of Pram or Broadcast. Handspan have made perhaps the eeriest version of Byker Hill you'll ever hear; the piece stays true to the folk tradition with the use of squeezebox and cittern, but travels into other territories entirely with creepy found sounds and electronics, and the inventive use of coal staithe timbers as percussion. Widow's Weeds, the current band of Grey Malkin (ex-The Hare and the Moon), are joined by Ken Patterson from 1970s underground folk band Caedmon, whose eerie neoclassical cello appears alongside ghostly wordless vocals over an insistent electronic pulse. Vic Mars' piece effectively illustrates the 'layers of time' concept with its blend of 19th century pastoralism and 20th century analogue electronica. Available at www.ayearinthecountry.co.uk
SHORT HAIRED DOMESTIC s/t CD/LP/Download (Calcium Chloride)
Short Haired Domestic is the latest project of famed producer Tim Friese-Greene (who is perhaps best known for his work with Talk Talk, and has also worked with the likes of Catherine Wheel, Thomas Dolby and Lush, as well as his own project Heligoland) and his wife Lee Friese-Greene (formerly of Sidi Bou Said and more recently in Lemonade Sin). This self-titled album is a highly original work of avant garde pop, blending multiple genres with ease and featuring lyrics in multiple languages from Latin to Yoruba.
A Song in Japanese About Trying Things Out Before Committing is off-centre pop set to a musical backdrop combining minimal jazz piano with a busy blend of breakbeats, synth bass and noise. A Song in Bulgarian for Lovers of Gin features a quirky, angular verse that gives way to a beautiful, airy chorus with an uplifting summer atmosphere, underscored by an inventive sound sculpture that brings Latin rhythms together with beats and samples.
A Song in German Concerning Gardens and Goodbyes has the dreamlike lilt of Broadcast or their largely unsung contemporaries L'Augmentation, alongside a similar avant garde feel to Dutch experimentalists Trespassers W. The inventive arrangement features electronic beats, retro spacey synths and snippets of scratching blending naturally with accordion, flute, harp and acoustic guitar. A Song in Danish in Which There is Much Discontent is an amazing track with a huge soaring melody reminiscent in places of Cardiacs, XTC, and a smidgen of Blondie, over the multi-genre sound sculpting that this album is all about.
Despite containing identifiable ingredients ranging from jazz to hip-hop to classical to retrofuturism, and bits and pieces that call to mind other bands, these are combined in a manner that creates a unique genre of its own, the overall sound being quite unlike anything others are doing. Find out more at www.facebook.com/shorthaireddomestic
THE BRINGERS OF CHANGE Breathe CD (Falling A)
Third album from The Bringers of Change, the current project of Mark Dunn, formerly of Neon and Body Full of Stars. This is a very eclectic set of songs, broadly pop and melodic rock but influenced by a multitude of other genres. Pale Blue Dot is intelligent pop with a message of caring for the Earth and of human togetherness, echoed in the musical arrangement that brings together influences from all over. A spacey ambient intro melds into Indian-style percussion; an African-inspired vocal section is combined with intense 80s-ish rock guitar soloing; baroque touches reoccur throughout the piece. Breathe (Can't Talk Now) is an inventive mix of punchy rock and fizzing electronic pop with a strong catchy chorus, really great stuff. Last Supper Call is spiky yet melodic rock that also takes in high-octane rhythmic electronics that wouldn't sound out of place on a 1980s house track, plus whooshing spacey synth, funk influences and the intricacy of prog. Fake News sees Mark joined by Tim Jones (Neon, Somebody Famous, The Rabbit's Hat, Body Full of Stars, Census of Hallucinations etc) for this punked-up attack on media bias and spin. The album closes with the tongue-in-cheek blues rock of Can't Find the Blues, with its "if you won't leave me baby, I'll find someone who will" refrain, as well as a line where the song's character describes his voice as sounding "like Johnny Denver being run over by a train". John Simms of Clear Blue Sky contributes blistering lead guitar to this piece, while Maxine Marten from the same band provides the sultry, breathy backing vocals. Find out more at the Falling A Records website, www.barrylamb.com
TV SMITH Lockdown Holiday CD/Download (Easy Action)
TV Smith, founder of original 70s punk band The Adverts, has also been making solo albums since 1983. His latest is the Covid-themed Lockdown Holiday, in part an autobiographical account of his own experience with the virus, and in part an observational snapshot of everything else going on around him in 2020. Recorded at home during lockdown, it's a true solo recording - just TV Smith's voice and guitar - but the songs are strong enough not to need any extra embellishments. These are melodic acoustic songs, yet shot through with an angry, anti-establishment punk spirit.
