Vol. 58
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The Cure
Songs of a Lost World
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THE CURE – SONGS OF A LOST WORLD – ALBUM REVIEW
It’s important to note that this review is written by someone who, despite such a passion for music that they write reviews of albums, has never gotten into The Cure. I can’t actually say that it’s not for a lack of trying, because the reality is that I’ve never tried!
Something always felt a little intimidating about trying to dig into their near five-decade long career. Where would I start and what order would I go in? What if I didn’t like what I heard? What if I did?!
Well, with the band releasing their first new album in sixteen long years and facing the reality that with the members of the band in their mid to late sixties, ‘Songs of A Lost World’, could be their last ever, it feels like a now or never situation!
At just eight tracks, but a fifty-minute run time, on the face of it this album can again look rather intimidating, especially when you clock the 10+ minute album closer, ‘Endsong’! Musically though the album is instantly welcoming as the band usher you into this lost world of theirs.
Whilst the album is easy to listen to in the sense that it doesn’t turn you away, it has to be said that thematically it is heavy listening with a foreboding darkness shrouding the lyrics focused on mortality and loss.
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Given the fact that this could be their last album, many of the words sung so hauntingly by Robert Smith feel very apt. This despite the fact that the majority of the album was recorded and ready to go five years ago.
There is something mesmeric about this album though, and it’s no surprise that both the band themselves and the music press are confident that it’s up there with their best ever work.
Perhaps in hindsight, for someone unqualified in their back catalogue, but with a knowledge of their biggest mainstream hits, this probably wasn’t the best place to start a deep dive into the musical journey of The Cure.
That said, if this album was presented to me with no name attached, no burden of history or pre-judgement of quality then I’d still be saying this is a magnificent, reflective and absorbing collection which is well worth investing some of your time towards.
So, if like me, you feel a little intimidated when considering a jump into The Cure or ‘Songs of A Lost World’, then I’d suggest you just throw away those inhibitions and explore this lost world!
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October Drift
Waterfront Studio, Norwich
Sunday 27th October 2024
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OCTOBER DRIFT – NOrwich – live Review
📸 (c) Denis Gorbatov / Full Pelt Music
It feels fitting that we are here to see October Drift because everything is feeling rather autumnal in Norwich this evening – it is dark, slightly damp, leaves are on the ground and The Waterfront is decked out in its finest Halloween decorations. The only scary thing this evening though is the sheer talent on stage!
CARPARK
Opening up proceedings on this Sunday evening are London trio Carpark, who may not have been known to many when they walked onto the compact stage, but you can be damn sure that by the time they left everyone in the venue had found their new favourite band!
With an alt-pop sound lifted straight from the turn of the millennium, the trio are instantly captivating, and it really doesn’t take long for the audience to realise that they are watching a real treat.
The likes of ‘Blow Me Outta the Water’ and ‘Happy on Mars’ indicate a band ready for much bigger things. You certainly will not have been tricked if you leave expecting them to be moving up the scale of venues in the coming years as more people learn their name!
OCTOBER DRIFT
That is of course if all was right and fair in the world, but alas the music industry is unforgiving and unfair. Case in point are our headliners this evening, October Drift, who really do deserve much greater success.
With the recent release of their third album, ‘Blame the Young’, the band have completed one of the most impressive trios of initial albums in the past decade. Much akin to Carpark earlier, their live show is an unforgettable experience – if you’ve seen the band once, you will return time and time again.
Tonight, as per usual with this band, is a visceral experience where you almost feel at one with them. This is an immersive experience, and the group can make a crowd of any size feel like it’s an intimate one on one session.
From the get-go with ‘Demons’ and ‘Tyrannosaurus Wreck’, it is new album, ‘Blame the Young’ that takes centre stage. Whilst on record the album is probably their most sonically diverse collection, on stage the songs all dynamically exude the usual passion and energy which makes an October Drift show such an outer body experience!
With frontman Kiran Roy spending ample time performing from within the equally as passionate crowd, it isn’t hard to understand why this feels like such a shared encounter. Older tracks such as ‘Insects’ and ‘Cherry Red’ still sound massive, but it is those newer tracks such as ‘Blame the Young’ itself and latest single ‘Wallflower’ which standout this evening.
