The world is terrible, but PINS are back! One of my favourite bands from Manchester are back. Listening to their new single, I’ll Be Yours is making me feel exactly the same way I did when I first heard them back in 2011 or 2012. It was either Shoot You or Luvu4lyf that got me hooked. I felt like I had found a band that were going to make me love a city that I loved even more and truly appreciate the music there. It made me want to leave where I was living at the time. I made that move in 2018, and I’m still here. Music makes this city. As do the people. Home is where the music is.
Alright, soppiness aside- I’ll Be Yours is PINS at their very best and my god how I’ve missed them. It’s been around 5 years since their last record (Hot Slick) was released, and this year marks 10 years of the divine and delicious Wild Nights record. I urge you to buy tickets for this, as this band are wonderful live.
The new single sounds like how The Shangri- Las or how The Crystals would sound if they were around now and had a heavier sound. In short, PINS have that beautiful 60s Girl Group sound that I love so much but have added this heaviness to it that just makes it so exciting. I’ve missed this band so much. I can’t put into words how much it means to have them back. Who needs Christmas or birthdays!? This is what we need.
The guitar on this insane, and you just know it is going to be a dream to hear live! PINS are a band that absolutely need to be seen live. Every show I’ve been to, they’ve just sounded better and better. I cannot wait for the tour, and to hear these songs again. Oh, I’ve bloody missed them.
I’ll Be Yours is a gorgeous number to have on repeat and waste the day away too. It’s everything PINS are in 2 minutes and 6 seconds. If you’ve never listened to them before, start with this and go back. Go back and get lost in their stunning and powerful sound. They’re the best of the best, and I’m so glad they are back.
Tour starts in a week, and you can get tickets here: PINS Tour
This wasn’t so much a review but me going on about why this band are bloody great and a call for you to get tickets for the tour.
There aren’t many bands/singers I will bawl at the second I hear their voice or pay attention to the lyrics. One in particular goes against this, is the beautiful and just wonderful human being- jasmine.4.t.
I’ve written about Jasmine a few times, and her music means so much. Her words mean the world- it’s like feeling at home or safe in the person you are. She’s just amazing and seems to always know what to say. She’s just incredible.
Rather than me tell you why her new single, I Can’t Believe I Did This Without You is incredible and go into detail why, I want to use this to show why this song is important using Jasmine’s words. Anyone can listen to the song and hear it’s importance, but I want to share why it is such a vital song and the importance of the deluxe version of You Are The Morning (which is out on Friday.)
Read carefully, and please support Yulia in any way you can. Free Yulia. Free Palestine.
“This deluxe version of my record is dedicated to political prisoner Yulia Trot aka YBT. I met Yulia at the first queer event I ever attended. It was six months after I had come out, and I was still living in Bristol but staying with friends in Manchester. Yulia and I became really close – she taught me how to do my makeup over FaceTime, supported me through my marriage ending, and when I became homeless I moved onto the sofa of her one-bed flat in Manchester until I found a room. She stayed by my side through the toughest times of my life, giving me the strength to carry on through my transition, and in time we became each others’ chosen family. When I started performing as Jasmine, she would come on the road with me as roadie/security. There were a few times when she put herself between me and men twice her size who wished to harm me.
As the project grew, Yulia continued touring with us, running the merch stand and selling her handmade friendship bracelets for the benefit of Trans Mutual Aid Manchester, an organisation that supports members of my community with essential costs. She became a close friend of the whole band and a vital, supportive and reliable member of our community.
One evening in November 2024, while we were recording a live session for 6 Music, we heard news that Yulia had been arrested that day in a violent raid on her home. She is one of the Filton 24, arrestees alleged to be connected with a group of actionists entering the UK headquarters of Israeli weapons manufacturer Elbit systems in August 2024, where £1m worth of damage was said to be caused. This included killer Israeli drones that have been reported to target Palestinian children in Israel’s genocide in Gaza.
Our beloved Yulia was initially arrested under terrorism law in a gross misuse of legislation that allowed heavy-handed police powers. She was then charged with the non-terror offences of burglary and trespass, but transferred as a political prisoner to a maximum security private prison on the other side of the country, away from her family and friends, where she will be held on remand for a total of two years until her trial. As with several other protestors that the state wishes to make an example of, she was kept in the rehab wing so that she would experience sensory torture from the constant screams of inmates experiencing withdrawal symptoms. The prosecutors’ details were shared with Israeli state officials in a breach of judicial independence. The United Nations have intervened in this case, stating that anti-terrorism legislation “may have been used to circumvent procedural safeguards in relation to detention, and as a specific and general deterrent” in a serious breach of human rights standards. Several international humanitarian law firms have cosigned a letter (https://eldh.eu/wp-content/uploads/2025/06/UK-Filton-18-Statement.pdf) warning that this case signals a serious backslide of democracy and the rule of law.
Since her arrest, Yulia’s chosen family and friends have been regularly visiting her at HMP Bronzefield in Surrey and supporting her financially while in prison. Her absence is felt deeply and the visits to the prison carry an enormous emotional toll for us all. It terrifies me to see how my best friend’s mental health has deteriorated – she is autistic and is really struggling on the inside. There have been several periods where we have worried about her not surviving until her trial.
Entering the prison as a trans woman is terrifying, knowing how trans women are treated in prison. The first time I visited I was groped, and the second time I visited one of the guards made a joke about sexually assaulting prisoners. Though Bronzefield is the largest “Woman’s Prison” in Europe, several inmates there are transsexual men who are forcibly detransitioned on entry and denied access to their testosterone. Recently a trans man died in custody there – he was one of Yulia’s friends. This all happens while pride flags are displayed in the visiting hall. These daily traumas are wearing down on Yulia to the point where she thinks she is no longer herself, and will never be the same again.
Since my record was centred around themes of queer solidarity, queer friendship and queer love, three things that I believe Yulia personifies, it made sense to dedicate this deluxe version to her. These are some of the songs that she loved the most and often requested live, in particular “Did U No”, which was her favourite. I visited Yulia in prison during the recording session for this track, and I remember crying, screaming, and channeling my rage at the state into the vocals when I returned to the studio that evening.
We had planned to record “Did U No” for the album originally, as it was also a favourite of Phoebe’s, but sadly we ran out of time in LA. It is such a joy, now, to be able to finally get it down. It is joined by “Find Ur Ppl”, which was the second song that I wrote after coming out (following “Woman”). “Find Ur Ppl” is a song about meeting Yulia and the Manchester community, which feels vitally important given how many young trans people are in danger, isolated and in need of the safe haven of queer camaraderie. “I Can’t Believe I Did This Without You” and “I Don’t Think Anyone Else Could Hold The Same Place In My Heart” are two new songs on this release that I wrote during the LA recording sessions for the album, up on the roof of Sound City Studio between takes. I recorded five songs as demos and sent them as a thank you to my bandmates and producers after returning home to Manchester from LA. It’s nice to have more polished versions of these two. The remaining song, “Please Can We Hold Each Other Yesterday,” is a more recent ode to lost time with loved ones. I demoed this track on my phone and Steph Marziano (the awesome producer of these new tracks) liked it so much, as it was, that she suggested we didn’t re-record it and release it as is. I love how these tracks have turned out, with the help of Steph and the incredible band lineup that I have been playing live with this summer – Phoenix Rousiamanis on violin and keys, Maeve Westall on drums and Emily Abbott on bass.
Now when I sing these songs, I am singing them to my best friend, my mother, my sister, my daughter – the political prisoner Yulia Trot. Of all the things that I have lived through, nothing has felt as big as losing her. I hope that one day she will be able to hear these recordings. I hope that one day she, all of her co-defendants, and all of Palestine, will be free.
Please support Yulia’s friends and family with visit costs and read more at freeyulia.com and follow @freethefilton24 on Instagram.”
Jasmine will be on tour in the UK and Ireland in November:
11th Nov – Scala, London, UK 12th Nov – Thekla, Bristol, UK 13th Nov – The Art School, Glasgow, UK 15th Nov – Academy 2, Dublin, IE 16th Nov – Gorilla, Manchester, UK
I’ve wanted to write about music recently, but it’s seemed pointless because the person I’d want to share new (or new to me) music with, is no longer here. Anyone who knew Raz will feel that. Nothing feels right, and it doesn’t feel real. It’s a really strange feeling, and one I wouldn’t want someone I really hated to experience. Loss is brutal. It’s cruel. I’ll do my best to write this. I’ve got my cat next to me. The second she sees me put my laptop on the kitchen table; she sits next to me. Not looking at me, but making sure I’m protected. Sweet little Mary, I appreciate you- but a bird scared you earlier today so leave the protecting up to me angel!
I had an email from Zac (the brains and bones behind The Burgers) in May, so this is very delayed. The Burgers is not a band. It’s more than that, and it’s Zac’s first record in English. It’s also the third record as The Burgers. It’s a proper Punk record, and it’s a joy to listen to. As I listen to this rowdy delight of a record blast into my ears- I can’t help but wonder if Raz would dig this record. I reckon he would, and that’s good enough for me. The idea of The Burgers started in China, but now Zac is based in Glasgow. I hope the next records Zac makes are influenced in some way by Glasgow because the Scottish sure know how to make beautiful music.
Kick Fights To Lose is a great record, and it’s a strong Punk record. I feel I’d end up finding this record eventually as it’s everything I want from a record. It’s loud, it’s raw and the songs aren’t that long. Perfect for my almost laughable attention span. Although, music does seem to be the only solid thing that can hold my attention. Again, not a bad thing! This record has 14 songs, and you get immediately that these songs need to be heard loud. You can imagine a rowdy crowd going wild to these songs, and Zac having the time of his life on stage! At the moment, my favourite song on the record is Anarchy Means You Can Shoplift. It’s a brilliant song and the title is also great. It’s a dig at those who deserve it, and I’m here for it. Zac does make music with a message and with humour. His lyrics are great, and I hope he does have confidence in himself with this record because making your first record in English must be pretty daunting, but he’s done an exceptional job here.