The album begins with TV Smith's own infection with coronavirus in The Lucky Ones ("One sneeze in the service station/That's where my calendar ends") and ends with a spot-on depiction of Long Covid in Going Nowhere Fast ("Life's great if you can concentrate ... Got a head full of fog ..."), while Bounce Back urges us to stay positive as the crisis will come to an end. Elsewhere TV Smith casts a critical eye over the shallowness of modernity in Artificial Flowers, where everything is made of plastic and everyone is self-obsessed and incapable of thinking independently. The political songs range from the satirical humour of Send in the Clown to the biting attack on bigotry in Let's Go Back to the Good Old Days. I Surf The Second Wave is told from the perspective of the virus itself, constantly mutating and ready to pounce on the unwary. The accompanying booklet contains lyrics and background info that places the songs within their full context, the album's overall theme summed up by the slogan on the booklet cover, "Stay Safe. Think Dangerous". Visit www.tvsmith.com and www.easyaction.co.uk
VARIOUS The Quietened Dream Palace CD/Download (A Year in the Country)
A Year in the Country continue their series of themed compilations with The Quietened Dream Palace, focusing on closed down cinemas, whether derelict, converted, or demolished, as well as the lost technology associated with analogue film projection. The album was planned, and much of its content created, before the Covid pandemic, and its theme was not therefore intended to refer to the closing of cinemas during lockdown, but as Stephen from the label says, "we understand that the album will potentially, in part, have a different resonance in the new and changed landscape".
The album is all about faded memories of faded grandeur; buildings with extravagant Art Deco designs and names to match - the Ritz, the Majestic - now a shadow of what they once were, many reduced to rubble to make way for bland, faceless concrete shopping malls. There are no overtly folk-inspired pieces on this installment of the series, which this time emphasises electronic experimentation and film soundtrack-influenced music, which is appropriate given the album's theme. Much of the music here sounds shrouded in a haze, evoking distant, slightly blurred memories, with a sense of the unreal as if translating dreams into sound.
There's the wavering ambience of Field Lines Cartographer; Pulselovers' mournful piano music underscored by a soft electronic hum; and the sci-fi electronica of The Heartwood Institute. Keith Seatman combines the jaunty electronics of 70s TV themes with haunted house sound effects and fever-dream weirdness. Sproatly Smith's gently lilting music is overlaid by the rattle of film reel and the artist's grandmother's recollections of working in a cinema. The Howling is a collaboration between Robin the Fog of Howlround and Ken Hollings, their piece made up of a single sentence dizzyingly looped and layered. The Seance are Pete Wiggs of Saint Etienne and James Papademetrie; they create a strong sense of unease with their eerie and mechanistic electronic piece punctuated with horror filmic sound effects. Widow's Weeds provide the only song-based track here, Celluloid Ghosts, which has much to appeal to fans of the ethereal gothic sound associated with vintage 4AD and Projekt Records, also given an eerily psychedelic touch via the use of flute contributed by Alan Davidson of the Kitchen Cynics. More info at www.ayearinthecountry.co.uk
JIM BASNIGHT Jokers, Idols and Misfits CD (Precedent)
Jim Basnight (with The Moberlys, The Rockinghams, and The Jim Basnight Band) pays tribute to his musical influences with this bumper 21 track covers album. There's a powerpop rendering of The Kinks' This Is Where I Belong; a heavy rocking Laser Love, originally by T-Rex, complete with thundering drums and wild guitar soloing; and the riotous garage rock of The Sonics' Cinderella, topped off with fierce, impassioned vocals. The early Byrds track You Showed Me is reinvented here in a jazz-informed style, with a bossa nova rhythm, muted trumpet and soulful backing vocals, along with effective atmospheric use of violin. The Beatles' Happiness is a Warm Gun is given a delightfully eclectic new spin, with a twisty-turny structure that takes in beautiful mellow flute, exuberant sax, and gospel-tinged backing vocals. It's You Alone was originally by The Wailers - not the famous reggae band but a rock 'n' roll outfit that pre-dated them. The song brings together jangly 60s pop, US folk, and a sense of rock 'n' roll cool, sounding something like a mix of The Byrds and Nikki Sudden. Find out more at jimbasnightmusic.com
NATHAN HALL & THE SINISTER LOCALS On the Blink CD/Download (The Hip Replacement)
Nathan Hall & the Sinister Locals had to shelve their planned fourth album, Pointing Paw, due to Covid lockdown preventing bassist Mike from visiting Nathan's studio. Instead, Nathan taught himself bass and recorded this alternative fourth album on his own (aside from two tracks which Mike appears on, which I guess must have been recorded before lockdown began). The title On the Blink pre-dates the pandemic, but Nathan found it an appropriate name for an album recorded in the disastrous year that was 2020.
The album is packed with joyous music that's a perfect way to escape during these troublesome times. There are jaunty psych-pop songs like Every Garden, with its lilting Mellotron and bouncy piano riffs, and Rabbit Rings which takes in thumping dance beats and kaleidoscopic synth whirrs alongside lyrics that raise an eyebrow at modern absurdities: "It's easier to modify a mountainside than half the fucked up habits of the modern mind". Sometimes the music veers into territories where the boundary between psych-pop and psych-folk is thin, such as When We Are No Longer Numb, which has qualities that are sure to appeal to fans of The Incredible String Band or the folkier side of Donovan.
The Orange Elephant features a Spanish-tinged tune, ostentatious military drumming, and analogue synth sounds that conjure up images of shimmering stars, accompanying lyrics that see beauty and calm in the things people often miss: "Little things like bees can drive the fear out of me". The Wrong Song distills the Covid situation into just a few words, "Gone wrong... the world's gone wrong... such strange times", intoned mantra-like over a backdrop of minimal acoustic guitar and creaky sound effects, before giving way to a fuller arrangement with retro organ, pizzicato strings and whooshing cosmic synth. As well as the songs, the album has expressive instrumental interludes dotted throughout, from the dramatic piano piece Creepy Country House After Dark to the electronic chug of March of the Tin Robot to the vintage sci-fi music of Moon Crater Melody. Great stuff as always from Nathan Hall. Get the album at nathanhallandthesinisterlocals.bandcamp.com
THE GOLD NEEDLES What's Tomorrow Ever Done For You? CD/LP/Download (Jem)
Third album from Hull band The Gold Needles, who feature among them Simon Dowson, formerly of Moloko+. It's an eclectic set of songs that pulls influences from the 60s, 70s and 80s into a cohesive whole. I Get the Pressure is spiky new wave with a highly catchy chorus that inventively adds atmospheric prog guitar and a barrage of motorik synth bleeps. Precious Times is classic jangly indiepop with nostalgic, reflective lyrics, introducing synth orchestration which sets it apart from the indiepop crowd. Dead Man's Hand sets vivid lyrics of gambling and violence to a brand of early 70s-style rock that's tinged at times with a Spaghetti Western twang. Susie is Sorted (She Doesn't Care) is uplifting pop-rock, with Kurt Reil of Jem Records labelmates The Grip Weeds contributing to the joyous vocal harmony sections. Kurt Reil also appears as drummer on the cover of The Hollies' Have You Ever Loved Somebody, which places this quintessentially 60s pop song within a meaty powerpop setting. Counting The Days, originally by The Sound, is sophisticated 80s pop with punchy yet atmospheric guitars colliding with effervescent synth. The Story of My Life combines the rugged chug of powerpop with a 70s prog meets 80s stadium rock vibe, incorporating powerful guitar soloing along with prog-esque synths. Realm of the Black Dog opens with an extended intro of cinematic synth ambience, the calm disrupted by the introduction of huge bombastic prog rock drums and guitars. The first verse kicks in, with a songwriting style that makes me think of underground stalwarts The Conspiracy, and while the song sounds less like them as it progresses, it certainly shares that band's love of musical eclecticism. It takes exceptional talent to be able to pull off a seamless combination of such disparate genres as guitar pop, prog rock, and synth music, but pull it off they do. A strong, impressive album that grows on me with each listen. Visit thegoldneedles.bandcamp.com and www.jemrecordings.com
THE DIRECT HITS The Broadway Recording Sessions CD/LP (Optic Nerve)
An album's worth of early material from 1980s mod revivalists The Direct Hits, pre-dating their debut album Blow Up on Whaam!, the label run by Television Personalities' Dan Treacy. Ride My Bicycle combines pop-psych whimsy with an exhilarating rock intensity. Too Shy is quintessentially 60s pop, with observational lyrics set to a bouncy melody lightly tinged with melancholy. Leander, by the River is ultra-melodic pop with a hard edge. Miranda Berkley is very lovely baroque pop, with keyboards emulating tinkling harpsichord and soaring strings. They pay tribute to infamous occultist Aleister Crowley in a song that asks what killed him, the brooding intro and horror filmic keyboard sound providing a sense of supernatural eeriness. A strongly recommended set of songs that's got me curious to explore more of this band's back catalogue. Kudos to Optic Nerve Recordings for bringing these fantastic tracks out of the archives. Available on CD with 16 page booklet, or blue vinyl LP with gatefold sleeve, fold-out poster and 3 art prints, from opticnerverecordings.com
CULT FIGURES Deritend CD/LP/Download (Gare du Nord)
Cult Figures are a Birmingham band with a long and interesting history. Formed in 1977, the band briefly included future Duran Duran drummer Roger Taylor, while the core members Gary Jones and Jon Hodgson were joined on their 1979 debut single by members of Swell Maps. They released one more single after that but went quiet for nearly 40 years before returning with their album The 166 Ploughs a Lonely Furrow, which comprised new recordings of material written during their original 1970s incarnation. I don't have that album, but if the follow-up Deritend is anything to go by, it seems like an album I ought to hear.
