Tag Archives: Disc reviews

Dolls Eye Weaver – ‘Shaving Cuts’ EP

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by Lucie

This record reads like a working class pop-rock Bible, the fast-paced riffage sounding like a grown-up version of Sum 41, with the vocals giving away the very English theme. Some seriously ace and elaborate guitar work seems at odds with the gruff lyrics, but that’s not a bad thing – I for one am very open to a good paradox, as long as it works. Dolls Eye Weaver aren’t trying too hard, they’re having a good time. Each song on this EP is deliriously fun in its beat, turning heavy with the personal stand-out track ‘One Of The Pack’, rebellion against conformity. I’m also rather keen on ‘I Won’t Back Down’, with its layered chorus and firmstanding attitude; it’s good enough to be a single that would immediately let the listener know what kind of gaggle these boys are.

I get pretty sick of bands feeling they need to squeeze textbook ballads into their records, so I’m pleased to find Dolls Eye Weaver don’t care about that kind of shtick. Their punk ideals have to be respected, their defiance and the sense of upheaval… A winning combination for all who are waiting for a break from sparkly fake pop, wanting something real and dirty back.
I think this band and their stance can be rounded up in a line from ‘Absolution’: “I love rock and roll, I’m a simple soul, I’m not looking for absolution”.

www.myspace.com/dollseyeweaver

Nemo – Car Crash Eyes

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by Lucie

More people should know about Nemo, simply because they’re fucking ace (yes, I’m bringing ace back). This glorious month sees the release of the Lahndahn electro-rawk quartet’s second single, Car Crash Eyes – a darkly sexy poprock piece, deliciously anthemic with sharp electro tendrils scraping through each lick.

The song is an ode to the disturbing world of the obsessive e-groupie, (with a matching video that features Alice Lowe as one of the above mad-eyed nutters); frantic and contagious in its thumping beat. And a chorus stuffed with vocal harmonies plus a climatic key change…? What can I say? I was already won over by Dance Rock (which, incidentally, you really do need… Seriously, it’s life or death), now I’m in love all over again.

The two B-sides, Erase – Escape and Timebomb are stolen straight whence electro was first born; the eighties. The rock is softened, the electro polished and pointed. These lads are genre spanners.

Our very own Jettica has wangled getting them featured on musicfinity.com in the near future – look out for that badger, along with a little gushing plug that will no doubt appear in my later Electro article.
Electro-rock is back, with a vengeance. As are afro’s on white men, apparently…

www.myspace.com/nemointernational
www.nemointernational.com

Roadstar – Glass Mountain

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by Tezza

The anticipation is over, Roadstar have realised their 2nd album, Glass Mountain, and there are only to words to describe it…… FUCKING AMAZING!

Anyone who has ever spoken to me knows just how much I love these guys, awesome musicians and 100% genuine, just what you need to enjoy the music that little bit more. When I got their first album, Grand Hotel, I will be honest and say that I was shocked at just how much I liked it . It’s all killer, no filler and is still one of my favourite albums. The second album is the same. All killer!

I always find that with certain albums, you want to skip a certain track because you’re not impressed with it and although, I do have a couple of tracks on Glass Mountain, like ‘Feel Me Come Alive’, ‘Steam’, ‘If You Say’ and the new version of ‘Last Survivor’, I still don’t feel like skipping tracks, which shows just how much of a fantastic album this is.

I’m a very hard person to impress and I have compared Roadstar to likes of Aerosmith, Bon Jovi and The Darkness, which was meant as a compliment, there’s nothing wrong with that, but I feel I can’t do that anymore. Roadstar are Roadstar! I can hear the influences from other bands, but you hear that in all music, you can listen to certain AC/DC songs and go, ‘Ooohh, that sounds like Aersomith’. This is a sign of a great band, using their influences to make it their own.

‘Feel Me Come Alive’ has a fantastic drum beat, vocals that grab your attention and the guitaring can only be described as classic rock. It’s the perfect song to start ‘Glass Mountain’ with, something you can feel yourself moving to, whether it be tapping your feet or full blown head banging! Then the second song, ‘Around Again’ has a darker feel, so it’s not a song you can bounce around to. However, all the instruments are once again used to the max. Throughout the album Richie shows that he doesn’t need to music or a beat to sing along to, he could easily sing on his own with no backing and get a crowd going. Amazingly talented musician.

