The evolution of Oakman in recent years has culminated with the release of their third EP, ‘SCP’. The French pop-punk trio have given deeper exploration of the pop element of the genre and the outcome is majestic.
Opening with the statement dancefloor filler ‘Night’, the six track record is an uplifting yet brutally honest and personal collection.
‘Murder’ and ‘Fantasy’ knuckle down on this formula and exude vulnerability and strength in equal measure.
Oakman sound natural on this EP and are able to showcase their superb songwriting skills with freedom. Their pop-punk roots remain, but the band appear ready to elevate themselves both artistically and professionally with their new sound.
Editors debuted the single, ‘Heart Attack’, back in April with the announcement of Benjamin John Power joining the band. New album, ‘EBM’ was set for release and a number of subsequent singles have hinted that Power’s arrival on keys, synths and electronics coincides with a focus on such from the band.
Born in the indie landfill mid-noughties, Editors always stood apart and above from their contemporaries by infusing an electronic element into their dark guitar-centric sound. Throughout the next decade or so they’ve continually evolved with the times and that has seen guitars and synths swap places in the mix.
What has helped Editors both grow their audience and retain their core following is that they’ve done so well with quality music at the forefront. They’ve never abandoned their beliefs for the glory of chart success, but have found chart success nevertheless.
The shift of focus almost fully into the world of electronics hinted at in the pre-album singles is fully borne out on ‘EBM’. This is now far removed from the all out indie rock of debut album, ‘The Back Room’. It helps that the transition has been gradual and not the instant transformation that many bands have tried and often failed to enact.
‘EBM’ feels like an honest record from the band, in that this is clearly what the band want to be doing. Sonically this is Editors being themselves, after all they’ve never been the pandering type of band. For some of those indie rock fans that bought into the band early doors this may prove to be a step too far, but for those that have enjoyed the journey this is another collection of solid tracks.
Whilst some fans may be turned off, this isn’t a bad album. This also isn’t a great album. When you’re consistently unique, you eventually are bound to become generic. You either die a hero or see yourself become the villain. The tests of time will ultimately judge ‘EBM’ on Editors’ behalf, and I feel they are unlikely to be either cruel or kind. Again, when all your work is memorable, eventually parts of it become forgettable.
It feels like an eternity ago that Lonely The Brave burst onto the scene with their incredible early EP, ‘Backroads’. That’s probably because that actually was almost a decade ago, and wow has the world been through some tough times since then.
It hasn’t all been smooth sailing for the band either, with the switch of vocalist in 2018 a major hurdle. Thankfully the band secured the talented Jack Bennett to fill the very big shoes of David Jakes.
The problem for the band now is that just when they would need momentum the most, the world stopped moving. The pandemic disrupted all people in all walks of life with the music industry hit very hard. Imagine then the impact on Lonely The Brave as they looked to move seamlessly into their new era.
New album, ‘The Hope List’, was released in the midst of lockdown in January 2021 and plans to tour in support were naturally delayed. That time has belatedly arrived now and tonight they play a special hometown show at the Junction in Cambridge.
There are two support acts on tap with VLMV up first, captivating the early audience with a sonic smorgasbord of guitars, synths and vocals. Cult icon Jamie Lenman then blasts though a short set of new material which ramps up the intensity in the venue. Both acts have done a good job warming up a slightly lethargic crowd ready for the hometown heroes to arrive.
Welcomed warmly onstage Lonely The Brave instantly mix new tracks such as ‘Keeper’ and ‘Distant Light’ with old favourites like ‘Black Mire’ and ‘Trick of the Light’. This is a theme that continues throughout the evening.
Bennett as we say has had big shoes to fill vocally and he manages to do those old favourites justice tonight whilst also adding new layers both sonically and corporeally.
There is an unusual tense atmosphere in the venue tonight, which feels highlighted by this being a hometown show. It’s only really when the likes of ‘The Blue, The Green’, ‘Backroads’ and ‘Black Saucers’ appear towards the end of the show that the audience relaxes a bit.
Performance wise the venue witnesses three strong sets tonight from three acts at varying stages of their careers. The industry is in a tough spot right now, but you’d hope there is enough talent on show here that these acts can kick on from here.
The cost of living crisis currently strangling the UK has become the latest threat to the future of our independent grassroots music venues. The Music Venue Trust had already engaged with The National Lottery for the #ReviveLive campaign in answer to the pandemic, but now it takes on even greater meaning.
It’s venues such as the Portland Arms in Cambridge where we are tonight that are vital to the music ecosystem. No introductory venues – no cultivating superstars. No regional venues – unsustainable travel to gigs for fans. No new superstars and unaffordable costs for fans – the collapse of the music industry! That may seem dramatic, but it’s the short, sharp and real threat that we are facing.
Tonights #ReviveLive show features Scottish rock band The Xcerts and has been pushed back a day to avoid the Queen’s funeral. Despite the change and the lack of a support act, the venue is suitably stocked with audience members come the time for the band to hit the stage.
The setlist tonight comprises tracks from all four of the bands studio albums but focuses heavily on latest effort, 2018’s ‘Hold On To Your Heart’. ‘Drive Me Wild’ and ‘Daydream’ from that album start us off and ease the audience into the show, before ‘Shaking in the Water’ really gets things moving.
That album is a masterpiece so fans are more than happy to hear multiple tracks from it. There is an audible delight however at the presence of two brand new songs in the set tonight. Both ‘Everything I Cannot Live Without’ and ‘Jealousy’ sound promising for more stunning work to come from the band.
The Xcerts deserve all the success in the world and the final run of ‘Show Me Beautiful’, ‘There Is Only You’, ‘Crazy’, ‘Hold On To Your Heart’, ‘Aberdeen 1987’ and ‘Feels Like Falling In Love’ is a real testament to their quality.
There are great nights like this happening in every major city and town in the UK every night of the week. The venues these are happening in and the bands killing it onstage need your support now. If you are able to, get yourself to a show and ensure that when all our problems hopefully dissipate, we still have venues and bands to enjoy!
If you attended a UK music festival this year you would’ve had a high percentage chance of catching The Skinner Brothers. The hotly-tipped band have kept busy since supporting Kasabian last year and now feels an ideal time for them to release some new music.
Well, that’s exactly what they’ve done in the shape of new four-track EP, ‘Lonedon’.
The title track is up first and showcases their Britpop influenced indie-rock perfectly. Second track ‘Mellow’ demonstrates their dexterity and ‘Loaded Gun’ sounds like it was recorded for the FIFA video game soundtrack.
Final track, ‘Make It Count’, is a superbly crafted softer sing-a-long anthem which ensures that this is a well rounded collection.
In fact, if your looking for a short taster of this much hyped new act, then this EP is exactly what you need!
Disillusioned and close to bankruptcy, it is fair to say that 2001’s ‘Free All Angels’, was a make or break record for Ash. Whilst debut album, ‘1977’, had hit the number one spot and made the band a household name, sophomore release, ‘Nu-Clear Sounds’ had seen the bands momentum stall.
Having seemingly hit rock bottom, a refreshed approach saw the band write and record what would be their saving grace, ‘Free All Angels’. Returning the band to the top of the charts, and serving as a springboard to greater success, it is again fair comment to say that the album rescued the group’s career.
This week has seen the band celebrate the 21st Anniversary of the album with three very special shows. Rejoined by guitarist Charlotte Hatherley, who departed the band in 2006, Ash have played the album in full first in Manchester, then Birmingham and finally tonight at the O2 Forum Kentish Town in London.
On the eve of the funeral for Her Majesty Queen Elizabeth II, there is a perfectly observed minutes silence at 8pm.
Shortly thereafter opening act The Gulps take to the stage and do a suitable job of raising spirits and getting those in attendance ready for our headliners.
WATCH ‘SHINING LIGHT’ ON YOUTUBE
Ash – ‘Shining Light’
A mighty roar greets Ash and particularly Hatherley to the stage and the band proceed to play the entirety of ‘Free All Angels’. The quality of the record is borne out with opening trio, ‘Walking Barefoot’, ‘Shining Light’ and ‘Burn Baby Burn’, with even frontman Tim Wheeler commenting on the run.
The singles, naturally, played a large role in the success of the album but it is the overall quality that ensures that remains as revered today as when released in 2001. ‘Candy’, ‘Someday’, ‘Sometimes’ and ‘There’s A Star’ are all glorious before ‘World Domination’ brings the run though to a close.
This doesn’t end the evening however as Wheeler quips about making the most of their time with Hatherley, before introducing the first song that they worked on together, ‘A Life Less Ordinary’.
Ash are a fine live act, but tonight the addition of Hatherley really ratchets things up a notch or two. The added layers and intricacies level up the band and the likes of ‘Goldfinger’, ‘Orpheus’ and ‘Clones’ sound absolutely huge tonight.
Towards the end of the night the band break out tracks such as ‘Numbskull’, ‘Kung Fu’ and ‘Girl From Mars’ much to the delight of the audience.
Tonight has been a reflection of a period of time not just for Ash but in British music. It’s an evening drenched in nostalgia but for those in the venue it’s all about the immediacy of the performance. It’s only fitting that a final airing of ‘Burn Baby Burn’ closes out what has been a successful celebration of a truly great album.
With the nights drawing in and the first full festival season in three years now completed, it’s time to head back indoors for our live music fix. And where better to start than in one of the UK’s many incredible intimate independent venues!
That brings us to Norwich at The Waterfront Studio for a sold out show from Canadian acts Arkells and Lights. Getting to welcome international acts such as these back into venues such as this is another reminder of the progress live music has made to return this year, and the venue fills up early with fans eager for an evening of great music.
Whether or not they’d be in receipt of such was never really in doubt considering the acts present. Up first is the multi-talented Lights who clearly has her fair share of diehard fans in attendance. Thankfully for them she has a whole hour to showcase her genre-bending indie pop, to the delights of those in the venue.
Latest album, ‘PEP’, features highly throughout a career spanning set list and album tracks such as opener ‘Prodigal Daughter’, ‘Beside Myself’ and ‘Okay Okay’ are highlights in a consistently powerful and uplifting show.
Yes, the bar for tonight is set very high by Lights, and many seasoned professionals would flounder in their attempts to follow such a performance. Luckily for both the band and the packed venue, Arkells are more than up to the challenge.
The Opening trio of ‘Past Life’, ‘Leather Jacket’ and ‘Michigan Left’ set the stage for another top tier performance from this well-oiled touring machine. At this stage of their career, the group have songs for days so it’s refreshing that they are willing to accept audience requests such as ‘Hand Me Downs’ which occurs next.
Arkells provide another career encapsulating set list with a particular focus on recent efforts ‘Blink Once’ and ‘Blink Twice’. Big hitters such as ’11:11’, ‘Knocking At The Door’ and finale ‘You Can Get It’ all elicit huge reactions from the crowd, however the highlight of the night comes from something special and unique.
Frontman Max Kerman regales the crowd with the tale of a young married couple having their first dance to ‘And Then Some’, with the track being performed by a local covers band. Kerman proceeds to recreate the moment of the first dance with the couple in the crowd, even bringing out the singer of said band, Counterfeit Brits, to sing.
Another memorable moment comes via ABBA cover, ‘Gimme! Gimme! Gimme! (A Man After Midnight)’. Expect the unexpected appears to be the theme of the night as Lights also returns to the stage to perform ‘Human Being’ with Arkells; much to the delight of an audience who will remember this night for years to come.
Live music is well and truly back, and our independent venues are leading the charge with amazing shows such as this taking place every night of the week. The tickets to catch these two fantastic international acts in intimate UK venues are surprisingly inexpensive. Thankfully for you there are a number of shows remaining on this tour, so do yourself and your local venue a favour and head along to one!
THE AMAZONS – HOW WILL I KNOW IF HEAVEN WILL FIND ME? – ALBUM REVIEW
Reading rockers The Amazons are back with their third album, ‘How Will I Know If Heaven Will Find Me?’.
The band burst onto the scene with their 2017 self-titled debut and quickly established themselves as one of the hottest young rock bands in the country. Follow up ‘Future Dust’ was far from a flop, but probably didn’t build on their momentum as well as they’d have hoped. It will be interesting then to see how ‘How Will I Know If Heaven Will Find Me?’ fares and what impact it will have, if any, on the group’s career trajectory.
WATCH ‘HOW WILL I KNOW?’ FROM THE AMAZONS ON YOUTUBE
Making their name for out all arena rock anthems, this new record follows a path hinted at on its predecessor with a more melodic sound. Sombre and delicate, the harder side of the band only makes rare appearances as they explore their softer capabilities.