Deritend takes its name from the industrial district of central Birmingham, the cover art depicting the area's graffitied shop fronts, grim Victorian tunnels and a gigantic pile of rubble transforming the remains of a derelict factory into something resembling a prehistoric earthwork. The tracks, written after the band re-formed, were recorded at two studios, both highly regarded in the underground music world: Toerag, the London studio favoured by punk and garage bands for its raw sound, and Woodbine Street in Leamington Spa, a studio so synonymous with 1980s indiepop that it lent the name of its location to the compilation series of vintage indiepop obscurities, The Sound of Leamington Spa.
Punk and indiepop are two of the ingredients of Cult Figures' sound, along with a touch of psychedelia, and on at least one track, a smidgen of goth. It's one of those albums that's hard to pick out favourite tracks from as everything is of a similarly high standard, but these are just a few of the very much recommended songs on offer here. Chicken Bones is spiky pop infused with a punk spirit, painting a vivid picture of inner city grime with its lyrics of drug dealers, stained fast food joints and stinking drains, while a softer, brighter counterbalance is provided by the use of 'ooh-ooh' and 'la-la-la' backing vocals. Donut Life is a brilliant ultramelodic track that sounds like a lost classic of the mid 80s indiepop scene. Lights Out has a dark edginess suggestive of goth whilst carrying with it a strong pop sensibility.
Silver Blades takes its name from the long-gone Birmingham ice rink, its first verse including some clever ice-skating-related double meanings, which then give way to violent imagery suggesting the 'silver blades' aren't just the ones found on ice skates, but also knives. Julie-Anne is anthemic melodic punk with a rock 'n' roll twang and a tuneful pop spirit, opening with an exhilarating intro full of stomping drums, thudding bass and sharp clanging guitar. Concrete and Glass features a bright jangly guitar melody paired with the airy swirl of psychedelic keyboard and guitar, providing the backdrop for a bleakly evocative narration. A strong impressive album that's well worth investigating. Available at cultfigures.bandcamp.com. Label info at garedunordrecords.co.uk
ANDY B State of Mind, Passing Through, and Songs Revisited CDRs/Downloads (Pastime)
Three more albums from the very prolific home recording artist Andy B, a multi-instrumentalist songwriter steeped in the vintage indiepop style, who has now released over 100 CDRs on his homemade label Pastime Records. State of Mind's artwork, with its closeups of that archetypal indiepop clothing item, the stripy t-shirt, gives big clues to the type of music on offer here. This album comprises newer material, which I believe was written and recorded during one of the Covid lockdowns. Don't Tell Me It's True begins with an intro somewhat reminiscent of Gentle Despite, then takes on a fuller sound incorporating retro organ, piano, and synthesised strings. Accessory features deadpan vocals over a jangly and melancholic song that shows clear inspiration from much of Sarah Records' output. No Escape is a noisier piece, combining Andy's usual melancholic songwriting style with an exhilarating noisepop arrangement propelled by powerful fuzz guitar and a stabbing organ riff.
Passing Through features a few new songs alongside reworkings of older ones. There are melancholic indiepop songs like You'd Be Doing Me a Favour and Each Year that Passes, as well as more boisterous tracks. Still Cold Outside is rollicking indiepop, noisy round the edges, but with a strong melodic emphasis, and featuring a chugging intro that calls to mind a harder-edged version of Confetti. Messengers Passing Through introduces swirling keyboards that lend an almost psychedelic effect to Andy's melancholic indiepop style, while In the Firing Line owes much to the melodic side of punk.