‘Bite The Bullet’ has a bit of a blues feel to it especially when listening to the guitaring, it sounds a little like a guitar rift you would hear from Aerosmith legend Joe Perry. The drumming is once again absolutely flawless and ‘Bite The Bullet’ could easily be played to a crowd and get an epic reception. Track four is a new version of ‘Last Survivor’. This song has always been a personal favourite of mine and has some of the most beautiful lyrics I’ve heard to years. Throughout the entire of ‘Glass Mountain’ Richie shows that he’s not just got a voice, he knows how to use it and pushes emotion across through all 11 songs. The drum beat through ‘Last Survivor’ is something that anyone with a decent taste in music will find themselves tapping along to, the guitaring is noticeable but doesn’t take anything away from the rest of the song, which is the difference between a good rock song and a great one. The ending is new and instead of fading out there’s what can only be described as a some of the best guitaring Britain has heard for a long time. Remember these lads are still young and with talent they’ve shown already, the world better be ready to rock.

Another track with a blues feel in ‘Hold My Love’. Whenever I’ve listened to this song I want to be wearing a cowboy hat and shouting ‘YE HA!’, and I’d never do anything like that so it’s obviously pretty damn impressive. There is no point attempting to sit through this song or this album with a frown on your face because you can’t do it. You can be in the worse mood possibly, but listen to this and you’ll have a big grin by the end of it.

I listened to this album as soon as I’d scared the postman and received my copy and I love all the tracks for all different reasons. ‘Rays’, which is an incredibly catchy tune is very 80’s. What I mean by that is if feels like it should be played during a film like ‘Rocky’ when Stallone is training for the big fight. This, in some ways, makes this track even more enjoyable then it would be. I did enjoy the song beforehand, but it brings back memories of watching films from the 80’s.

Another personal favourite is ‘Steam’. Oh how I adore this song. Perfect drum beat and bass line, fantastic vocals and a chorus everyone will find themselves singing to. Again, very rock guitaring by Jonny. This would be a great song to finish a set with, the ending is awesome, it makes you believe you’ve got to the end of the song when in fact there is one more taste of that jaw dropping talent! ‘Whatever Make You Feel Good’ is another darker song, like ‘Around Again’. Amazing bass line throughout, many people focus on the drumming, vocals or guitaring but block them out just for a second and you will see just how much talent Rob has, and like I’ve said before, at a young age.

I found that ‘Glory’ and ‘Bring On The Good Times’ both had a Red Hot Chilli Peppers vibe about them, especially when listening to the guitaring in them both. ‘Glory’ mainly focuses on the guitars and vocals though, of course, the drums and bass can still be heard. ‘Bring On The Good Times’ is another song, therefore a sound coming from the wonderful Roadstar. The guitar solo is something Joe Perry and Santana would be impressed with. Perfect sound throughout all the songs and these two are no different.

The “ballad” comes in the form of the last track, ‘If You Say’. I say ballad, this because it is lighter then the rest of the album and has a tendency of making people feel all happy and warm, however, this is not the stereotypical rock ballad as I can’t imagine the lads stood on the top of a cliff, instruments at the ready, with the wind blowing through their hair! It reminds me a bit of Bon Jovi, possibly another influence on the lads. Gorgeous lyrics, beautifully delivered.

All of the lads have done a brilliant job, I can hear Rob’s bass in there and always brings a smile, the guitaring is just out of this world, the drumming I can see being played to thousands of people, because Chris can drum!! And the vocals! I’ve always said that Richie sounds a little like Steven Tyler, but you know what, scrap that, Richie sounds like Richie! He’s up there with the likes of Tyler, Scott and Hawkins for me, and how do I know this? Because he has a voice that no matter how much anyone tries, will NEVER be able to do it better then him!

All the songs on ‘Glass Mountain’ are fantastic rock songs, and yes you can hear their influences through their music, but I predict it won’t be long until we hear bands who are influenced by Roadstar.

I am so impressed by this album – if you haven’t ordered it yet, why not? This album has brought such a huge grin across my face, I can see me listening to it for at least the next 2 months, non stop!

So WELL DONE LADS! YOU SHOULD BE PROUD!!!

Aurally pleasured by Justin Hawkins

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by Jo

Justin has landed! Or pounced. The Hawk has turned into a panther (silly arse, he’s a lion) and slinked his way back into our ears, causing purrs of deep contentment and a state of consciousness akin to an aftercatnip experience. We had warning of a one day 2 album record fest with Magnet Watch, fuelled by at least one Chelsea bum. I mean bun. General mayhem ensued therefore when not one but three new unheralded Justin songs arrived on his profile, then on a new myspace account which is a showcase/info only place. Link at the bottom!

All of the songs were written, performed and produced entirely by Justin, and are unmixed and unmastered. They all stem from early Darkness days, well before Permission to Land. There is information on the profile’s blog, so I’ll try not to reproduce all of it.

As we have three, then, let’s go, one by one.

You Can’t Hurt Me Any More

A home demo from 2001, played once live in Sheffield but it truly does have weird bits in the middle. You don’t want to get those sorts of things wrong on stage, so it was dropped from the set. (I bet 4000 people claim to have been at that gig, now.) It has a very rock AC/DC intro and some hard thumping drums. A nod to Van Halen, too? Well, why not. Rocking riffs, a smashing bit of disco keyboards in the middle and Bob’s your oyster.

Whichever

Fans’ favourite at the moment, judging by the responses. It has a massive 80’s rock feel, with really strong bass and rhythm lines. That solo bit doesn’t quite fit seamlessly somehow… Stupidly catchy, too, which we know is Justin’s forte. It’s songs like these that melt a girl’s heart. Who wouldn’t want a song like this written for them? Open heart, open feelings. It’s one thing to write those lyrics for effect, another entirely to do it for real. How do you get that huge rocking out to match such sweetness of sentiment?

I’ve Met Jesus

This is my favourite, I’ve been bouncing off the walls singing it badly, annoying the cat. It’s harder, rocks immeasurably, bounces you around. It’s –umm – aahhhhh I love it! The chorus reminds me of ‘I Want Candy’ (Bow Wow Wow’s version, not The Strangeloves’) but I’m not sure that’ll be relevant to many of you. I can see this onstage, see the crowd jumping up and down for it. Hugely singalong, fast, stomping rock. Bless you, my child.

He sounds so good! Every note is stamped with his name, every vocal trick classic Justin. It couldn’t be anyone else. Shivers and thrills just to hear it, but extra to feel the quality sting and caress of sharply sweet voice.

These should have been TD songs. Should have been B-sides or on OWT. They would have fit so well. I’m not sure that they would have got away with ‘I’ve Met Jesus’ – the press would have crucified them for it and misinterpreted it on purpose, just because. There must be so many other good stuff that we never heard, in the archives. BUT onwards and upwards. This is Justin’s work, not TD’s, and it never was. There are, from what I make out, more songs from that era, and another set of new stuff for the album. If he did that sort of work then, with these songs still sort of in the rough, then what has he still up his sleeve? Certainly not just pretty tattoos.

I’m waiting. We’re all waiting – for the Rebirth.

http://www.myspace.com/justinhawkinspanther

(note – this is now www.myspace.com/barbecuerock)

Malcolm Middleton album review

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by Emma

A Brighter Beat

Kicking off with the ever-optimistic We’re All Going To Die, Malcolm Middleton’s third solo album A Brighter Beat delves further into the darker side of life. The album is due for release on 26th February 2007 following the release of the title track a month earlier.

We’re All Going to Die has an upbeat tune with quick music, lyrics facing a basic fact of life that people seem to forget. Fight Like the Night is again upbeat, a nice duet with some cool electronics. A Brighter Beat is folky and has a strong tempo but portrays a sad tale of fear and loneliness. Death Love Depression Love Death is as you would expect lyrically, the track opens with acoustics then pounding drums and a funky guitar riff rip open the track. Next track Fuck It, I Love You is a mellow sounding tune, with nice steady guitar and drum backing. It’s quite a sweet song about being lonely and finally allowing those three words to be said to win back a lost love.

Up next, Stay Close Sit Tight is a pessimistic view of the onset of depression and being afraid of death and darkness. It’s quite a beautiful song that goes on to describe the good things in life and asking for patience during the dark times. The tune is slow and quite grand with strings, brass and a good melody. Four Cigarettes is a sad song about needing to get away, about sleepless nights and self-torment. Track eight, Somebody Loves You, is another acoustic track, a declaration of love, simple and lovely with vocals taking the forefront. Up Late at Night Again is slow, with strings for mood – it’s a grand and loud song. Final track Superhero Songwriters opens massively with brass and big crashing drums. This song has an optimism and talks about making a change and the decision to start living life and being happy. A nice note to end the album with.

