Posts Tagged ‘UK’


Posted: November 13, 2017 in ALBUMS, MUSIC
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Spinning Coin – Permo

Spinning Coin are the latest in a long line of top-notch Glasgow guitar bands. On their debut full-length, the five-piece pull together elements from a host of their forebears into a new and exciting whole. Given all the “legendary” names attached to Spinning Coin’s debut album, Permo – a reference to being on a permanent drug trip as made famous by Glasgow comic Limmy – one might be surprised that they’re not superstars already. In their three years as a band, though their story as Glasgow art-school musicians goes much further back, they have toured with Teenage Fanclub, signed to The Pastels’ Domino imprint Geographic Music and recorded with Edwyn Collins, with upcoming shows with Girl Ray and Dinosaur Jr. to come.

There’s a playfulness between songwriters Sean Armstrong and Jack Mellin that keep things fresh and exciting even when the band are at their most reminiscent of 90s jangly indie-rock. New single Sleepless for instance has a Pavement-esque slacker quality to it, showing their ambitions lay far beyond just Glasgow, while Sides, which precedes it, is a post-punk song of Wedding Present distraction. However, for every stirring pop song, there are also the more intentionally awkward songs like Metronome River, or the mysterious Starry Eyes which shows an inventiveness that goes beyond pure pop.

On top of working with those aforementioned highly notable names, Spinning Coin manage, across the 14 songs of their first full length, to sound like a cross between all of them. The quintet may wear their influences on their sleeve, and pretty broadly at times, but there is such a fascinating range of them for such a young band that Permo can only be seen as a success, both as a record but also within a long line of great Glasgow bands. Long may it continue – Spinning Coin are clearly destined for far bigger stages.



The Byrds’ wingspan of influence stretched across three full decades and flew through the sounds made by some of the most important bands in the history of rock, including Big Star, the Jayhawks, R.E.M., Matthew Sweet, Hüsker Dü, Echo and the Bunnymen and countless others. For a time it was de rigueur – if not downright cliché – to see the Byrds name-checked in almost any band’s bio. They were part of the holy trinity of influential B-named bands: Beatles, Beach Boys, and Byrds.

But to everything there is a season, and an apparent decline in the band’s influence on popular music seemed to coincide with the deaths of two of its original members, Gene Clark (in 1991) and Michael Clarke (1993). Notwithstanding this decline, the Byrds have always flown high and commanded serious respect among certain pockets of fans and bands alike – folks in Northern England especially, for some reason. Since 1990, we’ve seen the likes of the La’s, the Stone Roses, the Coral and Shack flying the jangle-pop flag. Since 2007, Kontiki Suite, a talented sextet from England’s Lake District, has continued in this tradition, evidence of which can be readily found on their sophomore release, “The Greatest Show On Earth”.

Kontiki Suite proudly flies its Byrds banner via some obvious stylistic hat-tips to 1968’s “The Notorious Byrd Brothers”. This time out, the band boasts a batch of impressive new Rickenbacker-based janglers (mainly from the pen of guitarist Ben Singh) and a tougher sound from the rest of the band (Jonny Singh, lap steel guitar; Marcus Dodds, guitar; Mario Renucci, bass; Chris Brown and Craig Bright on drums and percussion respectively). The result is a cohesive, 50-minute flight high above exquisitely atmospheric psych/country-rock/chamber pop soundscapes.



Ultimately, “The Greatest Show On Earth” reveals increased depth, both in Ben Singh’s writing and the band’s collective vision. Kontiki Suite has created much more than a simple paean to the legacy of the Byrds; they have taken vital steps in forging a legacy of their own.

Image may contain: 3 people, people on stage, people playing musical instruments, guitar and night

Label mates with Fat White Family & Meatraffle, South East London band Madonnatron and finds a cauldron of sinister excellence and atmospheric post-punk.

Madonnatron are a fairly recent addition to the excellent Trashmouth Records family and a very good one at that. The band have already made waves and received a lot of radio airplay from the likes of Marc Riley and Gideon Coe on their BBC 6 Music slots. Their self-titled debut was always going to be something to pique the interest, and it does not disappoint.

The album starts with both the well-received singles “Headless Children” and “Sangue Neuf”. Both tracks have a sinister post-punk/ psychedelic feel. Madonnatron’s music has a beautiful angst and real feeling, and these tracks are no exception, with Headless Children being especially atmospheric. Sangue Neuf, their first single that Madonnatron released, is more forceful, but still an excellent track.

Tron features some fine vocals, making the most of the multiple vocalists in the band the fairly simple rhythms are perfect. The moodiness Madonnatron do so well remains a constant. There is a great, if sparse, electronic introduction to Be My Bitch before the vocals kick in like the voice of the coven. The ladies again hit the dark side and draw you in to their underworld. The track really kicks in as the rhythm speeds up, becoming more and more insistent before dissolving into a harpy-haze of vocals at the end.

