Posts Tagged ‘Liverpool’

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You know when you get to that time, I suddenly found myself saying such infamous quotes like ‘they don’t make music like this anymore’ and trust me – it scares me quite a bit. But on the bright side of things that can also work as a compliment, right? There’s something about the sound of Liverpool-based combo The Night Café that instantly clicked with me and I simply forgot to recommend it here , For me personally there’s a sense of old-fashioned beauty and nostalgia in their melody-driven indie-rock, something that reminds me of the heydays of the early 00s, I must say. From old Britpop heroes like Elbow and Doves, to the more melodic side of bands like Maximo Park – 0151, is the debut album of The Night Café is packed with plenty of reminiscences and ingredients of Britain’s long-lasting legacy of melody-driven guitar pop

‘Turn’ is taken from The Night Café, from their debut album ‘0151’ out 23rd August.

Songs like Turn and Finders Keepersare carried by a warm honesty and this really rare talent for melody and composition. In-between the album the Brits experiment with electronic and slightly more psychedelic elements as well but are eager to keep the focus on the songs. You can literally sense how they enjoy playing together; how they love to compose new songs, even if that results in a slightly overloaded album (it contains 18 tracks although lots of them are interludes). Maybe that’s what I love most about this little indie music gem called 0151 – it represents the youthful hunger for adventure, one that isn’t as saturated and worldly-wise as I might sometimes appear. It’s a reminder of music’s energy and power and I really hope it reaches out to the young at heart out there as well.

SEATBELTS – ” Black Spring “

Posted: October 31, 2019 in MUSIC
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Liverpool based band Seatbelts are back with this mellow, warm-sounding ‘Black Spring,’ with lyrics claiming to be inspired by the writings of Henry Miller and an undercurrent of subtle dissonance running through it, providing it with an unlikely backbone. It’s a track you could almost dance to, albeit with a feeling of vague unease, like something is not exactly right but it’s hard to pinpoint what – a feeling achieved with an expert treatment of a sound that is always somewhat warped in some non-obvious way. With its 3.40 minutes, the track is just as long as it has to be; this type of suggestion-based mood works best when it is contained in a relatively short space, so that its effectiveness doesn’t lose strength through repetition.

Musically, it’s not a departure from Seatbelts’ previous output, but it does incorporate some fresh and intriguing suggestions. The intro has somewhat of a country twang to it – the opening bar immediately evoked in my mind something by The Handsome Family – which resurfaces here and there mixed with a hint of old-style ballroom dance; the result is a not-quite-ballad with nothing to serenade, feeling classic and experimental at the same time. The mixing of the vocals is effective and gives the middle section of the track a haunting quality which is perfect for the low light of late Autumn afternoons, but it is in the instrumental bridges that the song is at its most interesting. The way the music drags towards the end echoes the lilting quality of the vocals, tapering towards a suspended, almost tense ending.


The song is presented as a reflection on Brexit, and anyone who has lived through the political climate of this last couple of years will easily recognise the mood: “I’ve sat around for a week, now I’m beginning to think there’s no choice to be had here,” the lyrics bluntly suggest – something we may all have thought at some point recently watching the news. “Can we really take another year of this?” ‘Black Spring’ asks; in the often worn-out mood we are experienced, the question feels poignant and almost taunting. What we most certainly can take is another listen of this song, which seems to almost beg to be played on repeat. It has the ability to soothe and haunt at the same time, and that is strength in and of itself.

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Releasing their latest track “Missing The Mark”, the boys are doing the exact opposite of what the title suggests, creating a dreamy indie anthem that you won’t be able to get out of your head. Full of mesmerising guitar hooks and compelling lyrics, the track describes the downfalls of falling in love and is the next instalment of the band’s “love letters compilation” which has been inspired by frontman Kevin Potter’s relationship tales.


There are certain sounds that good bands are able to craft that somehow sound and transcend lyrics. It is like the landscape of their sound is able to unlock a thousand thoughts and feelings from deep within you. Paris Youth Foundation are capable of just doing that . Both nostalgic and romantic, the five-piece creates an explosion of life within the few minutes of this track. Perhaps it is no coincidence that the band recorded in the same studio as Oasis’ “Supersonic”, another band who could elicit an avalanche of emotion with ease. If you like dreamy and timeless indie pop, then look no further than Paris Youth Foundation from Liverpool .


thanks to Wonderland and Ear to The Ground.

Liverpool post-punks Clinic released their first new album in seven years, Wheeltappers and Shunters, today via their longtime label Domino Recordings. The band only shared two pre-release singles, which left plenty of album tracks to choose from this week’s . We have narrowed it down to “Congratulations” and album-closer “New Equations (at the Copacabana),”.

Previously the band shared a video for its first single, “Rubber Bullets,” Then they shared another song from the album, opening track “Laughing Cavalier,” also via a Joseph May-directed animated video.