Malcolm Middleton manages to produces plucky tunes whilst delivering painfully honest lyrics, with an honest voice. It’s clear that he has put so much into the album, and the result is really very good. A fine album to brood over.

Sounds Like Violence

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Added by Jo

What’s being said about the band’s first album..

WITH BLOOD ON MY HANDS

Release Date: Feb 12th 2007

‘With Blood On My Hands’ is a fitting title for SOUNDS LIKE VIOLENCE’s long-awaited full-length debut. There’s blood alright…and it’s coursing like venom through every song on the album. It’s smeared on the walls, dripping on the floor, oozing from frayed arteries and drowning lead vocalist Andreas Söderlund’s damaged, scarred psyche. It’s the blood that’s filling the hole where his heart used to be…and inciting the band’s frantic, downright explosive sound.

If catharsis was the main theme of SLV’s critically-acclaimed debut CDEP ‘The Pistol’, then ‘With Blood On My Hands’ takes it a step further by manifesting the unflinching and honest imagery of a man struggling with the demons of “black love” as Söderlund describes it. Whether it’s an affair that’s exciting-yet-destructive or simply the bitter condemnation of an ex-lover, ‘With Blood On My Hands’ is a raw, exposed nerve revealing unhinged pain and jagged tension through its dynamic songwriting.

As a whole, ‘With Blood On My Hands’ follows a trajectory similar to that of a destructive relationships, beginning with a steady, nervous beat and gradually erupting into a buzzsaw of guitars and percussive stomp. Blasting out unpolished, gritty pop hooks that drive the stake deeper and deeper with each crushing riff, ‘With Blood On My Hands’ gushes more and more until it finally reaches a critical level with the incredible album closer “The Greatest.” It never felt this good to be on life support.

“Soul-crushingly magnificent…these tracks are positively compelling. KKKKK.” – Kerrang
“From the first note to the last…explosive, original and simply mind-blowing.” – Absolute Punk
“Giving vehemence a new voice, Sounds Like Violence is vital.” – Rock Sound

SOUNDS LIKE VIOLENCE is Andreas Söderlund (vocals, guitar), Philip Hall (guitar), Daniel Teodorsson (bass, vocals) and Daniel Peterson (drums). ‘With Blood On My Hands’ was recorded and produced by the band at Mission Hall Studio in Sebbarp, Sweden. ‘With Blood On My Hands’ is scheduled for release in North America on Deep Elm in late February and will be available from Burning Heart Records throughout the UK and Europe on Feb. 12th, 2007.

www.myspace.com/soundslikeviolence
http://www.deepelm.com/soundslikeviolence/

Justin says…

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by Jo

Well, lots of things. He’s a well-established member of Myspace now, attracting friends like no one’s business. Conversing with the slightly shocked fans, blogging, being the silly arse we wanted back . No hidden agenda, no blaze of PR. Just Justin and his merry band of feline adjutants – they go very nicely together. I’d quite like the kitten pics back please…
Tis good to see. It’s a stop on my weary way through cyberspace for a giggle, these days. His replies to my messages have been pleasant, honest and down to earth, and his humour’s stamped all over the thing. He’s won a few rather cross people back with his blurb, by all accounts. Hypocrites, they’ve been called. I’m sure there a few, by the law of averages, but a few words can mend what’s wrong. You all know that,
Welcome to Justin the person, from all of those who never or rarely saw anything but Justin Rockstar. And thanks for both.

http://www.myspace.com/justinhawkinsworld

Streebeck – ‘Without a Baedeker’

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by Lucie

Now I’m not a difficult person to please in general, but where music is concerned I’ve grown to be highly critical since becoming a rawk journo. So I surprised myself when, after witnessing Streebeck’s half-hour stint supporting David Essex in Cheltenham, I sat itching to buy his album. The promise of a free badge helped too, I’m a sucker for badges.

There was an exquisite feel to the performance; in this enormous cavern of a town hall, a solitary man played his acoustic guitar beneath a lonely spotlight, and won us over, hook line and sinker. Radio Two listeners may have heard the mysterious name, as the superb single ‘Wasted Time’ has been glistening through their airwaves. Streebeck has also played live in Radio One’s Maida Vale studios, an illustrious feat for any artist. ‘Wasted Time’ sounds, on the album, far more elaborate that it did live, incorporating a steady drum beat into the song for added vigour, atop the guitar/harmonica combination. One cannot help but see a Dylan influence in the simplicity of Streebeck’s style, the folky undertones, the difference being that the former is shockingly glorified, and the latter deserves glorification. Every song on this record stands out as poignant, genuine, and simply gorgeous. The incredible talent behind the guitar playing is moving enough in itself, and is amplified by lyrics that actually mean something.

For me, ‘Eighty Eight’ is the most touching song on the album, with the line “if it’s all the same to you, I’d rather not pretend that we’re still friends” brimming over with emotion. Other standout tracks include the gently moving opener ‘Twilight’, the darkly pitying ‘Pirates’, and the uplifting ‘Caged’, which will always remind me of how I felt when Streebeck opened his performance to an audience unprepared for his sparkling brilliance.

‘Without a Baedeker’ shines from start to finish, and Streebeck is somehow startlingly different to every other modern man-and-his-guitar act. So different it turned the mind of a cynical hard rock fan upside down.
Order the album online now, and Streebeck might even sign it for you. That’s another great thing about him, he’s really a very nice boy!

www.streebeck.com
www.myspace.com/streebeck


Malcolm Middleton single review

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by Emma

Not exactly what it says on the packet, Malcolm Middleton’s latest single A Brighter Beat due out 22nd January 2007 is the first track taken from his third album of the same title.

The upbeat melody complete with folk style guitar, happy steady drums and a nice bit of ivory tinkling manages to uplift this track although the lyrics describe the depressions of being afraid to get out and interact and make the most of life. The words are true to life and thoughtful and delivered subtly and quietly by Middleton, his Scot accent spilling over the track unmistakably. This is serious stuff, Malcolm Middleton isn’t just writing songs for the sake of making a record, his songs are messages. Great music for the thinking person.


Good Shoes single review

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by Emma

Just how cute can Good Shoes get? The Photos on my Wall due out on Christmas day is yet another impossibly delightful track from the wonderful UK newcomers.

Their sound is twangy and cool, high-spirited and most of all so enjoyable. The Photos on my Wall is another lovely, lovely track that puts the smile firmly on my face and makes me want to dance around the place along to the childlike tones of the vocals. Additional tracks Beautiful and Deathfame are also sporadic, full of broken verse and upbeat guitar and unfaltering percussion. The lyrics are creative and honest as always and I can’t imagine how any open-minded music lover wouldn’t fall in love with Good Shoes’ music.


Dan Sartain single review

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by Emma

Dan Sartain is a superb storyteller, and has a great talent for making every word that flows from his mouth sound really important, leaving the listener feel compelled to pay full attention.

Flight of the Finch is out on 29th January 2007 and what a way to start the new year for Mr Sartain! This track is grand and authoritative, colourful and clever with an impeccably timed brass accompaniment – it is just dramatic and builds to a fabulous crescendo to end. B-track Besame Mucho is again a wild and elaborate story of wooing and winning the lady. And of course! With this style and standard of writing Dan Sartain will be one of the finest winners of 2007.

Viva Voce single review

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by Em

Due for release on 11th December, Faster Than a Dead Horse is the latest single from the third album Get Yr Blood Sucked Out. Viva Voce form a tight partnership both musically and personally, and this track shows this effortlessly with the indie pop theme complete with retro “ba ba ba bop” backing harmonies and a cool monotone style of the main vocals.

Faster Than a Dead Horse is a catchy track and boasts a raging guitar solo to spice things up a little. It’s a track which I think many will like, however I’m not yet convinced that it’s one to love. Let’s hope that I am proved wrong!


Tiny Dancers EP review

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by Emma

Lions And Tigers And Lions

Lions And Tigers And Lions is the debut EP from Tiny Dancers, released on 20th November 2006 on Parlaphone records.

Tiny Dancers don’t really fit in with any particular genre of this time, their style is packed with melody, fun and cheery twanging guitar with a soft and breezy air about it. Lyrics are straightforward and uncomplicated and there are disco beats thrown into some tracks for good measure. 20 to 9 is the first track and is one of the slower and most serious of the tracks, with a steady beat and an old-school feel to it. Next up is Hemsworth Hallway, a livelier track that still manages to create a laid back and sunny feel. Russian Snow has a sadder theme but the gentle strumming and sweet chorus up the tone and lead toward the light harmonies and the ringing guitar of the break, together making a lovely tune. Sun Goes Down takes a more electronic turn as a funky disco beat leads the tune into a fun country style, which just makes you want to smile and dance. Last track Going Away keeps in with the electro as the keyboard hums away with the up tempo tune, layers of vocals and a funky guitar riff complement the happy-go-lucky lyrics perfectly.