Glen Closer has a stalkerish brilliance continuing the off-kilter feel of the lyrical content – these are no love songs. There is no female subservience on show here; The spoken word aspect of Violent Denial gives the track an interesting twist, but even with the higher pitched vocals, the sense of unease that typifies Madonnatron’s output remains.

Mother’s Funeral is a rock rollercoaster with some fabulous breathy-yet-shouted vocals. The slower section only re-enforces the force of the faster sections, cranking up the energy. Slow and solid, the rhythm is pure blues-rock on Bad Woman. More outsider-girl lyrics push this confessional of a song to another level. Once the speed picks up, the track gets even more interesting. The vocals on Wedding Song are more regular blues-based and very good indeed. The track is fairly short, but another gem.

Cat lady has a hazier feel to the vocals and is slower and the vocals sweeter, but there remains a dusky element to the lyrics. Another impressive track on a winner of an album; the song of the siren. The album retains the bite and occassional savagery of Madonnatron’s live performance. we bring you Madonnatron.”


Miss World is the project of London based artist Natalie Chahal (also half of fellow PNKSLM signees Shit Girlfriend alongside Laura-Mary Carter). After self-releasing the debut single “Buy Me Dinner” earlier this year, Punk Slime Recordings are proud to announce that Miss World has officially joined the PNKSLM family and that her debut EP Waist Management is set to arrive on October 13th. Four tracks of extremely catchy garage pop that will instantly make you fall in love, combining lo-fi charms with Natalie’s ear for a melody it’s an introduction that will leave you wanting more. Stay tuned for more music from Miss World coming soon…

Miss World is set to make its live debut at PNKSLM’s annual Slime Ball weekender at The Old Blue Last in London on September 29th, playing alongside label mates HOLY, Holiday Ghosts, Beachtape and Lucern Raze.


From Miss World’s debut EP Waist Management, out October 13th via PNKSLM Recordings.

Proper Ornaments is the project of James Hoare (Ultimate Painting, Veronica Falls) and Max Oscarnold (Toy, Pink Flames). The band germinated slowly from their friendship, which began when Max distracted James from shop-keeping, as his then girlfriend attempted to steal shoes. Max was freshly arrived in London from Buenos Aires; helped out by Andrew Loog Oldham as it happens, to escape a drug-lead implosion of a previous band and a family member’s plan to have him sectioned.

The chance meeting blossomed into an epicurean riot of luminous highs and cold, dismal crashes that conversely produced music that was very well ordered and faintly angelic. It was so much deeper and more refined, serious, simple and affecting than anything suggested by the bare facts – a guitar band in East London, ten years into the infancy of a millennium that had so far freighted those five words with plenty of horrendous mental associations.


They released a single on San Francisco’s Make a Mess and an early E.P. with London’s No Pain in Pop in 2011 – then a collection, “Waiting for the Summer” (Lo Recordings) in 2013, which bore the influence of past UK guitar music: The Beatles, Felt, Durutti Column, Television Personalities, Teenage Fanclub – framed by West Coast psychedelia and sunshine pop. Tape recorded and unpretentious in all sorts of ways, it seemed bound to slide around the sides of a snow globe-like mainstream, into that ambivalent fate of being a bands’ band: Real Estate, Woods, Crystal Stilts, and Metronomy solicited them for support slots.

Debut LP “Wooden Head” came out in July 2014 and was heard more widely. Perfecting the unique slant of their previous work and polishing it, the album crackled with hints of something majestic behind what could at first be heard, a secret sotto voce world inside. It was as quietly sly and mercurial as it was driving and accessible, and its masterly crafted simplicity drew extensive critical praise. The sweetness of the record, unless you took to a certain track with the lyrics, in fact belied their circumstances. They were living in Whitechapel on slender means and debauched psyches, crawling through the remains of homelessness, unemployment and divorce. Unpredictable, violent acquaintances that were occasionally made band members orbited and crashed. The album was made in a whirlwind of chair-breaking, knife-drawing chaos.


James and Max started out writing the follow-up in January 2015. On “Foxhole” they’ve sliced away a whole stratum of their sound, removing some distortion and lowering the frequency of plectrum strokes to allow more nuanced, piano-led ideas to emerge. The title isn’t a reference to Television’s jaunty proto-punk record but seems to be more of a dark, protective interior, a head space sketched out on “Jeremy’s Song.” While their particularly recognisable production style (a bright, frozen counterpoint to the airless mixes one encounters more often) remains, three things stand out as likely reasons for the shift in mood. By the time they got around to recording again in James” bedroom in Finsbury Park that Summer, the instability around the recording of “Wooden Head” (and the five years before) had slid into a deep and seething acrimony. Second, they both bought pianos. Third, when the band, with Daniel Nellis and Bobby Syme joining on bass and drums went to record at Tin Room in Hackney in June, the pinch wheel on the 8 track machine was broken and somehow no one noticed. All but one recording, “Frozen Stare,” was hopelessly warped, so they went and did it all again from scratch back at James“.

“We ended up doing the whole thing there as the atmosphere suited the direction of the foxhole and we were more comfortable working on it in our own time,” says James, “We wanted to move in a slightly different direction from “Wooden Head,” away from the distorted guitars and into a more peaceful area.”
The mechanical blow out that had wasted weeks of their time and money coincided with a thaw in their friendship, and by the time they were re-recording they were both being treated conspicuously gentler by life.

“That’s why the record has a laid back, conversational, not imposing or anxious feel in my opinion,” Max says about their rapprochement, “There’s also the technical limitation of doing it on an 8 track which gives the songs a more sparse sound.”


Themes of their previous work have been picked up again and honed. The sense of being overlooked and isolated, inevitable change and drift particularly set in terms of age, predominates. Undercutting the feelings of forward movement are ones of a gnawing permanent stasis and confusion wrought by memory. It’s a sombre but also more direct and open effort, from its first number “Back Pages” (“See me on the back page/of last year’s modern age”) onwards.

If “Always There” was the most melodically fluid but dimly lit point of the first record, there are another half album of songs here at least that are as strikingly gorgeous and unsettling. “Memories,” “Just a Dream,” “Frozen Stare” and “When We Were Young” are in this mould, as is the icy, slightly devastated goodbye that closes the record “The Devils,” filled out with piano reminiscent of Big Star’s “Third” or Lou Reed’s “Berlin” and cracked double bass. What was in evidence in two of their earliest songs – “You Still” and “Are You Going Blind?” – an understated, poetic play of moral sensitivity against a callous distance, of warmth and hostility, has reached its most sustained expression yet and gives their pop moments of a haunted love song quality along the lines of Del Shannon, Lesley Gore or Roy Orbison.

“Bridge by a Tunnel” and “When You Wake,” on the other hand, share in the breezily abstracted character of 2014 single “Magazine,” the later laying a sardonic (non)apology – “I know you know, things could’ve been different/but they’e not” over careful daubs of slide guitar. “Cremated” is also guitar-lead, and reaches an early apogee of morbid oblivion baiting, while “1969” is a really perfectly recorded grand sweep of sound that recalls Serge Gainsbourg and “Harvest”-era Neil Young.

Proper Ornaments hold the attraction of seeming to not try very hard at all and achieve something outstanding nonetheless. Quite apart from our attachment to laziness and chance which make this seductive, textures of dappled drums, softened-out guitars and vocal harmonies that slide along as effortlessly as this, any evidence of conscious construction spirited away, are in themselves totally ecstatic to listen to.


Even in the increasingly crowded field of electronic music, Kelly Lee Owens’ debut album arrives as a wonderful surprise. An album that bridges the gaps between cavernous techno, spectral pop, and krautrock’s mechanical pulse, the 27­ year ­old Londoner has made a debut album brimming with exploratory wonder, establishing a personal aesthetic that is as beguiling as it is thrillingly familiar

Piccadilly Records Manchester made this one of their albums of the year so far,  the Welsh wonder is back with a majestic full length on the excellent Smalltown Supersound. As she leads us through ten tracks of spectral techno, nebulous synth pop and squelching waveforms, Kelly meditates on anxiety, sadness and darkly-shaded ecstacy, pouring pure emotion into an expansive electronic landscape. Previous 12″ tracks “Arthur”, “Lucid” and the hypnotic “CBM” sound better than ever next to the brooding synth soul of “S.O.” and late night mysticism of Jenny Hval collaboration “Anxi”, while the bleep heavy “Evolution” is a sultry, seductive club cut for very late in the session. For me, this LP perfectly captures those moments when you get home from the club with a loved one and settle into that time honoured pre dawn routine. It’s intimate, emotional, sexy and slightly blurred – in other words, midnight music at its finest.  Like Anna Meredith’s “Varmints” from last year, Kelly Lee Owens engages her perfect sense of pacing to allow the listener to zero in on every sonic detail, with every shift in timbre and rhythm contributing to the ever-shifting aural picture. The most effective of these is “Lucid,” where halfway through the track, Owens ditches the compound meter for a completely different feel and key.


PET CROW – ” How Are You Wired “

Posted: August 25, 2017 in MUSIC
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The Too Pure Singles Club announce the forthcoming single from the wonderful Pet Crow. A band on the rise and one you will love and adore in no time at all

Derby-based Pet Crow formed nearly two years ago and in that relatively short space of time they’ve caused a stir within the scene .They’ve been featured on such shows as Radio X (formerly XFM) and Amazing Radio and shared stages with the likes of The Lovely Eggs and Menace Beach.
Pet Crow released their first full length album ‘A Simple Guide To Small And Medium Pond Life through independent label Reckless Yes and are about to release their first 7” single ‘How Are You Wired?’ ..

Having drawn comparisons to a wide range of artists such as The Julie Ruin, MC5 and The Sonics, their sound is an energetic and groove-laden mix of garage-punk / rock with nods to riot-grrl and surf-rock.

7″ Single out on Too Pure Singles Club in August 2017


Any fans of 90’s grunge or alt rock will love this.

The new EP from the awesome Milk Teeth, we’re big fans of their noisey-grunge like punk music. Following on from their brilliant debut album Vile ChildThe lead single Owning Your Okayness is a pop-fuelled, stomp-along jam with an infectious chorus.

Here is our brand new music video for ‘Prism’. We filmed it in an abandoned care home where we spent a day freaking ourselves out in the hallways and abandoned rooms of the house. ‘Prism’ is taken from our new EP ‘Be Nice’ which is out now on Roadrunner Records.

‘Owning Your Okayness’ is taken from our new EP ‘Be Nice’ which is out now on Roadrunner Records.

Roadrunner is the home of the bands that we grew up listening to and who have influenced our own sound today,” says vocalist/bassist Becky Blomfield. “They work with the best and we are so stoked to be welcomed as part of the next breed of artists with the potential to inspire the next generation. Our teenage selves were kicking about in little towns not knowing where we would end up, and almost a decade later we can say Slipknot are our label mates. Not bad for a bunch of kids from Stroud.”


Band Members
Becky – Bass
Billy – Guitar
Chris – Guitar
Oli – Drums

In his press note for Mercury Fountain, Stewart Lee (yes, that Stewart Lee) describes The Physics House Band as “sounding like vintage Seventies stadium-prog behemoth,


The Physics House Band. Impossibly youthful looking, and sounding like vintage Seventies stadium-prog behemoth, a Yes or a Rush, but stripped of any errors of taste and judgment, fed amphetamines, made ashamed of their record collections, slapped in front of the whole school, immersed instead in post-rock procedure and practise, and made to apply their obvious talent and ability to a more worthwhile end than their forebears.

Three years on here’s their second album, a super-dense sci-fi mindfuck of a thing, music scholarship charity case keyboards in combat with squally spacerock guitars, dub boom bass and multi-time-sig clatter; a territory staked out over mushrooms at break-time, on the top floor of the multi-story car park, overlooking the ‘70s Bauhaus shopping centre concrete functional fountain square, but now gone all Escher in the aftermath, like a black and white architectural schematic drawing dipped in tie-dye.

Mercury Fountain doesn’t stop, a twenty nine minute surge of tracks that it would be a crime to split apart, the kind of part work The Physics House Band’s progenitors aimed at but never quite produced, settling instead for gatefold sleeves that gave the illusion of structure and intent; a fulfillment of the Red-era King Crimson manifesto, channeled by boy-conduits that needn’t have even have known the source documents, learning their lessons instead from hints woven into the post-punk works of Radiohead, Tortoise, The Mars Volta and 21st century sub-krautrock.

Mercury Fountain loads you into a water canon and shoots you out through its intermingled opening tracks, the group finally allowing you a pause for breath at the half way point, during A Thousand Small Spaces; and then you’re kicked out of the airlock back into the Negative Zone again in Obidant, the laws of physics in reverse, Newton’s apples flying upwards past your grasping fists, your hair on end, arching to follow them, until you’re finally abandoned into the techtonic drift of Mobius Strip II.

Stewart Lee

The Physics House Band are:

Adam Hutchison
Bass Guitar, Electric Guitar, Synthesisers, Organ, Vibraphone, Keyboards, Piano, Midi Programming

Samuel Organ:
Electric Guitar, Acoustic Guitar, Piano, Keyboards, Organ, Synthesisers

Dave Morgan:

Raven Bush – Violin (6 & 8)
Biscuit – Flute (7)
Willy G: Tenor Saxophone, Soprano Saxophone (8 & 9)

The SPOILERS – ” Nothing “

Posted: April 23, 2017 in MUSIC
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Released months after their debut LP, Spoilers skip the distorted tones of their ‘Anti Vibe’ 12″ and choose to take a direct, focused response to single-issue voters, echo chambers and e-activism with ‘Nothing’.
Sharp-sounding clangy guitars strum out this catchy punk rock, reminiscent of early Wire, Parquet Courts and Uranium Club. Recorded and mixed by the band’s bassist Christopher Smith at their rehearsal space/studio Kluster Rooms and self-released by the band’s own label Anti Vibe Music Group on limited edition orange cassette.

released April 21, 2017

Mario Daddabbo (Drums), Craig Sharp (Vox & Guitar), Chris Smith (Bass) & Eddie Whelan (Vox & Guitar).