#303: Lower - Seek Warmer Climes

Post-punk – a literally named genre if ever there was one – pretty much epitomised alternative music in the 1980s, whilst mirroring the disaffection felt by the working class British public under Thatcherism. As such, it was a logical progression for those who saw through the punk’s gimmicky exterior and often laughable political ideologies, whilst bringing the music they spent their teens listening to in to a more contemporary (at the time) setting, channelling their angst and tired indifference in to a genre of music that’s ultimately far more introverted and much more claustrophobic than it’s safety-pinned predecessor.

This review was originally written for TheRealMusic.net. Click here to read in full.

#302: Catching Up With...The Hope Edition (U&I Music Magazine - June Edition)

Manchester is synonymous with bad weather; a perpetually grey city built on industry and with a wholly engrained history of the working class and unemployment. As such, with such limited prospects for the city's youth of the past, the musical output never really glittered with optimism. It may have been poetic, but never pretty, and only when flooded with pills in the late '80s, early '90s did the Happy Mondays dare to cheer up a little bit, followed by Oasis' laddish hope, both lyrically questionable bands. It seems now though that solid lyricism and an irresistible optimism have finally found a pairing in the form of the aptly named The Hope Edition.

Despite forthcoming single 'Tony Adams Vs the World' being their official debut, there's been a handful of recordings online for a year or so now; charming, heartfelt, and at times whimsical tracks that range between spoken word, post-punk and old fashioned indie-pop/twee. What sets the band apart from most however, aside from the inherently sunny disposition, is the intelligence that runs through the lyricism, allowing Manchester to painted in a far more romantic light than it's perhaps worthy of. There's an age old adage that suggests you can't polish a turd, in the case of The Hope Edition however, that isn't true and as images are conjured of kisses on the 192 and sick-stained hotel rooms, you can't help but smile.

Though the band have been described as being similar to both The Talking Heads, and Manchester's own Buzzcocks, it's not easy to pin a direct sound on the band, as each track seems to explore a different aspect of their influences. What is obvious though, is that their previous experience in other bands has allowed a maturity to emerge within their song writing, and though the lyricism might not always be as uplifting as their name suggests, hope seems to be a theme that runs throughout their music regardless, making each track as irresistible as the last. With the post-punky 'Tony Adams...' due for release in June, let's hope the latter half of the year sees The Hope Edition begin to get the recognition they deserve.  

This feature was originally written U&I Magazine. Click here to read the full piece and see what else this month's issue has to offer.

#281: The Hope Edition - Tony Adams Vs The World

Bands that hale from Stockport can often be found baying to the black and white confines that their town offers them; their music an almost direct comparison, never mind metaphor, of the Brutalist architecture, the rampant unemployment and the almost-perpetually grey skies that Stockport is synonymous with. Not so the case with The Hope Edition however. Indeed the clue is in the name, and the optimism that runs thematically (if not lyrically) through the core of their latest offering ‘Tony Adams vs the World’, is infectious. 

 
This review was originally written for Louder Than War. Click here to read in full.

#269: Darwin & the Dinosaur - Remus (EP review)

Darwin & the Dinosaur

Remus

7^th March, 2014

7/10

In what is almost certainly a bid to distance themselves from the likes of You Me At Six or Paramore, Norwich's Darwin & the Dinosaur are purporting themselves as an alternative post-punk outfit. And while that may be true to a minor extent, they have more in common the aforementioned than they do, say, The Fall. Genre discrepancies aside however, and D&TD are a solid band that will undoubtedly go on to appeal to fans of the likes of Pierce the Veil or Deaf Havana; their most recent EP Remus feeling like a fusion of contemporary emo, pop-punk with lavish elements of post-hardcore ferocity. It's nothing we've not heard before, but when everything is wrapped up and tied off as neatly as it is here, it definitely doesn't have to be.

Comprised of five tracks and at fifteen minutes long, Remus is a perfect introduction to D&TD. Begining with the blistering 'I Said Goodbye', the record goes for jugular straight off the bat; an incendiary Alexisonfire-style intro eviscerates listeners before they know what's hit them, before slowing down completely into a melodic verse, again akin to Alexisonfire. It's an uncompromising way to start an EP, but it hooks you in instantly.

Following track 'Evergreen' is a less polished, more melodious track in which dual vocals bring to mind early Silverstein, the slightly out of key nature of them only adding to the tracks overall feel. This almost-punk feel is something that runs throughout Remus and is what lends the band their power-pop qualities. The record isn't without it's heavier side though, the final two tracks 'Forever May I' and 'Stalemate' both eschewing the punk vibe in favour of more emotionally charged, albeit mellow post-hardcore.

As mentioned previously D&TD aren't a band who have set out to break any boundaries and as such those of you looking for something a little more left field are probably best looking elsewhere. However should one be looking for a band who wear their hearts on their sleeve and who don't come across as a whiny carbon copy, then they needn't look any further. Will Darwin & the Dinosaur be gracing the pages of magazines such as NME anytime soon? It's doubtful. Will they, and they should be plastered across the pages of Kerrang! and Rock Sound however? Most definitely.

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#258: Introducing...Ghost Outfit

There’s something inherently pleasing about seeing bands from your city begin to make a name for themselves. Being from Manchester, you might think that for me, this happens quite regularly. But when those bands are fairly middle of the road indie outfits (I’m looking at you, The 1975) more often than not, it begins to get a little predictable. Thankfully though, over the course of the last 12 months, things have started to change, and more atypical acts have began to not only break the surface of the city’s scene, but smash through it.

This article was originally written for Hooting and Howling. Click here 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.

#243: Cat Bear Tree - Spaces in Between (single review)

Cat Bear Tree

Spaces In Between

February 3^rd 2013 (self-release)

8/10

London's Cat Bear Tree are an interesting band. Last year's EP Let's Share Hearts was a fantastic example of how the merging together of genres can not only create something completely unique, but also something completely brilliant as well. Six months later, the trio are still going strong and are set to release their first first official single 'Spaces in Between' on the third of February. And while said EP reflected a far poppier side to the band, albeit with a liberal dose of DIY mentality and a smattering of post-punk moodiness, 'Spaces in Between' sees a more mature sounding band, and one which exudes far more confidence than anything they've released prior.

Pulling their influence from bands such as Bikini Kill right down to more contemporary acts like Bloc Party, there's an inherent sincerity about 'Spaces in Between', brought on by Zoe Konez's wispy vocals throughout the understated verses, before a subtle math-rock tinged breakdown morphs the track in to something more frenetic, something less straightforward. Whereas previous songs such as 'Crayons' upheld a differing sense of freneticism, none seem as sombre, nor as fully released, as their latest release, which relishes in a smoother kind of energy that permeates the glossy exterior of the track, hinting at the punk tenancies that reside beneath the silky surface.

  
To hear the band transcend their initial, rough and ready sound, in to something such as 'Spaces in Between' is fantastic. While they've certainly polished their edges, they've also matured as musicians, whilst never losing the DIY appeal that first struck me. They're a band with energy, with passion, with ethos and ideas; ideas that aren't preached, but planted. And while the sound these girls make doesn't lend itself too heavily to commercial success, one can't help but thing such arbitrary things don't matter Cat Bear Tree, there's more important things in life. And they're right, and as long as they keep producing music that's as strong as 'Spaces in Between', I'll keep supporting them.

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