Next up is Songs Revisited, which as the title suggests is a collection of reworkings of songs from Andy's back catalogue. The majority are very familiar songs which Andy has recorded several times before, and as such the album works like a compilation, serving as a good introduction to his work. Most of the material here is melancholic vintage-style indiepop, though Communication Breakdown takes a somewhat different route; a dark, tense and spiky number inspired by the post-punk era. In addition to these albums, there is also a recent single, Magic Number/This Is Our Time, which sees Andy experimenting with a new vocal style with more vibrato, and featuring extra backing vocals, both developments adding a welcome new dimension to his sound. Visit pastimerecords.bandcamp.com/music and pastimerecords.webs.com
ADAM GEOFFREY COLE Fallowing CD/LP/Download (Sunstone)
Amazing new solo album from Adam Geoffrey Cole, formerly of Trappist Afterland. The music tends towards more stripped-down arrangements than Trappist, though the songs continue to show Adam's distinctive songwriting style familiar from his previous band, and cover similar themes such as total immersion within nature (Sunrise) and mystical Christianity (Pools of Christ, Orbs of Christ). Life is a Fable features an intricate acoustic guitar melody underscored by a soft, unobtrusive drone. The Saddest Man is sparse and moving, with Adam's voice accompanied solely by hurdy gurdy. Fabric of Being is the closest this album comes to Trappist Afterland, a heady, immersive psych-folk piece with Middle Eastern and medieval tinges.
I first became aware of Adam Geoffrey Cole via Trappist Afterland, and until recently had no idea of his musical history which stretches back to the 1990s. One of the bands he was in back then was indie-rock outfit Arrosa, who were signed to the big Australian label Infectious, also home to the likes of Ash, Funeral for a Friend, and Pop Will Eat Itself. On his new album, Adam presents a reworking of the Arrosa song Womb, which features brooding, introspective verses alongside an anthemic chorus whose melody brings to mind Nirvana, albeit presented in a more restrained style, free from the noise and anger of grunge. This new version transforms the song into a delicate singer-songwriter piece accompanied by acoustic guitar paired with harmonium courtesy of the album's sole guest musician, Anthony Cornish, a long time collaborator with Adam who has worked with him on Trappist Afterland albums as well as pre-Trappist material. The CD version of Fallowing, though not the vinyl, is rounded off by another revisiting of an older track, Seasick, which was co-written with Christian Bennett in 1997, and is modern songwriting set within a beautiful folk arrangement. It's such a strong, memorable piece that it's a shame that vinyl buyers will miss out on it.
This is an astounding album of contemporary folk from one of the genre's most talented artists. The album has been hailed by such varied artists as David Tibet (Current 93), Alison O'Donnell (Mellow Candle, Flibbertigibbet, The Owl Service), and Chris Connelly (Ministry, Revolting Cocks), and it's easy to see why Adam Geoffrey Cole's music has made such an impact on them. He remains one of my very favourite current artists too, and I recommend Fallowing with absolutely no reservations. Available from trappistafterland.bandcamp.com
THE BRAINIAC 5 Another Time, Another Dimension CD/Download (Reckless)
Collection of previously unreleased material from The Brainiac 5, recorded between 1976 and 2020. The bulk of the album is focused on the band's early years in Cornwall. Spring Fever reveals their roots as a late 60s-influenced rock outfit, while I Call Your Name is a groundbreaking, perhaps completely unique, combination of 60s-style folk-rock and reggae. Jet Fighter introduces a heavier sound and shows the beginnings of the psych-punk The Brainiac 5 are best known for, with punchy punk vocals alongside wild psychedelic guitar soloing. Khazi Persona is a quirky, spiky number coming across like a more psychedelic version of the angular post-punk sounds that came along in the 80s, except this actually pre-dates most of those bands by a couple of years. I Feel Good is raucous, spirited punk with off-centre psychedelic aspects, while The Warning is characterised by heady, intense psychedelic jamming. Some of this early material can be rather lo-fi, especially the pair of very hissy live recordings from 1980 (one of which is a cover of ELO's Do Ya), though most of the time, the sound quality does not detract too much from the music.
The space between 1980 and 2019 was seemingly a quiet one, though The Brainiac 5 were not completely inactive during this period. 1995's Pain in a Bowl is bizarre experimental psych-rock with tinges of funk and free jazz, with Charlie Taylor's vocals and guitar accompanied by the avant garde percussion of one Bongo Albert. The band's current era is represented by the heavy psych-rock Sludge, the surreal reinvention of blues that is Never Say Never, and the very original Our Devils, which starts with a basis in ska, while also taking in heavy psychedelic guitar work, some almost South American-sounding flute, and some of the most mindbending Jew's harp you'll ever hear. An important history lesson, showing the highly eclectic and often pioneering nature of this band. Info at www.brainiac5.co.uk
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