I’ve listened to his previous records, and there’s no denying how great Zac is. The Burgers is a great project. I’m a fan, sign me up! There’s a lot to love and admire about this record, and it’s one of those records that, with every listen I find myself appreciating everything on the record even more. There’s a proper DIY feel to the record. I don’t know if Zac has done everything on his own here or if there’s anyone else involved musically- but it’s a great record. It’s played well and put together beautifully. For me, it’s just the perfect Punk record all the way through. You’ve got songs that show disappointment in a vulnerable yet honest way, you’ve got songs that may make you laugh in parts but the main thing to take away from this record- is that it’s from the heart. It’s truly from the heart, and I really hope Zac puts out more records like this because it’s a joy to listen to. I don’t care what language he sings in; I just love his music a hell of a lot.
You can really feel the hard work that’s gone into making this record, and that’s apparent on every song. Every song deserves its place here. I love the lo-fi feel on Pillow, Duvet and Me. The sound and vocals on this are quite quiet and a little distorted but that adds fragility to an already delicate song. I love how this song goes right into Girl With Arms And Legs, and again this song is another vulnerable number. Zac’s seen a beautiful girl and he feels out of place and like a freak, and the way he expresses this is so open. He does it in a way that we can all probably relate to. But Zac, you’re not a freak at all. It’s a strong record. No skips. Just delightful Punk anthems all the way through.
Some of the songs on the record will break your heart (It Was A Joke is a solid example of this) and others will make you want to throw your body around and trash stuff. There’s no middle ground here, and sometimes you need that from a record. You know, in an ideal world, Zac would be able to tour the world with this record and everyone gets to see these songs in the best way- live. Sadly, the world doesn’t work like that, does it. I can only encourage you to buy the music and support The Burgers in whatever way you can!
If a band can give you a doom and gloom feeling on a sunny day, then you’ve found musical bliss. I know some may want the cheery type of music, and that’s nice for them. But I want something that emotionally makes me feel like I’ve been punched in the gut. I want music to make me think and feel a type of way that I may not always get. I think it was John Peel that once said, “I just want to hear something I haven’t heard before.” And that’s probably a really strong way to approach listening to music and trying to find something that speaks to you.
I wrote about Body Maintenance a few years ago. I think I was taken aback that they are a band from Melbourne and thought they were from a dark alleyway in Berlin from the 1980s. They sound like every band I’ve ever loved and adored but also have something very new about them. That new sound is smack right in their new record, Far From Here. Some have likened the band to Joy Division (I may have too) but when you listen to this record, you hear something else. I’ve played the record a few times now, and I’m still trying to work out what that “something else” may be. But I guess, I’ve done a John Peel and found something I haven’t heard before.
Far From Here is a remarkable record and is of course, the band at their absolute best. This is the kind of record that would cause you to go down a rabbit hole of trying to find bands like this, and I’ve done this many times before and in turn, ended up finding bands who I’ve become obsessed with. The record opens with the stunning The Surface but for me, it’s all about track number 3- The Face That I Stood Behind. This live would be next level. The whole record feels like an outer body experience, and I reckon seeing this band live would be exactly the same. This song is over 5 minutes of music heaven, and I want to hear it at every single opportunity I can. We then go smack into The Boundaries which reminds me a little bit of The Cure, and that is only ever a good thing.
We’re always looking for something different- not better, just different. Better is a question of taste, so leave that out. This record is different. It’ll get you in the mind, body, and soul. It’ll make you wish you could spend the rest of your days listening to. To be honest, that’s how you should feel when you listen to the band. Everything they do and have done is just a joy to listen to, and their new record really highlights how great a band they are.
Slates is one of the tamer moments on the record, and it goes beautifully into Broken Sculptures which again is another favourite. I’m likely to change my mind on which song I love the most by the time this is written and posted but believe me- this is a record you need to listen to and own. It’s really worth going back and listening to their previous records after immersing yourself in this one too- you may end up appreciating the band even more so because they really are exceptional musicians. I just bloody love them.
In just 8 songs, Body Maintenance have firmly proven why they are one of the best bands around. Australia knows how to put out exceptional music- from my beloved Silverchair to Royal Chant to Amyl And The Sniffers, and to Body Maintenance. There’s something in the water, and we can’t get enough of it. This is such a remarkable record; the drums on Days In Arcadia is another strong moment on the record, and the way it slides right into Golden Fire is divine. Needs to be studied! Golden Fire is a gorgeous way to end the record, and it of course leaves you wanting more- how could you not? The vocals on this remind me a little of the band White Lies (I loved them when I was at Uni.) It’s an atmospheric number that will get you right in the gut, and honestly- that’s the record all over. It was made to be utterly felt with all you have and for it to consume every ounce of you. It’s just a flawless record that deserves your attention, time, and love.
You can stream the record on their Bandcamp now, and it will be released near the end of the month. It will be out in the UK via Drunken Sailor Records on the 27th June.
If you’re looking for say, 10 really loud Punk songs to knock you out or burst your eardrums- then you need the debut record by Psychic Pigs. A band fronted by half of one of my favourite bands in the world, Brandon from Crocodiles (a write up on Charlie’s Crush Of Souls project is coming) has created Psychic Pigs with his buddy Jonah Falco (yep, from Fucked Up) and made one hell of a rowdy record.
I won’t liken the record to anything Brandon has previously done (but if you loved one of his many bands such as Flowers Of Evil, then you’re going to adore this) but if you are a fan of Crocodiles, then you will love this delightfully loud record.
The record was made in London, and you can hear hints of UK Punk in the record all the way through. With Jonah on production and drums, Brandon is responsible for the vocals and guitar. Put these two together, and you’re of course going to be blessed with something truly incredible. These 10 songs were made for you to trash a room to, break stuff, throw yourself around a room and really get wild. I live on the 8th floor and it’s tempting to throw the TV off the balcony whilst listening to this record (I won’t!) This record was made in only 4 days, and you can really hear the rush and urgency on it. Songs like Everyone Pays massively sounds like it could have been born from early Hardcore days; you can hear what has influenced Brandon a lot on this record and his writing yet again will blow your mind. Charles and Brandon are two of the greatest writers of our time, and their genius shines always- whether together as Crocodiles or separately. I just adore them.
This record by Psychic Pigs is beautifully filthy and is there for you to totally immerse yourself in- in every way possible. It’s a record that’ll cause or cure a hangover; it’s a record to play really loud when you’re on your own. It’s a speedy and mucky record, and only good things can rise from the dirt, right? This is a record that goes beyond being a side project- it’s got this drive and bite to it that makes you feel like you are hearing Brandon’s voice for the first time, and also, you get exactly the same feeling from Charlie’s Crush Of Souls project. In short, they make beautiful music regardless.
The songs on this record don’t really hit over the 2-minute mark, so it’s pretty easy to just have this on repeat constantly. I love Hello Oblivion the most right now, but I’ll change my mind in a few hours and find a different song on the record to adore. I just think Brandon and Jonah have created something really important here, and it goes beyond being a rowdy Punk record. It feels comforting in some ways and maybe that’s because for me, Crocodiles have constantly (since 2008/9) been my ultimate comfort band. Every record is associated with something or has got me through something, kind of like having a buddy there right in your corner, y’know? There are so many hints of Hardcore bands on this record mixed with something that’s utterly nameless, and I think when you find something that you cannot describe, you’ve probably found something to treasure for a long time.
The lead single off the record (self-titled) was the perfect introduction to what we were going to get on this record- that snarly Stiv Bators attitude flows throughout the record and is so prominent on the lead single. It’s a brilliant song to get us all hooked on the Pigs. If I won the lottery, I’d pay for Brandon to bring a Psychic Pigs tour to the UK because this is a record that’s got to be witnessed live. New Dark Age
venue where you don’t know where the stage ends or begins-everyone just merges into one, and personal space doesn’t exist. Beer and sweat falls on you, and neither is your own. Perfect.
For me, the second half of the record is where the rowdiness really kicks in and songs like Masochist oozes a real Punk attitude that may have once scared your mum but she will tell you she’s seen and knows more than she lets on- so who’s scared now?! I know this is a great record because even though I have it playing super loud, my cat Mary, is happy to still be asleep next to me. She’s a Punk at heart- she didn’t really get a say in it.
Cool Society is a dig at how awful politicians are and how those who live in the real world know exactly what’s going on and how politicians aren’t in touch with any of us. How could they ever be? The frustration on this one is glorious and Brandon really lets the world have it with this one. This is another close favourite but truth be told, the whole record is a real masterpiece. The frustrations, the truth and all that goes along with it is what makes this record divine. The record ends on I’m On Drugs, and it’s fair to say this record is a wild trip that you won’t be able to get enough of. Inject these songs right in and let them consume you.
Psychic Pigs are released out of the dirt and into the wild tomorrow via Slovenly Records. And if you live in L.A, they will be playing a release show tomorrow (23rd) at Permanent Records Roadhouse with Tenement Rats
Here we go. Record number 5 from the North East’s loudest band- Pigsx7. What can they do on record number 5 that they haven’t already? Like, what is left to be done now?! Haven’t they burst our eardrums enough?! No. They haven’t. There’s more to do, more damage to our ears to be done.
Death Hilarious is a masterpiece, that you can be sure of. Again, Pigsx7 are a band who do not make bad records. Everything they release is so exciting and different- but always beautifully loud to the point where you may need medical attention (not the best kind of attention you can get, but still.) If you’re wanting a record to drown out the noise and to make you feel like every bone in your body is being crushed- this is the record you need. It’s the band at their peak. They’ve done it. They’ve made something that defines their sound in a new way, and I love how with every record they are unafraid to push the person who listens to it. It may be us old fans or it may be new ones; either way they push you and it’s wonderful.
If you’ve been lucky enough to see Pigsx7 live, then you’ll know that it’s an experience that goes beyond anything else you’ve seen or felt. For me, bands like this are the ultimate comfort band. Their sound feels like a secure grip around me, and I can’t get free from it- I guess it feels like home and it’s calming. Others may hear something utterly dripped in chaos and pure noise, but for me, that’s my version of calm. I never claimed to be “normal” because none of us are.
The record consists of 9 songs and is around the 45-minute mark- that’s enough time to let a record utterly consume you. Every song deserves its spot here, and the way it ends on the 8-minute wonder that is Toecurler is magnificent. It’s a grand record, and the ending does not mean the band are going quietly at all. If anything, they get louder. Matt’s screaming on this song is next level, you can really feel how healing it is. It’s like getting every ugly and painful feeling out. It’s the kind of song you’d want playing in a sketchy Slasher film where the killer loses it towards the end.
This is their most experimental record to date, and they won’t lose fans over it at all. If anything, they’ll gain more. Welcome to the cult of Pigsx7! I’ve played the record a lot this morning, and with every listen I’m getting a new appreciation for the band. You can hear the growth on the record. I remember first listening to them and I had NO idea what was going on- all I knew was that I was instantly hooked, and I found a band that were going to change how I listen to music and how I take music in. Turns out, that feeling has stood very firm with every record they released since. Death Hilarious is no exception. If anything, it heightened it.
I started writing this a week ago, with the intent of putting it up by the day had ended. But I felt with every listen of the record, I found something else to cling onto and relate to. So, for once, I let the record stay with me. For a week solid, this has been the only record I’ve listened to. I’ve played it at the gym on a loop, played it to and from work, listened to it at work- that’s a lot of hours. Have my feelings changed? Not in the slightest. I still think this is the best record Pigsx7 have done, and it explores the brutalness of anxiety and everything that comes with it, in a way I’ve not felt before from a record. The way Matt screams some of these lyrics will rip right through you. I know for a fact I cried when I played it the first time. Some lyrics just get you in the gut, and with more listens I feel less alone with whatever goes on in my head. Someone else gets it, and they are expressing it in a way that is a billion times better than I ever could. That’s the power of music- it makes you feel less alone, and less of a burden too.
If you’ve seen Pigsx7 live, you will know how big their sound is in that environment so when you listen to them on record- it can feel different. They’ve managed to capture that huge live sound and put it beautifully on record. They’ve done it. This is THE record they had to make and tonight I get to witness it live. It’s going to leave me hard of hearing tomorrow- it did last time, and I cannot wait.
Death Hilarious is a record I’ll keep going back to for different reasons. This week it’s helped me focus at work and the gym. Maybe next week it’ll feel like a hug, and the week after it’ll be my comfort record. All I know is that it will be one I keep going back to constantly. I don’t think it’s a record you play and just forget about. You don’t do that with a Pigsx7 record, it’s impossible.
Every song on the record does feel like a smack in the kisser and a punch to the ribs, and you just cannot get enough of it. Stitches has a Glam Rock feel to it, and you’ve got the ripper of a song, Toecurler that just sums up the whole record as the closer. In 45 minutes, Pigsx7 give the listener all they want and deserve.
The record feels like an exorcism of sorts and that powerful release is felt on every single song, and I think that’s why you cannot help but feel hooked right from the start. But that’s Pigsx7 all over.
There are a handful of bands that I’ve written about over the past (18) few years that have really stuck with me, and I can remember listening to their music for the first time. I can probably remember what I was wearing and where I was. Can I remember what I did last week? Not a chance. I’ve been writing about L.A. Witch since 2012, and every release feels like I’m discovering them for the first time all over again. That’s when you know a band is truly out of this world.
L.A. Witch are releasing their 3rd full length record on Friday, and I’ve been listening to my copy since January. Every listen is better than the last, and this feels like the record they were always going to make. It’s a masterpiece, but that’s to be expected from them. They’re one of the best bands of our generation. They remind me of all the old bands I love from The Gun Club to The Cramps, but also remind me of something we’ve not heard yet. Something undiscovered and nameless. The new record, DOGGOD was recorded in Paris and you can hear the influence of the city on this record. If you’ve listened to their previous work you’ll have picked up on an L.A. feel to their sound but there’s something heavier and darker here. That’s probably why I love it so much. It’s a beautifully intense record right from the start. It’s the band at their very best.
The record opens with the new single, Icicle. If you’re after dark and romantic lyrics- this is the record for you. The words are poetry and really heavy, but don’t let that deter you in any way. What the band musically add to these dark lyrics is something beyond words and anything I could ever write down. I’ve written about them so much over the past 10 years, and every single time I am in awe of how brilliant they are. Sade is one of the best guitarists ever, Irita makes the bass look easy and Ellie just destroys the drums. Put this together, and you’ve truly got one of the best bands around.