Whilst there will certainly be some fans slightly alienated by this, there will be many more that will welcome this change of pace; after all the band have successfully shown this side in past.
When we look beyond the aesthetics of the album, blinker ourselves from their past output and focus solely on the eleven tracks that make up ‘How Will I Know If Heaven Will Find Me?’, then we are looking are a superb record. A delicately crafted collection of melancholic glory!
Yes, The Amazons may be evolving before our eyes, but they are also proving themselves to be the future superstars that their debut album promised.
When we caught The Amazons supporting Royal Blood in arenas recently, we speculated that they would soon be headlining such venues themselves. With this album the band have ensured that trajectory remains.
After a ten year wait between ‘Scream’ and 2020’s ‘Ordinary Man’, Ozzy Osbourne is already back with new album, ‘Patient Number 9’. This is something of a miracle given the ongoing health concerns surrounding the iconic rocker, so it’s with a sense of relief that we press the play button.
The title track and opening campaign single, ‘Patient Number 9’ starts us off and showcases the first of many guests featuring on this album in Jeff Beck. Zakk Wylde, Tony Iommi, Mike McCready, Eric Clapton, Josh Homme, Dave Navarro, Robert Trujillo, Duff McKagan, Chris Chaney, Chad Smith and the late great Taylor Hawkins all have credits on this collaborators dream of an album.
WATCH ‘PATIENT NUMBER 9’ ON YOUTUBE
Ozzy Osbourne – ‘Patient Number 9’
You may think that such an eclectic mix of stars would contribute to the album feeling disjointed and lacking cohesion. That would it turns out be an incorrect preconception as in fact the record flows well and is distinctively an Ozzy Osbourne record. That said each guest adds personal touches and influences and enables this to be some of Osbourne’s most diverse work.
The critical acclaim that adorned ‘Ordinary Man’ will undoubtedly bleed into ‘Patient Number 9’ with Ozzy Osbourne showing that there is life in the old dog yet.
The only possible criticism would be that perhaps at a little over an hour the record is a song or two too long, but ultimately at this stage of Osbourne’s career we should be grateful for everything we are able to get.
Question marks remain over his ability to tour again, but if ‘Ordinary Man’ and ‘Patient Number 9’ ultimately represent the finale of his distinguished career then Ozzy can enjoy his well earned retirement safe in the knowledge that his career finished as authoritatively as it began.
PANIC! AT THE DISCO – VIVA LAS VENGEANCE – ALBUM REVIEW
Panic! At The Disco was a vessel for frontman Brendon Urie years prior his total custody of the moniker as an all out solo project. Recent releases have seen Urie fully embrace the spotlight and allow his ego to run untapped.
Often this is a bad thing, but in the case of Urie he possesses that flamboyance and je ne sais quoi that only a handful of musicians do. No matter the project or outlet he would naturally become the centre of attention, so in this case it’s only right to let that creativity and showmanship loose.
New album, ‘Viva Las Vengeance’, is everything that you’d imagine that it will be. To some that would be a bad thing, this is modern day Panic! At The Disco by numbers to many extents after all.
But importantly there is one sonic element that Urie has incorporated that helps keep things interesting and gives fans a taste of something a little different. That component is the outpouring of love for 70’s glam rock! This album is a love letter to T-Rex, Queen, Bowie et al, and Urie is able to pull it off with utter panache.
Panic! At The Disco – ‘Don’t Let The Light Go Out’
The title-track, ‘Middle Of A Breakup’, ‘Don’t Let The Light Go Out’ and ‘Local God’ all lead the charge before the likes of ‘Star Spangled Banger’ and ‘God Killed Rock And Roll’ unashamedly and theatrically drive the point home.
Panic! At The Disco aren’t breaking any moulds these days, in fact they are something of a safe bet. Again, to some this is a boring and uninspired trend over recent albums, but others will argue if it isn’t broke then don’t fix it.
What is clear on ‘Viva Las Vengeance’ is that Urie is having fun, he is doing what he wants to do and for him that’s all that matters; and hey if doing so can keep him headlining festivals and playing the biggest arenas in the world then he’d be mad to change at this point!
