The latest issue of the Full Pelt Magazine is here, and you can download your copy for free below!
Volume 35 features our cover star Frank Turner as announces show 3000 and shares his 10th studio album, ‘Undefeated’. Plus we review the new releases from Emily Barker, P.O.D., Dea Matrona, The Exact Opposite, DAYTIME TV and EEVAH.
Our News Report has all the latest music news including live announcements from Frank Turner, David Gilmour, Massive Wagons, The Lemon Twigs, Alien Ant Farm, LostAlone, Levellers, Don Broco and Myles Kennedy.
Plus all the best new releases including P.O.D., Robert Jon & The Wreck, Black Country Communion, Fire From The Gods, The Lovely Eggs, Mannequin Death Squad, FM, Blossoms, Jaret Ray Reddick, SAFIRE, Yours Truly, Hamish Hawk, Mt. Onsra, VOWER, Our Hollow, Our Home, Heriot, Lizzy Farrall, Raven Numan, Soft Play and Richie Kotzen!
Finally, we round up the latest additions to our ‘Discover’ New Music Playlist including SHADE UK, HRTLSS, Sleep Theory, Peter Bibby, The Fever Kings and Caroline Romano!
The musical journey of Nigel Powell and Jamie Stuart is a storied one full of twists and turns. Both of the duo emerged from the early 2000’s Oxford music scene following the demise of former bands Unbelievable Truth and Dustball.
Forming the group Dive Dive together, the band released three albums between 2005 and 2011 before band members commitments to The Sleeping Souls saw that group fade away.
Dive Dive returned with a fourth album in 2019 before Powell left The Sleeping Souls in 2020. Since then Powell has kept busy with an album from his group Sad Song Co. and the return of Unbelievable Truth. Now Powell and Stuart unite again for a brand new project known as The Exact Opposite.
Keeping those creative juices flowing and wasting no time, the duo has now shared their debut album, ‘Skill Issue’. The twelve song record is an instantly enjoyable collection of alt-rock songs which pull from their past but point to their future.
Although it probably shouldn’t a surprise, the most interesting point of note from the album is the relevance and urgency of both the music and lyrics. Despite all the water under their musical bridge, this very much sounds like a band with a point to prove and a message to send.
Songs such as ‘Look at Him Go!’, ‘Battle for Progress’ and ‘Idiots in Tow’ showcase their rekindled chemistry and help to ensure that this first release as The Exact Opposite is a memorable one. Given their previous work both together and apart, it again shouldn’t be a surprise but ‘Skill Issue’ is a really good album!
San Diego nu-metal icons P.O.D. are back with their eleventh studio album, ‘Veritas’. That is of course truth in Latin, and the truth is that when the nu-metal bubble appeared to burst circa 2004, not many people would have bet on P.O.D. still releasing new music twenty years later!
Over the past couple of decades the band has followed up their seminal album, ‘Satellite’, with a mix of hits and misses. Again, in truth, this record represents neither of those categories. It certainly isn’t a bad album, far from it in fact, alas it isn’t exactly the best example of what the band is capable of either.
Even within that nu-metal bubble P.O.D. still managed to stand out with their signature sound particularly innovative; and there lies the simple problem with ‘Veritas’. The record focuses more an a standard rock sound and lacks the charm of their best work.
There are still some big moments on the record however which will undoubtedly fare well on those generic American rock radio stations. Notably those moments seem to come on tracks with special guests such as the Randy Blythe featuring ‘DROP’ and Tatiana Shmayluk powered single ‘AFRAID TO DIE’.
The album is also a safe bet for existing fans of the band. Whilst inevitably, ‘The Fundamental Elements of Southtown’, ‘Satellite’ and ‘Payable on Death’ will still gain the most playing time, thus is the curse of success, ‘Veritas’ will fit in nicely with the rest of their back catalogue.
The album is aided by its easy listening sound and its relatively short run time, meaning that it is well worth a listen. If you weren’t already a fan of the band however, it’s unlikely to suck you in and you’re obviously going to want to start with their big hitters. Once you find yourself on ship P.O.D. however you can then revisit ‘Veritas’ and enjoy the fact that one of the pioneers of a world-changing genre are still active and making listenable music!
Through various guises and projects, the sublime musical talents of Emily Barker have been well established. Her career has taken her through Americana, Country and Folk, but each record has been indelibly identifiable as the work of Barker.
New album, ‘Fragile as Humans’ finds Barker in reflective mood, both looking inwards at her own life and diving into the wider human condition. This naturally makes this album emerge as one of the most personal releases yet from an artist who has always been able to craft their innermost thoughts into deep and beautiful lyrics.
However, despite the themes of the record tackling raw emotions such as sadness, loss, sorrow and loneliness, it’s important to note the glimmers of hopefulness that weave their way through this collection of delicate and majestic ballads.
Barker has worked with the talented Luke Potashnick on this album, and the producer helps to elevate the musical side of the album to dizzying heights of intricacy and elegance. From opener ‘With Small We Start’ to finale ‘Acisoma’, this is a truly exquisite record that is deserving of your time and affection.
Irish duo Dea Matrona have been captivating audiences and gaining attention for their unique genre-bending rock mix. Now, finally that important career milestone that is a debut album is here to solidify their growing reputation.
‘For Your Sins’ is instantly enthralling as opening track ‘Stuck On You’ welcomes listeners with a funky rhythm and catchy chorus. As touched upon already, a diverse sonic palate is a key component of the duo’s endearing qualities.
Next song, ‘Stamp On It’, provides further evidence of this with its intoxicating charm and delectable stomp ala Tame Impala. Indeed the influences are plentiful and varied with Abba calibre pop songwriting, Led Zeppelin classic rock riffs, Pink Floyd ambition, Fleetwood Mac allure and Arctic Monkeys indie rock swagger all in the mix.
A range of genre’s become identifiable as the record continues but all are bound by the overarching identity of Dea Matrona. Yes, despite celebrating a range of styles, this doesn’t feel like a tribute album. No, this very much feels like a real statement of a collection from a band who clearly have an innate natural ability to craft a enchanting song.
That reputation will surely only continue to grow with an incredible debut album in the bag. Each and every one of the twelve tracks here is single quality and adds something unique to a record that holds your attention with undeniable ease.
In short, you couldn’t have asked for a better debut album from Dea Matrona and the potential showcased on ‘For Your Sins’ is actually quite scary!
If ever an album title felt like a reflective and candid statement it’s, ‘Undefeated’, the brand new record from a battle-hardened Frank Turner. Indeed, this album is a significant one for the singer as it isn’t just his milestone tenth collection but is his first as an independent artist in over a decade after predecessor ‘FTHC’ concluded his label commitments.
This new found freedom comes at a time of change for Turner. Recent years have seen Turner hit his forties and settle down to married life by the coast. Away from the city and his previous classic rock n’ roll lifestyle, Turner has embraced a growing side-hustle as a producer. That production work has already heralded releases from PET NEEDS, The Meffs and others.
‘Undefeated’, however marks the first self-produced album from an artist who has worked with celebrated producers such as Rich Costey, Catherine Marks and Butch Walker. A the key role of a producer is to act as a sounding board and where necessary offer constructive criticism. One of the pertinent questions for this album then is can a determined Turner remain objective when marking his own homework?
Given however that Turner has already walked the tightrope of producing his own wife’s album (which is perhaps an even harder task), has gained significant recent experience and has had considerable exposure to the work of those previous esteemed collaborators, it probably shouldn’t be a surprise that overall the answer to that question is yes.
Of course, the fact that he is again accompanied by his trusted group The Sleeping Souls (fresh from releasing their own separate album) also adds a level natural assurance to the recording process. As expected given the duration of their team-up, the Souls execute of the musical vision of Turner with precision.
We all hit those landmarks of life and we all arrive at different crossroads, both personally and professionally, although most of us find our solace and catharsis through different means to Turner. For Turner has always worn his heart on his sleeve and exercised his demons with the stroke of a pen and the strum of a guitar.
With now presenting a natural moment of self-reflection for Turner, it’s therefore predictable but welcome that ‘Undefeated’ finds Turner coming to terms with his new life whilst also taking aim at his doubters, naysayers and critics.
Turner has been the target of a catalogue of unwarranted and frankly quite absurd criticism and abuse during his career which sees him arrive at album ten beaten, bloody and bruised. Importantly though ‘Undefeated’ finds Turner defiant and ready for battle with opener ‘Do One’ perhaps acting as an apt tone setter for the album.
The following thirteen tracks all offer varying nods to Turner’s previous work as well as more than a glimmer of where he is going. These threads ultimately give the record something of a transitional feel; a celebration of a successful career but an acknowledgement that it’s also far from over.
The likes of ‘Letters’ and ‘East Finchley’ will fit effortlessly into the fan favourite category, and the rest of the album is able to hold its own with what is now a comprehensively strong back catalogue. Closing the record is the title-track which fittingly finishes the collection the same way it started – with Frank Turner rising up from two decades of hard slog, defiant and undefeated!
2008 is remembered for a financial crisis, the Beijing Olympics, Barack Obama being elected U.S. President and Iron Man kickstarting the Marvel Cinematic Universe that now features an unfathomable amount of films and shows.
That year also saw The Zutons release their third album, ‘You Can Do Anything’ which, despite fairing well in the charts, failed to achieve the success of their previous two records. By the end of the 2009 festival circuit, the group quietly disbanded and a band once seen as having a big future was done.
With the members moving onto new projects, starting families and living life, it seemed for a long time that a reunion of any sorts was off the table. After a one-off show in 2016, it would then be 2019 when fans would finally get a more solidified tour in celebration of their debut album.
When a handful of shows occurred in the next few years it seemed that a semi-lasting reunion was in effect though any hopes of new music still seemed unrealistic. Fans therefore were delighted when a fourth album was teased with the legendary Nile Rodgers onboard as producer.
In true Zutons fashion it would then take a further two years to confirm the release of ‘The Big Decider’ some 16 years since their last album. That announcement was followed by the release of lead single ‘Creeping On The Dancefloor’, which instantly spotlighted the influence of Rodgers on the record. The bands custom indie sound surrounded by disco funk vibes.
That track also welcomes listeners to the album before leading into recent single ‘Pauline’, which is more of a tone-setter for the nine track collection. Slower and more methodical than their previous work, there isn’t any of their trademark uplifting charm that shines through on classics like ‘Valerie’.
Indeed this is a very different band then the one that crafted their reputation of joyous guitar pop in the noughties. The fact is though that it’s a different world that they find themselves releasing this record (well except the financial predicament), and they are of course different people now. Literally in some cases with only frontman Dave McCabe, sax maestro Abi Harding and drummer Sean Payne still in situ.
Yes, ‘The Big Decider’ isn’t a rehash of their original output and nor should it be. With Rodgers’ and Ian Broudie’s assistance they’ve created something unique and different which is a good way of describing what the band has always been. They didn’t fit the landfill indie scene perfectly and they aren’t aligned with the recent indie resurgence.
That does raise the question of what the audience for this album will be? Whilst the 35 minute duration helps keep things succinct, there isn’t really anything that will grab your attention on here either. The album is worth a listen and is a nice reminder of the group’s talent. It doesn’t tarnish their early work as some returns do, but it doesn’t necessarily add much either.
Still, it’s good to finally have The Zutons back and releasing new music together. Hopefully ‘The Big Decider’ is just a first step into a brand new era from this gem of a band.
The community that surrounds PET NEEDS is quite extraordinary. Their fans, or ‘fractured party people’, passionately support the group in their endeavours and recently assisted the the band in defying the odds by reaching number 17 in the UK Albums Chart.
Tonight, finds the group partway through a tour which acts as a victory lap for that album – ‘Intermittent Fast Living’.
PET NEEDS
Through all their achievements though, the fact that PET NEEDS cultivated that fanbase through a number of support slots isn’t lost on them. Indeed frontman Johnny Marriott identifies the importance of these opportunities tonight whilst explaining that tour support Generation Feral is running late.
Instead of cancelling the support slot however, Generation Feral is racing to the venue and rather than leaving fans waiting, Johnny and brother George open the show with an acoustic set of favourites and rarities including ‘Pavlovian’ and ‘Primetime Entertainment’.
GENERATION FERAL
Soon after, Generation Feral arrives and without a soundcheck takes to the stage to deliver an incredible virtuoso performance. Hitting important subjects in a frank and down to earth manner, Generation Feral is able to showcase her strong songwriting capabilities through the likes of ‘hide your knees’, ‘political climate’ and ‘newborn adult’.
The fans in attendance reciprocate her energy and together an uplifting experience is created, where both audience and artist are grateful of the efforts taken for the set to take place.
PET NEEDS
It again isn’t long before PET NEEDS then return to the stage in full complement and raise the roof with new favourites ‘Separation Anxiety’ and ‘Trip’ from their heralded third album. What is instantly obvious as they do so, is that the fans present already know every word and that the songs already feel at home in the setlist.
That observation is true of all ‘Intermittent Fast Living’ tracks that follow and is a testament to the quality of the record. When you then factor in songs from their first two albums, a PET NEEDS set is now structured – banger after banger after banger!
A final run of ‘Fear for the Whole Damn World’, ‘Tracey Emin’s Bed’, ‘Lost Again’, ‘Sleep When I’m Dead’ and ‘Get on the Roof’ is perhaps the strongest evidence of that theme.
With a new look line-up in place and momentum fully on their side, there appears to be no slowing down from one of the best young bands around. The band have a plethora of festival slots booked for this summer and on this showing tonight, you’d be a fool not to highlight them on your clashfinder!