There are many gentle moments on the record but for me it’s the 6-minute delight that’s I Hunt You Prey that’s captured my heart the most. Songs over 6 minutes are my weakness sometimes, and they’ve done something truly magical here. There’s a haunting vulnerability to Sade’s voice on this one, and you can really feel the weight of it all. The bass on this is one of the best moments, and is honestly one of the best songs they’ve ever written. It’s unlike anything else they’ve ever done, and even Sade’s vocals sound different here. If I was played this and without knowing it was L.A. Witch, I honestly wouldn’t have been able to tell it was them. It’s so different in the best way possible. I now want them to do a record of 6-minute masterpieces like this. I can’t drive, but it makes me want to take a long drive. It’s got that urgency to it, and that’s their sound all over. I think I’ve mentioned it about their music before, but L.A. Witch make the kind of music that makes you feel you are riding a motorbike on the open road and out into the unknown. It makes you feel untouchable and rebellious.
The whole record oozes devotion, love and romanticism- but it’s not done in a sickly way that makes you feel utterly nauseas. They do it in a way that’s relatable; and it’s the intenseness that keeps you doing back and causing you to relate to so much on the record. Eyes Of Love has this slick and hypnotic groove to it that makes you hit the repeat button several times. There are no fillers on this record, everything is where it deserves to be. I firmly advise listening to this record through headphones and letting every tiny detail on the songs gently trickle into your ears. Let the record consume you; it’s the only way. DOGGOD at times feels like a spiritual record, and I think that’s what makes it so easy to love and see yourself in. Like I said earlier, this is the record they were destined to make.
DOGGOD is one of those records that in a few years’ time, you’ll go back to and there’ll be certain songs you head for first instead of playing it in order. For me, I think the song I’d go for would be The Lines or Kiss Me Deep. The Lines sounds like it would fit perfectly on Play With Fire, but there’s this really big sound to it and honestly? This would be one of the songs I’d play to someone if I wanted to convince them that L.A. Witch are one of the best bands around. If this wouldn’t win someone over, what hope do we have?! I love how the tender moments on the record (Lost At Sea) go right into that loud sound of theirs I love so much (DOGGOD.) It just shows how super talented they are, and how unafraid they are to play with different sounds and to make something really phenomenal.
L.A. Witch have pushed themselves with this record, and that’s evident right from the start until the end. This is a band that have taken the time to make a record that they can yet again be so proud of. For me they are like bands such as The Cure and The Cramps- every record is better than the last. Everything they do is just beautiful and perfect. Their last release was 5 years ago (Play With Fire still feels so new to me!) and you can really hear the growth on DOGGOD. They’ll never make a bad record, ever. That I’m so sure of.
The devotion on the songs is the epitome of love and loving someone so unapologetically hard (as someone who is very aware of their feelings, this may only be the way I feel to love someone and it can be a pain!) Of course, there’s an unhealthy amount of submission in the songs but there’s so much to really treasure on this record. The honesty and openness in the lyrics for me, is what stands out. Everything else just follows perfectly after. I feel that DOGGOD is one of those records that if I came back to it in a few years, I’d write differently about it because over time the songs would take on different meaning and carry a different kind of weight. In short, it’s a powerful record and if I made lists- it’d be my record of the year. No questions.
DOGGOD is out this Friday (4th April) via Suicide Squeeze Records.
I’ve said it many times before, but there’s nothing better than writing about a band you love and their new record. Bambara are one of the best bands around, that we know. But just how great is record number five, Birthmarks? In short, it’s the best thing they have ever done. And this is coming from someone who is still very much attached to Shadow On Everything. In fact, I’m probably still very much attached to all their records. Birthmarks stands out immediately.
The record opens with Hiss, and what I’ve noticed with not just this record- but every Bambara record, is that it feels like a film. A film that is dark, twisted and beautifully tortured. I think that just shows how exceptional they are as musicians and writers. They create this atmosphere that sucks you in; regardless of where you start with their music, it’s a feeling that gets you right away. They could easily do a soundtrack for a film or three- no problem. There’s this brilliantly perverse feeling throughout Letters From Sing Sing, and it’s truly the band at their best. I’ve read many reviews on the band where they are compared to Nick Cave & The Bad Seeds, which I totally get but there’s something more here. Sure, compare this record to Kicking Against The Pricks or Let Love In, but leave it at that. Reid’s vocals here have never sounded so strong and the way you can hear him sing through gritted teeth on Face Of Love is just divine. The man has a voice of an angel.
There’s a lot of storytelling on this record, which is typical of Bambara and it’s only a positive thing. The mention of Elena and the one-eyed man means having those familiar characters right away makes you feel safe with this record, but part of you is always on edge. You feel like you’re on the edge of something about to happen, and happen it does. The first single from the record, Pray To Me is the perfect way to win new fans over and get us old ones excited for the record. Everything you love about Bambara comes to a head on this song, and it was such a strong choice for the first single. Any song could have been the lead, but when I heard it a few months ago- I just knew in my gut that Birthmarks was going to end up being the best thing they had done to date.
Something that is constant throughout the record (and all their records) is the influence of Southern Gothic themes and you can hear the influence New York has had on them. You can really feel the influence of David Lynch and Nick Cave amongst others on this record and that’s a constant on all their records, but there’s something else there. Something I can’t quite put into words. The whole record is a joy to listen to and as a fan, it was love at first listen. I cannot wait for the tour next month because they are truly, truly one of the best bands I’ve ever seen live.
With Reid’s gnarly and gritty vocals, it is beautifully matched at times with vocals from Emma Acs (Crack Cloud), Bria Salmena, and Madeline Johnston (Midwife.) Sax is also provided by Jeff Tobias (A. Savage) and haunting harp tones are provided by Marilu Donavon (LEYA.) Blaze yet again annihilates the drums and of course, William provides impeccable slick tones on the bass, synth and piano. Let it be known, this band know EXACTLY what they are doing and how they want to sound. For me, the song that shows just how strong this record is, is Smoke. There’s something about this song that just ties the whole record together, and you feel like you’re no longer on edge. It’s possibly the most calming song on the record and lyrically, it might be my favourite. I am absolutely likely to change my mind in a weeks’ time, but my god this song is Bambara at their finest. The whole record is the band at their very best. They’ve never made a bad record, I don’t think they could even if they tried. I just really, really love this band. You know when you find a band that make everything click? Bambara (and Crows) are the band that do that for me. If I was religious, I’d compare this all to a religious experience.
The record ends with Loretta. Whatever I say about this, doesn’t do the song justice. There’s a heaviness to it that is just a touch more noticeable here than on other songs and the imagery in the lyrics? My god. That’s the thing with Bambara, and it always will be- the lyrics. The lyrics feel like every Henry Miller book I’ve read to death. There’s this darkness, this smuttiness, and chilling tones to it all that just connects. I don’t want to hear typical love songs about sunshine, rainbows and all that sickly stuff. Keep it away. I want dark and meaningful words that actually grip you and are relatable. Inject it into my veins and leave me listening to this record on a loop. Thank you.
You feel as you take in Reid’s words as he sings at you, that you’re in the midst of a sermon. Well, if Bambara are a cult- sign me up. You cling onto every word, every note. Everything. This is a record that was made to consume the listener. It was made to be soaked up and clung onto with all you have. It’s a record that in 5, 10 years I’ll still feel exactly the same about. It’s perfect in every single way.
Music, like all great art forms, should move you. You should feel something powerful and sacred only to you. That’s what Bambara have done yet again; it’s what they do and will always do. Every single song on the record feels like a short story. A dark and gripping short story, and I reckon it will truly come alive in a live setting. I’m so excited for this record to be released on Friday and I’m so excited for the tour next month. They’ve created something so classy here and so memorable. I just know that in many years to come, this will be one record I play and I feel like I’m hearing it for the first time. That’s when you know you’ve found something very special.
Small World by Backyard Ritual was released last summer, and I’m a dummy for not writing about it sooner. Backyard Ritual is the project of Ian Campbell- the main songwriter of a band I’ve written about many times and love a hell of a lot- Pop.1280. Ian reached out to me about this record, and I genuinely never thought someone from a band I love so much would ever do that! The first person (and only besides this) I told was my uncle because he too, has an impeccable taste in music and is also a fan of Pop.1280. If anyone was going to know how big of a deal this was to me, it was him! Anyway, story out the way. Time for the music.
Small World is a tense and atmospheric record. It’ll keep you on edge but at times it will calm you down. I love how dark the record and how it feels it could easily have been used in an early John Carpenter film. There’s a lot to love and take in on this record, and I really appreciate how you can take in the minimalism approach on this record. Interboro reminds me of The Vacant Lots- there’s that New York feel to the record. I’ve said it before that some bands/artists make you really pick up on where they are from. You can really put a place to the music, and Backyard Ritual do this so well. You feel like you are scoping the alleys of New York late at night when you listen to this record, and you even get that when you listen to Pop.1280 but I’m not here to compare old bands to current.
The debut full length record is dark and eerie; the best records usually are. There are Industrial and Post-Punks influences on this record, and it doesn’t feel heavy. I know I mentioned above that you immediately feel you are in NYC when you listen to this record, but you still pick up on other feelings on this record. It’s perfect for if you are feeling lost and want to be found. There’s an urgency to it, and there are also slight laid-back moments too on this record. It’s a gorgeous Electronic record if you are in need of genres to be thrown around. But honestly? It goes beyond that. It’s a solid record. A really captivating debut record as Backyard Rituals, and there are moments on this record that are truly heavenly. For me, the gentleness in the middle of the record on Circumstance shows just how brilliant Ian is as a musician. The record does start powerful and it is then toned down here, and it then picks up. You don’t know how to feel, but you take it in any way because it’s such a big record. For me, I feel you could easily put your headphones on and soak up this record whilst wandering the street late at night or on the night bus to get you wherever you need to go. It’s a late-night record, and they are usually the best ones.