It has been another special night in the company of October Drift, and with the added bonus of Carpark this show will last long in the memory. All we can say to close out this article is don’t sleep on these two fantastic bands!
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Watch Episode 56 of The Full Pelt Music Podcast with guests October Drift
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Vol. 57
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Interlaker
Interlaker
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INTERLAKER – INTERLAKER – ALBUM REVIEW
The sheer talent of David Jakes deserves to be heard, but his crippling anxiety for the stage life ultimately led to him stepping away from Lonely The Brave in March 2018, whilst they were at the peak of their powers.
For Jack Wrench, he has shown himself to be an incredibly skilled drummer with Arcane Roots, but his own time in the limelight came to end in late 2018 as the band played their final shows.
Fast forward to spring 2022 and the two musicians linked up on Instagram and bonded over shared influences. Soon the duo found themselves sharing new music and a special collaboration was born!
Since then, Interlaker have released a steady stream of atmospheric singles and even wowed a few crowds by bringing these songs to life on stage.
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Given the pedigree of the musical chops on display, it should be no surprise that their self-titled debut album is an even bigger dose of magnificent alt-rock radiance.
Early releases ‘The Hunger’ and ‘Ghostride’ ease listeners into this collection, before the duo flex their creative muscles even further. Each of the ten tracks on the album are engaging and full of sonic gravitas. Once you’re sucked in, you aren’t going anywhere!
As far as debut albums go, this one is simply gargantuan and you can’t but hope that it signals only the beginning of what promises to be a spectacular journey for two supremely talented musicians.
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Kids In Glass Houses
Pink Flamingo
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KIDS IN GLASS HOUSES – PINK FLAMINGO – ALBUM REVIEW
There was naturally an air of sadness when Kids In Glass Houses split in 2014, but equally there was a sense of things running their course. Like many of their peers, momentum had slowed, and the unforgiving music industry was taking its toll.
A wave of bands hyped as the next big thing, because just another thing and the world seemed to be moving on without them. The funny thing though is that what is once thrown aside and labelled out of time eventually turns into nostalgia and again following trend Kids In Glass Houses emerged from their self-imposed hiatus in 2023 to celebrate the fifteenth anniversary of debut record ‘Smart Casual’.
That reunion hype continued past those original shows and eventually led to news of new music on the way. Well, now that music is here as they release their fifth studio album, ‘Pink Flamingo’!
The first thing to note about this album is that it’s anything but a standard “we’re back” type of release. It seems that even though they are technically still riding that wave of nostalgic momentum, they are keen to pick up where they left off rather than go all the way back to the beginning.
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There is a clear desire to expand on their sound and do something new and purposeful rather than just rely on what brought them to the dance in the first place. It’s ironic though that it’s a different breed of nostalgia that provides the soundscape for this album. Much love exists of late for the music of the 1980’s and that influence is worn with pride on this collection.
This does mean that much of the guitar driven impetus of their earlier work is sidelined and a more measured synth-laden sound surrounds each of these delicately crafted songs. You have to admire the ambition of the band, but with that there is a risk that ‘Pink Flamingo’ ultimately feels like it just tries too hard.
A similar sonic transformation has killed the momentum of a number of similar acts in recent years – Deaf Havana we’re looking at you! This album however is well produced and comes at a different career point for Kids In Glass Houses.
This album certainly deserves your respect and attention, it’s far from a bad album, indeed it’s a pretty damn good album – time though will tell if it’s the right album at the right time for a band looking to re-establish themselves in what is now an even harder industry than the one they left!
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Razorlight
Planet Nowhere
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RAZORLIGHT – PLANET NOWHERE – ALBUM REVIEW
On the back of their first two albums, you would have expected Razorlight to go on to be a sustainable big hitter in the industry. Alas, everything started to go down hill thereafter and eventually would lead to frontman Johnny Borrell being the sole remaining original member and their record label refusing to release their much delayed fourth album.
After a decade of decline, Borrell managed to commence CPR on the lifeless corpse of Razorlight around 2018 with the release of ‘Olympus Sleeping’ coming at a good time for indie nostalgia. Subsequently the gradual re-introduction of the classic line-up raised the groups stock once again; and bigger and better shows followed as a result.
