#266: Brown Brogues - Zoloto (EP review)

Since moving from Wigan to Manchester, scuzzy two-piece Brown Brogues have developed somewhat of a cult following over the last four or five years with their fusion of guttural garage rock, bluesy vibes and punk ethos. Think the MC5, jamming with The Stooges by way of The Black Keys, all wrapped up in the spit’n'sawdust surrounds of one of Manchester’s many dive bars, and you won’t be far off the mark. With Record Store Day 2014 just around the corner, it seems justifiable that such a cult band should want to celebrate the occasion by releasing Zoloto, their first EP since 2012′s Born to Lose.

This review was originally written for Far Out Magazine. Click here to read in full.

#261: Skaters - The Deaf Institute, Manchester (04/03/14)

Gig Review: Skaters - The Deaf Institute, Manchester (04/03/14)

This review was originally written for Little Indie Blogs. Click above to read in full.

#255: Eagulls - Eagulls

Bridging the divide between the post-punk of the 1980s, and 1990s slacker rock, Leeds-based five-piece Eagulls are a band whose name has found itself in my inbox rather regularly of late. The handful of singles the quartet have released, coupled by their appearance at last year’s SXSW festival, has whipped up a veritable shit-storm of anticipation for their eponymous début, released in March. And while the hype machine does have a tendency to big up those within it’s clutches more often than is usually warranted, it seems Eagulls’ explosive combination of snarling punk cynicism and lo-fi aesthetics are worth every ounce of hyperbole.

This review was originally written for Far Out Magazine. Click here to read in full.

#213: Casual Sex - The Bastard Beat (EP review)

Casual Sex

The Bastard Beat

November 25 2013 (We Can Still Picnic/Tri-Trone)

8/10

The Facebook page of Glaswegian quartet Casual Sex, declares the music the band are making as 'sleaze' - nothing more, nothing less, and it's easy to see why. 'The Bastard Beat' EP is chock-full of dirty basslines, off-kilter grooves and lyricism that harbours all the bite and snarl of punk. It's dirty and guttural, but in the best kind of way.

This review was originally written for Little Indie Blogs. Click here to read in full.

#210: Wooden Shjips - Back to Land

Having never been privy to the sounds and stylings of San Fran psych-rockers Wooden Shjips before now, I approached this review with some degree of caution. Not because I’m adverse to hearing something unfamiliar, of course, but because with words such as ‘experimental’ surrounding the band, one simply didn’t know what to expect. As it happens, however, Back to Land, the band’s fourth album, proves to be a far easier and more cohesive listen than anticipated; gone are the 8 minute freak-out jams of previous releases, allowing for a more streamlined, almost concise record, all the while keeping the band’s psy-soaked idiosyncrasies intact.

This review was originally written for Far Out Magazine. Click here to read in full.

#175: The Barmines - There's Never Any Romance (EP review)

In a city musically overshadowed by northern contemporaries such as Manchester and Liverpool, Leeds-based four-piece The Barmines are stirring things up by brandishing their no-nonsense blend of garage rock and rousing indie with a wild and reckless abandon. After a couple of years honing their sound, the quartet, comprised of two sets of brothers (Rob & Liam, Liam & Andy) are set to unleash their début EP There's Never Any Romance on the world.

northern contemporaries such as Manchester and Liverpool, Leeds-based four-piece

At a little under ten minutes long, the four tracks featured are a short, sharp, shock to the senses, and introduces their no frills attitude brilliantly. Kicking off proceedings is 'Feel Good' a scuzzy, gritty track in which guitars wail with a corrosive fuzz amidst singer Rob Burton's signature snarl. It's straight to the point, and grabs listeners instantly, effortlessly drawing one in to the rest of the EP.

Perhaps the most stand out track on There's Never Any Romance comes in the form of third track 'Hey Runner'. Equal parts punk and indie, the track, like the record it's taken from, is brief, yet still manages to pack a significant amount of punch as a buzz saw rhythm guitars form an abrasive and distorted back drop whilst Rob Burton's trademark vocal is effortlessly draped over it. It's straight up dirty rock 'n' roll, and it's appeal lies in it's simplicity. This isn't music that's going to break boundaries, but when it's as honest and as down to earth as this, it really doesn't need to.

Lyrically The Barmines are fairly straightforward too; there's no Shakespearian-esque wordsmithery at play, but that only serves to add to their chosen aesthetic. It's straightforward guttural indie that's made for filling venues with heaving masses of dancing bodies, something The Barmines will undoubtedly achieve with There's Never Any Romance and while some listeners will understandably comment that they've “heard it all before” the fact of the matter is that rarely will they have heard it done to this standard. Each track hits home and hits hard, pummelling listeners with 2 minutes of raw abrasion before moving on to the next slice of distorted and danceable indie, begging the question why haven't this four-piece from Leeds joined the likes of Kasabian or the Arctic Monkeys in the hallowed halls of indie royalty.
 

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