There’s something about this record that makes you feel like you’ve gone back in time but also stepped foot into the future with it. In its own effortlessly slick way- Small World is timeless. There are nods to Ian’s previous projects on this record, but there is also something brand new here. Something we’ve not heard before, and it truly comes to life on songs like Amateur Journalist and Proxy. At the moment, they are my two favourite songs but we know that the more I listen, the more likely I am to find a different song to love. In short, it’s a bloody remarkable record and one I am so glad I have been made aware of. Imagine going through life, and not knowing about this record?! How boring! How unfortunate!
If you love bands like Cold Cave, Harsh Symmetry, The Vacant Lots- then you’ll fall in love with this one. In just 9 songs, Backyard Ritual have created something really long-lasting and important. There’s urgency throughout this record and there’s so much to appreciate. I don’t think I’ve even touched the surface on describing how great it is, but hopefully if you listen to it too, you’ll hear it. You’ll pick up on how vital and slick this one is.
Since Friday morning, I’ve been solidly listening to the new record by The Men. I didn’t even know a new record was coming out! Now, I’ve loved this band for a long time. My uncle and I both adore this band so this release took us both by surprise. They’re a band that blow your mind with every listen and having an unexpected new record land was just what I needed.
It was their third record, Open Your Heart that had me hooked and I still stand by it being one of the best records that Sacred Bones have ever released. It’s a record that is so effortlessly slick and as much as I hate clichés- it is utterly timeless. It’s one of the most enthralling records of modern times, and it turns out- The Men do not make terrible records. Ever. I love this band because no genre can define them. I guess at the heart of it all, they’re a Punk band but they’re beyond anything and everything. They are criminally underrated. With their new record, they’re firmly justified yet again why they are one of the greatest bands ever. They just have this way of creating records that fit exactly what’s going on. The world is on its arse due to world leaders being absolute idiots- what better record to soundtrack this all than the new record by The Men?
They’ve been going for I think, 18 years now and there’s no way this band can ever stop. A world without their music would be dull and meaningless, and yes, I know the world is cruel and cold right now- but not everyone is a twat. The music they make is like a guidance or a call to fighting back, and that’s what we need. If you’ve got the privilege of having a platform where you can voice this and be heard- use it. And that’s exactly what they’ve done with this record. Every song on this record feels like a kick in the teeth and is made to burst those little eardrums of yours- and it’s never sounded or felt so good. They’ve got that snarly Dead Boys tone right through the record and I think it really comes alive on At The Movies. This record is heavenly. It’s loud, it’s important and it’s The Men at their very, very best. They’ve made some killer records in their time and if I was ever in the position to move Open Your Heart from being my favourite- Buyer Beware would be my number one.
The title song on the record again sounds like Dead Boys and I think that may be part of the reason as to why I’ve fallen in love and into a deep obsession with this record. It’s got everything from that era of Punk thrown into it, and maybe it’s the record they were always supposed to make? That sounds odd because every record they’ve released is a masterpiece, but there is something about Buyer Beware that feels different. It feels bigger and it feels like the kind of record that could and should win them new fans, and make us old ones love them even more. In short, it’s a bloody remarkable record. The way Nothing Wrong goes right into Control should be a crime for how slick and wonderful it is. What a move!
I reckon there will be songs I play more than others but for now, I’m listening to it solidly in chronological order and that’s rare. Normally I listen to something a few times then hit shuffle. Not with this record. I think to get the most of it, you just have to listen to it over and over, and soak up every word. Take in every note. Let every guitar sound feel like a kick to the ribs, let the drums feel like someone is smashing your body into a wall and let the bass guide you wherever it is you need to go. The songs are loud, fast, and vital. This is THEIR ultimate record. At the moment, I think PO BOX 96 is the one that’s grabbing my attention the most, but the more I listen- the more I change my mind slightly. Get My Soul is a ride of a song, Control is just a work of art. There are no bad moments on this record. The only downside? Maybe it could last longer. Maybe the song Charm could last 5 minutes or 10. It’s the band at a gentler moment, and my god what a song it is. That peaceful side of the band comes out in rare moments and when it does, it sounds SO good. It’s a beauty of a song. Charm is one of those songs that will stick with you for a long time. I really hope this record brings them over to the UK because they are a band I’m just dying to see live. You just know it’d change EVERYTHING. The music means the world to me now as is, but to see them live? That’d be something else.
The Men have again created another masterpiece, and they are showing no signs of ever slowing down. The world needs this band. This record is all about being resilient and fighting back; it’s about standing up and not backing down. That’s the kind of noise we need right now. Will the world listen? Who knows, but at least we’re not alone.
Beat In My Bones. 