With that nostalgic feeling assisting, the question mark remained however over whether that original magic could be recaptured in the studio. ‘Planet Nowhere’ is the first new album from the classic Razorlight line-up since 2008. Meaning that despite numerous attempts, ‘Olympus Sleeping’ now sits as the only Razorlight album not to feature the line-up of Borrell, Andy Burrows, Björn Ågren and Carl Dalemo.
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Despite that sixteen-year gap, it’s evident from opening track, ‘Zombie Love’, that the quirky charm that set Razorlight apart from many of their contemporaries remains intact. As the album progresses it’s interesting to note that feeling of recaptured magic, mixed with an expected aura of added maturity.
It would be disappointing if this was just a rerun of their best work, but equally as off putting if it was an escape from what brought them to fame. You have to say that the quartet have done well to find a balance between past, present and future.
Their renewed vivacity is clear, and this is a fun album which is helped by the relatively short track list and run-time. That said this is no masterpiece and won’t even be regarded as the best album to be released this week, let alone trouble any of the album of the year lists that are peering over the horizon.
‘Planet Nowhere’ is a jolly romp and that’s really all that it needs to be. Lapsed fans of the band won’t regret allocating some time to check this album out, but odds are ‘Up All Night’ will be back on the record player soon after.
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Amyl and the Sniffers
Cartoon Darkness
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AMYL AND THE SNIFFERS – CARTOON DARKNESS – ALBUM REVIEW
The rise of Amyl and The Sniffers hasn’t exactly been meteoric, but with their biggest headline show booked and tickets flying out, it would appear that finally the band are breaking through and getting the attention early fans knew that they deserved.
Their fun pub rock sound is thankfully intact on their new third album, ‘Cartoon Darkness’. There is an expansion of their sound however and at the risk of sounding cliched this is undoubtedly their most accessible release yet!
Cynics would say that the timing smacks of selling out as their star rises, but realists will credit them for striking while the iron is hot. The fact that their identity is still eccentrically showcased throughout these thirty-four minutes of intensity is evidence that they remain true to themselves despite the newfound attention on these Aussie heroes.
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Big riffs, danceable rhythms and biting lyrics continue to dominate these thirteen tracks as the group explore further a sound that has garnered them a reputation as one of the best live bands on the planet.
It’s within the likes of the slower burning ‘Big Dreams’ though where you step back and admire the giant leap forward that the band have taken. Songs such as this are destined to carry the band to the biggest stages where you just know that their live prowess will ensure they become a big-time act. Let’s just hope that they retain your inimitable charm when they are up there.
‘Me and the Girls’ is a fantastic closing track and punctuates the record perfectly. This is Amyl and The Sniffers taking things to another level and ready to take over the world!
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Meryl Streek
Songs for the Deceased
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MERYL STREEK – SONGS FOR THE DECEASED – ALBUM REVIEW
Stirring punk agitator Meryl Streek has been making a name for himself through a series of captivating live shows, but by his own admission has neglected the recorded side of things. ‘Songs for the Deceased’, his second album, puts that right!
Born and raised in Dublin, Streek is unapologetic in his love for his home, unashamed in highlighting various injustices that poison the world and is wholly unrelenting in delivering these truths with his unique sonic expansion of the punk rock genre.
One thing is for sure, Meryl Streek isn’t going to sit quietly and follow the herd. Be it in his insightful and thought-provoking words, or in his unfiltered requiem of noise Streek is undoubtedly a mould breaking and generation defining artist.
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Over the course of the fourteen tracks that make up ‘Songs for the Deceased’, Streek locks into personal, political and societal themes, tackling historical tragedies and modern concerns. Nobody and nothing is off limits with even the music industry itself rightfully coming under fire!
Whilst Streek uses these songs to tell different stories, the thread that weaves throughout is the thread of injustice. On ‘Songs for the Deceased’, Streek employs his intelligent lyricism to stand up as a voice for the voiceless. In a world bereft of fairness and equality, voices like that of Streek become increasingly vital, and this album acts as his grand statement to all those that will listen.
“Things won’t change unless the young generation stand up” says one of many samples featured on the album, and you sense that the voice of Meryl Streek will be one of those daring to stand up. Both musically and in the grander merits of this record, ‘Songs for the Deceased’ is a massive album from an artist ready to disrupt the status quo!
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Full Pelt Magazine
Vol. 56
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