Tiny dancers don’t have a particularly modern sound, but they are fun to listen to and are one of those valuable bands that can lift the mood with a single song.

Juliette and The Licks single review

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by Emma

Sticky Honey

I just don’t really get Juliette and The Licks. Sticky Honey however, is actually pretty damned good! This is the latest single to be released on 20th November and is the first track of this band’s that I actually like.

Sticky Honey has a good catchy riff, lurching guitar and smooth vocals and it generally has a good vibe to it making it one to have a little dance to. The track is full of rock attitude and the chorus sticks in the mind, in a good way! The slick and cool verses just make that build up even better. I may even be converted!

Protest The Hero single review

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by Emma

Heretics & Killers

Heretics & Killers is the latest single from Protest The Hero’s face-melting debut album Kezia and is due for release on 13th November to coincide with their support slot on the mighty Bullet For My Valentine tour.

This track is a fiercesome, full-on onslaught of classic rock cries and group chant vocals, brutal double pedals and eye-popping axemanship. The ease of pace switching and irregular bars is just excellent as Protest The Hero do not fail to carry us into a sweet heavy nirvana. Bloody brilliant!


Rose Kemp EP review

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by Emma

Violence

No, it’s not the scary Walford Mitchell brother although the EP title would fit…it’s the honey-voiced underground musician Rose Kemp.

Title track and single Violence is melancholy and edgy, with infusions of cutting guitar to break apart the soulful tones of the verse. This track takes some of the rough, and pours over a silky accompaniment of the smooth with great effect.

Morning Music is a quiet and open track, which is in the main Kemp’s vocals with little background distraction. The vocals are versatile and Kemp can squeeze an air of anguish from her voice as easily as she can whisper a soft melody. Final track Tiny Flower is an impressive and inventive song – where other than a little percussion Kemp uses layers and layers of her own vocals as accompaniment to the main vocal. A well engineered piece.

Senses Fail single review

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by Emma

Single Review: Senses Fail: Calling All Cars

As Senses Fail embark upon the 2006 Taste Of Chaos tour they are due to release the first single from their second album Still Searching, Calling All Cars on 20th November.

Calling All Cars is a fast-moving, exciting and memorable track, blitzing into action with a great drumbeat and a nice catchy riff, moved along by emotion-packed vocals and lyrics which are gorgeously honest and moving. The chorus is to die for and breaks down the song expertly – which will make this track a live favorite and will move the circle pits into rotation without doubt. New Jersey notoriously produces bands that are so good with that post-hardcore sound and Senses Fail are another of those bands that have nailed the style beautifully.

Spider Simpson single review

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by Emma

Heavy Metal Machine

Spider Simpson release the first track from their debut album on 4th December and are set to make a dent in the rock scene, if you would trust the opinion of rock legend Dave Grohl…which I certainly do!

Heavy Metal Machine is interesting from the outset, with nice loud percussion and ringing guitar all complemented by confident and clear vocals belting out a wicked set of lyrics. Spider Simpson can do rock and roll verses and wild screaming choruses alike, and with the upbeat style they have I reckon they will be doing the rounds on the MTV channels before you know it. Good rock ‘n’ roll if I ever heard it.

The Hold Steady single review

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by Emma

Chips Ahoy!

Rather than a celebration of fast food, Chips Ahoy! Is actually a racehorse in the latest single due to be released by Vagrant records on 13th November.

The Brooklyn quintet have knocked out a bold and subtly funny track with this single, tongue in cheek lyrics sung with deep and slick vocals, with nice electronic backing running over melodic guitar and toned-down percussion. This is a nice and refreshingly different track, daring to lyrically go in a different direction to so many of today’s bands; ‘how am I supposed to know that you’re high if you won’t even dance’. The keyboard trilling is delightfully unique and is the cherry on top of this rather delicious cake.

The Maccabees single review

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by Emma

First Love

First Love can be yours from 13th November and is a compelling tale of, funnily enough, the throws of first love. The Maccabees with their dainty bells and grilling guitars have created a little jewel with First Love.

This track is sweet and uplifting with Orlando Weeks playing his own voice as a pretty and unpretentious instrument in this cute song, which even delves into the detail of the bedspread design! Delightful and catchy, beautifully wide-eyed, this track will play a part in the continuation of success for this London based group.