The band’s last album was 2012’s Free Reign. “We’d released albums like clockwork every two years, so it seemed natural to have a break,” explained frontman Ade Blackburn in a previous press release about the long gap between albums. “It allowed everyone to do some quite oddball stuff, away from Clinic. I think we all wanted a bit more freedom.”

Wheeltappers and Shunters’ album title is inspired by a 1970s British variety show The Wheeltappers and Shunters Social Club, which was hosted by Bernard Manning and according to the press release “recreated the smoky, boozy atmosphere of Northern working men’s clubs for a sofa-bound audience.” “It’s been a pisstake thing between us for quite a few years,” Blackburn explained. “Whenever we’d talk about a song sounding too ‘cabaret’ or too nice, we’d say, ‘That’s a bit Wheeltappers and Shunters.'”

Clinic - Wheeltappers and Shunters

Wheeltappers and Shunters looks back on the culture 1970s era Blackburn and “his collaborator-in-chief” Jonathan Hartley grew up in. “It’s a satirical take on British culture – high and low,” Blackburn said. “It fascinates me that people look back on the 1970s as the glory days. It’s emerged that there was a darker, more perverse side to that time. When you look back on it now it was quite clearly there in mainstream culture.”

The album was recorded last year at Hartley’s Liverpool studio. Then Dilip Harris (King Krule, Sons of Kemet, Mount Kimbie) mixed the album. “We thought it felt right to make a fun, dancefloor album in these dark and conservative times,” said Blackburn.


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The Peach Fuzz, These Scouse newcomers have already made a splash on the scene last year with plenty of gigs in their home town as well as a few high profile tours with The Vryll Society and Clean Cut Kid. Their debut single ‘Destroy The Evidence’ being a personal favourite of mine of 2018; It’s a mixture of pysch, pop and rock ’n’ roll reminds me of the Manic Street Preachers during the ‘This Is My Truth’ to ‘Lifeblood’ era, ‪Produced by James Skelly and Rich Turvey at Parr Street Studios‬

Band Members
Nathaniel Cummings – Vocals / guitar
Danny Murphy – Vocals / Guitar
Phil Murphy – Drums
Pauly T – Bass
Tom Corfield – Synths

The Mysterines

The Wirral-based garage rock trio of Lia Metcalfe (lead guitar) George Favager (bass) and Chrissy Moore (drums) formed in 2016 and gained an influential fan in the form of The Coral’s James Skelly, who produced their debut single Hormone. The band have supported Miles Kane on his tour earlier this year and they will be special guests of the Psychedelic Porn Crumpets in February 2019. Hear their single Hormone here.

Cloaked in mystery – no music and no social media, until now – the buzz whirling around the Wirral’s psych-rock groovers The Mysterines, heightened by a recent support tour with Miles Kane, has reached fever pitch with the release of outstanding debut single ‘Hormone’, already racking up unheard of plays for a brand new band on Spotify. Liverpool, are breeding ground of uniquely special bands, it appears has done it again. Ones to watch

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Liverpool’s Shards deliver their sublime recent single ‘Reflections‘ its landscape of simmering textures is infused with heart-tugging vocals. Echoing with the themes of faded memory, regret and moving on, this is a gorgeously drawn first single that touches upon how all of our lives are affected by our pasts. The final portions glacial guitar riffs bare the hallmarks of the widescreen wistfulness of mid-period Ride or the Cure but retain a personality that makes these comparisons a bit moot, as they possess a wealth of personality and promise. ‘Reflections’ achingly draws on universal themes and brushes them into such a shimmering picture, it’s an impressive and affecting first taste.


Band Members
Alex McKenzie,
Paddy Gullidge,
Dan Jones,
Cain Garcia


Featuring Hooton Tennis Club members James Madden and Ryan Murphy, art-rock quartet Seatbelts released their debut four-track EP, Songs For Vonnegut, this summer. Their sharp and spunky mix of art rock, garage rock and post-punk recalls the sound of Parquet Courts and Bodega.

‘Hey, Hey Tiger!’ by Seatbelts, taken from the ‘Songs For Vonnegut’ EP available via out on Rooftop Records.

A World Drained Of Wonder’ by Seatbelts, taken from the ‘Songs For Vonnegut’ EP available via out on Rooftop Records.

Band Members
James Madden / Ryan Murphy / Abigail Woods / Alex Quinn.


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Liverpool’s The Night Café dropped their sophomore EP Bunkbed earlier this year, following the same path the band has paved before with slow-cruising, guitar-dominated tracks. The final track on the EP, “Forget It All,” makes an abrupt entrance after the other previously unheard song, “I’m Fine.” Rather than fading in at the end of “I’m Fine,” “Forget It All” crashes in with the drum kit at the outset, sounding more like a delayed final cheer for the prior track, rather than a beginning tone. A false start, the instrument levels diminish and are interlaced with indistinguishable words pulled out of a staticky phone call. Then the song takes its real starting leap as the same beginning bang kicks in, joined by a faster guitar.

EP ‘Bunkbed‘ featuring ‘Forget It All’: