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Album Review

ALBUM RELEASE: Red Rum Club – ‘Matador’


Red Rum Club‘s first album ‘Matador’ is exactly what we were expecting to hear from the Liverpool sextet. The first thought when listening to it is that the name ‘Matador’ summarise perfectly the whole experience and we don’t even need to listen to the eponymous track to understand it. The trumpet comes out as compelling and assertive straight in the first seconds of the opening track ‘Angeline’, immediately defining the unique sound of the band together with a precise rhythmic session and powerful guitar chords.

‘Angeline’ sets the bar high for all the other tunes in the album, which are generally catchy and uptight, like some renegades fleeing the desert while dancing. The song is imbued with love words and a sense of loneliness cried out loud with power and emotional energy. But Red Rum Club are not only this.

If you watched one of their videos or live performances you should know that they are capable of fitting in different dresses. When a song like ‘Hung Up’ or ‘TV Said So’ plays we can understand how much different they can be, with the second track just a stone away from a certain late 80s/early 90s vibe.

The new single ‘Would You Rather Be Lonely?’, of which the sweet video was filmed in the iconic Matthew Street in Liverpool, gives a sense of peace and love and has a strong indie influence, definitely making difficult to write this review while sitting when I would gladly dance the track.  After the little detour into indie, closing with the well-known ‘Honey’, we go back to the main sound of the album: listening to ‘Nobody Gets Out Alive’ with its dramatic lyrics, you can see profiling on the horizon a young lovestruck Clint Eastwood.

‘Calexico’, also an old acquaintance, brings us again to a Latin country, with the passionate vibrato of the trumpet, the rich sound of the bass and the warm voice of singer Fran Doran bejewelling the composition and turning it into a sexy dance. When we hear the last songs, ‘Remedy’, and ‘Matador’, we feel that we have reached the end of a journey somewhere far away and want to do it all over again. The general sound is a well self-defined spaghetti western feeling with just a bit of Zorro, and I say this in the most positive way.

The lyrics of the whole album try to explore the ranges of solitude and loneliness with emotional, perfect for the sound and the cinematic images that it creates. It feels like a knight is coming to my rescue with sweet and witty words but wearing a suit like Vincent Vega in Pulp Fiction. I didn’t know that was possible.

The Red Rum Club kept the promise of a strong burning debuting album and we can assume without doubt that they’ll do the same with their lives when the tour kicks in. They are definitely a band to follow in 2019. I made them one of my resolutions for the new year and so should you.

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ALBUM RELEASE: Deerhunter – ‘Why Hasn’t Everything Already Disappeared?’


Polymorphic self-proclaimed “ambient-punks” Deerhunter return with their eighth studio album ‘Why Hasn’t Everything Already Disappeared’, their first release since 2015’s ‘Fading Frontier’. Although not a drastic departure from their previous efforts, sonically there’s a melancholic sincerity which haunts the album. Upon listening, it feels as though you’re hearing a band quietly appalled with its national identity and the baggage that comes along with the task of writing about American topics. Despite its concerns, they don’t weigh the album down too much as the fizzing pop sensibilities Deerhunter are renowned for carrying the weight of their mournful lyrical content.  


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That being said this album is more than just Bradford Cox having a big bloody cry and holding a sign in the desert saying “I’m a sad boy – Trump is a muppet and I don’t like him that much” whilst a reverb-drenched drum-machine sound-tracks this terrible scene. It was recorded in the desert – Marfa, Texas to be exact – and co-produced by the ever-brilliant Cate Le Bon. The combination of these two aspects really lends themselves to the album’s attempt at defining a space. As no place lends itself as much to the mythology of America as the desert. Also, having Cate involved as an artist who is very aware of her cultural heritage and transferring that sonically without it being too “on the nose” is a transference Deerhunter attempt with this release and the results are spectacular.

With its album artwork which resembles the front cover of an out of print Frank Waters novel it opens with the harpsichord ridden lament ‘Death in Midsummer’, presumably a nod to the Yukio Mishima short story of the same name in which a decision to go on a family holiday results in the death of two children (cheery stuff). The twanging of harpsichords is achingly reminiscent of something that could be found in John Cale’s 1973 masterpiece ‘1919’. This borrowing from instrumentation similar to other classic ‘baroque rock’ concept albums from the ’60s and ’70s is prevalent on the album. For example, ‘No One’s Sleeping’ which deals with the sensitive subject matter of the murder of MP Jo Cox, yet conversely to its subject sounds like it could be off The Kinks’ ‘The Kinks Are the Village Green Preservation Society’. The track even makes reference to this lyrically “the village green is now nocturnal”.

This borrowing from imagined pasts compliments certain instrumentation on the album which is influenced by borrowing from the other direction; the future. With the synthesizer sounds on ‘Greenpoint Gothic’ sounding like it’s from a Vangelis soundtrack to an abandoned existential late 80’s Sci-Fi movie. Whilst Cox’ and Lockett Pundt’s spaced out guitar-interplay dances a drunken, cosmic tango through all the albums tracks – a great sense of other-worldliness is created. The guitars themselves sound subliminally inspired by the great German Kosmiche bands of the ’70s, in particular, the work of guitarist Manuel Göttsching which creates great depth and a slight cosmological horror: like looking into a great unknown void.

What is achieved by mixing the sounds from fictionalised futures and pasts – blending imagined outer-space with a non-existent nostalgic rural-ism – is Deerhunter create a new way of discussing the present through song. This cutting and pasting of cultures could be described as détournement a phrase coined by the French Situationists of the 1950s. The phrase is also the title of the 6th track on the album making their cultural hijacking of using both fictional futures and pasts, central to the albums’ themes. This hijacking, as it were, allows a discussion of the present in which there’s an implication of what we’re currently experiencing is fiction which somewhat terrifyingly rings true if we linger on the thought of our post-truth digital age a little too long, which the album forces us to do.

‘Why Hasn’t Everything Already Disappeared’, offers more questions then it does answers to where we are at the moment which is where I feel the album’s strength lies. It invites ruminations on some unsettling themes which quietly invite themselves in the form of brilliantly written pop songs. Like much of Deerhunter’s previous output it doesn’t expect you to say it’s a masterpiece on first listen. Rather, to fully “get it” one must live with it for a while until it reveals itself to you. I won’t tell you it’s an immediate masterpiece either, although I would highly recommend you get lost in the album for a while.

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ALBUM RELEASE: Rukhsana Merrise – ‘Child’


Rukhsana Merrise has released the first half of her highly anticipated, debut album ‘Child’. But there’s a twist. The London singer-songwriter who’s previously toured with well-known artists such as Rag ’n’ Bone Man and Michael Kiwanuka, allows us to dip our toes into her new sound.

By releasing the first half of the album, entitled Child, it serves as a teaser for more to come. Famous for her honest stage performances, beginning all her shows with a quick ‘alright darlin’ to the audience, Rukhsana demonstrates her softer side with ‘Child’. 

Known for making music regardless of the genre, her musical evolution now features a variety of new sounds. This is most notable regarding the initial track, ‘Could’ve Been’. Incorporating elements of the country music genre and mixing it with an indie pop element, there is a contemporary feel to Rukhsana’s sound. Like any good album, ‘Child’ showcases the artists’ lyrical talent. With tracks like ‘Sober’ that incorporate the lines “I spend too much like my pennies are pounds” and “I gotta call you and finally get the words out” she relates all too familiar feelings and behaviours many of us understand. 

Taking on a different tone from her previous work a more heartfelt side is expressed with her angelic vocals. Rukhsana created a catalogue of work that opens the door on what we can expect in the future from the talented ‘So they say’- artist.

‘Child’ is an impressive teaser to what fans can expect with the release of the complete debut album. Utilising her lyrical and vocal abilities, she expresses herself in such a relatable manner that creates a unique familiarity. Ultimately allowing her to connect with her followers. Keep your eyes open for the rest of this already talented piece of work!

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Elena Tonra, of Daughter fame, has a knack for devastating her listeners. Her solo venture, Ex:Re, is a break-up album guaranteed to make you weepy this winter. At first listen, you’d be forgiven for thinking this is as another Daughter LP, but pay attention and you’ll discover a new, deeply personal perspective from Tonra.

The name of the project is pronounced ‘x-ray’, as it’s a profoundly introspective exploration into the self, following a break-up. Tonra explores the concept of an old relationship being some sort of ghost or specter; the wistful lyrics and somber guitar bring this conception into being.

‘Where the Time Went’ is an apt – and beautiful – opening track, covering a myriad of emotions: the despair-tinged line ‘I will leave this empty-handed’ to the quiet anger of ‘I will ruin you in a second’ sets the tumultuous tone for the rest of the album. ‘Romance’ is an almost seven-minute long hard-hitter, its synths and perkier beats not quite masking the melancholy of Tonra’s husky pleas: “I wanna know who you are, I wanna know who you were”. The lo-fi sounding instrumentation which slowly builds in urgency towards the end, coupled with Tonra’s mournful voice and lyrics, is a combination that secures its listeners; we’ll be staying until the end.

Tonra’s vocals are more prominent on Ex:Re than on her previous studio releases, which is clear on ‘The Dazzler’ and ‘Liar’, which both feature gorgeous vocal melodies; crisp, clear, and contemplative, much like the entire album itself. ‘5AM’, accompanied by piano, and final track ‘My Heart’, characterised by brief silences and the slow repetition of its riff ensure that we’re not coming away from this album on a happy note, which is expected.

Ex:Re offers its listeners a raw and honest depiction of heartache, accompanied by sometimes tender, sometimes intense arrangements. Guitar so delicate it is as if it’s careful not to tread on your already (by the end of the record) fragile state, soft drums, and infrequent but sorrowful strings pepper Ex:Re, creating one forlorn and dreamy affair that you’ll find yourself coming back to.

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ALBUM RELEASE: Parcels – ‘Parcels’


Let me introduce you to my new favourite band. You may have heard of them, they’re called Parcels. No ‘the’, plural and they’re electro epic! hey come from Australia, now live in Berlin and boast a collaboration with Daft Punk in 2017 with the beautiful, ‘Outside’. Now if Daft Punk endorsing you isn’t enough, to get you noticed, they’ve only gone and smashed out a minter of an album in Parcels (self-titled), the cover is fresh out of personified pop-art take on mile high club, complete with pristine pastel colours, perfect fringes and a secured case of the good stuff.

No holding back and right from the start ‘Comedown’ brings heavy kick beats and guitar that must’ve been noticed by our French Electro, heroes as it’s right up their rue de gare! ‘Everyroad’ has a narrative bringing the electro-funk on repeat and a curious description of surroundings and tranquil depth of what it is soundtracking and builds to a full on banger, oozing heavy synths and bass which would have any huge PA wanting more everytime. MCR Live popped along to their recent Manchester gig and I’ll be keeping my eyes to the ground and my ears peeled to sniff their next tour out, and they must be dropping some sets over summer festival season next year (Bluedot if you haven’t approached them yet, they’ll be just right where Crazy P was last year!)

When the funk, kick and electro cruises to halfway through the 12 track album ‘Yourfault’ gives a relaxed, waves lapping the shore, beach groove, with a Xylo-snare-janglechord-break portmanteaux of ‘Xychordbeach’. It’s more than just kick, xylophone, and Nile Rodgers-esque guitar, the vocals are enchanting and ‘closetowhy’ brings that in with some dreamy Hammond/synth halfway through too, close to why? Close to LCD Soundsystem more like! Along with LCD and Daft Punk obvious references, there are vocal smatterings of the Wilsons in there and I’m sure Parcels would have the Beach Boys as one of their influencers, after all, ‘Bemyself’ is fresh out of the ‘Pet Sounds’ outtakes.

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ALBUM RELEASE: Neneh Cherry – ‘Broken Politics’


Neneh Cherry, the ‘7 Seconds’ superstar, is back once again with ‘Broken Politics’, the new jazz/pop-infused album to come from the world famous, Swedish born singer. Before the album begins, it’s hard not to notice how eye-catching and transfixing the artwork is, it really portrays Neneh Cherry’s artistry. From the off, it’s easy to determine that ‘Broken Politics’ is going to be a very expressive experience and so I don the hat of creative thought once more, strap myself in for an abstract journey, and await the luscious tones of the lovely Neneh, mixed with some very funky Jazz.

The first track ‘Fallen Leaves’ is actually quite tame on the Jazz-meter. A simple, drill styled, up-tempo drum beat sits quietly below a simple piano melody.  The focus is clearly on Neneh’s voice and the lyrical content and in fact, there aren’t very many layers of vocals recorded at all. It’s extremely minimalist, simple and very sweet.  Like the art is speaking for itself and was given room to breathe. Neneh Cherry also has such a lovely voice and so the song holds together perfectly. A great introduction to the album.

Skipping forward a few tracks to the seventh song of the album, ‘Natural Skin Deep’, and Neneh has cranked it way up all the way to Miles Davis on the Jazz dial. This is such a brilliantly hectic song and a great aperitif for any listeners that are a tad unfamiliar with the weird and wonderful ways of modern Jazz, and other Jazz influenced genres. ‘Natural Skin Deep’ sounds like New York. With the sound of NYPD sirens whizzing by, a lull of voices at a breakfast diner, I can almost smell the coffee. A relatively standard hip-hop beat brings in Neneh’s funky style of double time singing, a kind of singing and rapping with added melody. Then, at around halfway through the song, Neneh switches to a full Jazz ensemble and completely mixes up the whole track.  Every digital layer is dropped, the drums fade out abruptly and from there on in the song sounds like it was jammed out in Greenwich Village in 1972, in some smokey ‘blues party’. Getting lost while flowing away to these subtle melodies, horns and string sections became suddenly all too easy. It was such a refreshing change in the song and transported me to this groovy world of Soul and Jazz that Neneh obviously inhabits.

Produced by Neneh Cherry and English musician, Four Tet, ‘Broken Politics’ is said to be a “quieter and more reflective” album than its predecessors. I’m not sure that I completely agree with “quieter”. It’s quite a stanch Jazz album for any uninitiated Jazz newbies out there. It is, however, very reflective. The lyrical content of the whole album brings a plethora of political undertones, social commentaries, and satires and there is definitely a tonne of self-reflection. With song lyrics inspired by the passing of Neneh Cherry’s biological father, musician Ahmadu Jah, the album is honest and emotional. Interestingly, the Woodstock Studio in New York, where ‘Broken Politics’ was recorded, was the same studio which Neneh Cherry’s stepfather, American Jazz musician Don Cherry, had previously used to record his own work in the 1970s. In fact, Neneh Cherry uses samples from the recordings of Ornette Coleman, Pulitzer Prize-winning Jazz saxophonist, which her stepfather had recorded.

‘Broken Politics’ has a real sense of homage to it. Not only to Jazz but to the musical influencers and parental figures in Neneh Cherry’s life that gave her music. The political commentary amidst a great use of rhyme scheme and a very cute, toned singing style is also really entertaining to listen to. The production, on the whole, does seem sparse but perhaps the intention was to focus on the lyrical content and instrumentation, especially with the Jazz sections. It also lacked a touch of mastering that I would have expected a globally recognized singer would pertain to. However, I actually quite like that it sounds raw and unpolished. It almost has a struggling artist vibe to it all, a musical hunger I wouldn’t expect from an artist with over twenty-five years, mainstream musical experience.

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ALBUM: Anderson .Paak – ‘Oxnard’


The ‘drop top’ is down, my shades are on, it’s a beautiful, scorching hot day and I’m cruising in my bright green Cadillac down the West Coast, feeling cool. That is precisely what happens to the listener every time an Anderson .Paak album begins. An instant transportation from the grey and very grim world, to the ocean scented west side of LA. ‘Oxnard’, the third album release from the human musical juggernaut that is Anderson .Paak, hosts an onslaught of awesome musicians from Kendrick Lamar to Snoop Dogg and Q-Tip, and was executively produced by Hip Hop giant Dr Dre.


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Although he may sing like an angel and rap like a demon, Anderson .Paak is by default, a drummer. This is such an amazing combination with regards to musical skill sets because, as anyone worth their salt in the music industry will tell you, any amazing band, or live act, has an even more amazing drummer. If a band has a drummer that can not only keep perfect time and deliver varying fill sections and rhythms, but can command the whole groove and flow of the band from the back-line; they’ve nailed it. In this case, the lead singer and vocalist is that back-line driving force, and also the frontman.

Anderson .Paak possesses a generalist ability to blend his specialisms into a funky little West Coast flavoured jam and somehow serves it up deliciously every time. He commands each of his albums this way, locking in the groove with live drums, writing and holding down his rap and chorus melodies around it, while later adding layers of bass guitar, funky pad synths and his usual harmonised vocal over-dubs. Just as a side note; Anderson .Paak can be seen on a tonne of videos online, rapping, singing and playing the drums exquisitely, simultaneously.  It’s like watching some sort of musical wizard.

The song ‘Who R U’, number four on the album, is a perfect example of the melting pot of rhythms and rhymes that Anderson .Paak has crafted. When listening to the flow, scheme and rhythm patterns in his lyrics and drum section, it’s hard to imagine such complexity coming from any other sort of musician than a percussionist. Triplets, fills and the suspenseful use of silence, dropping every sound just before the chorus, only to bang every sound back into play as the chorus begins. Very clever stuff.

However, ‘Oxnard’ was produced with Dr Dre as the executive producer, and so not all of the tracks on the album have been arranged in this ‘commanding drummer’ fashion. ‘Saviours Road’, the sixth track of the ‘Oxnard’ album, has a much more obvious ‘boom bap’ drum pattern to it and it’s quite easy to hear how it was arranged when compared to the percussive depth of almost every other song listed. It actually stands out amidst the other less digitally produced songs and lacks the Anderson .Paak formula described.

‘The Chase’ – the albums introduction track – features vocalist Khadja Bonet and is a sonic showcase of .Paak’s musical prowess and comprehension. Both vocally and musically, the song is explosive within moments of the introductory radio tuning sample at the start of the track. The lyrical content revolves around the artists recent successes. It’s surely a testament to how super cool Anderson .Paak is when he sings and raps.

In terms of the overall production, post production and mastering of the album as a whole, ‘Oxnard’ is just another crystal clear and maximised gem to come from the Aftermath / Interscope tribe of funky West Coast hip hop. Some awe inspiring analogue valve warmers and compressors have been used, as is always the case with Dr Dre, to master the tracks of the album.  The mastering work, post production, has also brought every crisp kick and snare to life, popped open every syllable spoken and sung and brightened up and added more brilliance to those sexy 1970’s funk bass guitars and synths. A very lush sound indeed.

All in all, this is another Anderson .Paak masterclass in ‘The Funk’. Heir to a long line of funk-a-teers , from all time grand masters of the funk, Funkadelic, way down the line to the classic G-Funk era of Warren G and Nate Dogg. Even Snoop Dogg carried the torch for a while. Anderson .Paak is the current bestower of all things funky, a funky messiah, and it seems his musical sermons have only just begun.

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ALBUM: Bruce – ‘Sonder Somatic’


In electronic music, the most resonant albums and tracks are those that strike at the heart of the community, conveying memories while aiming to create new ones. Bristol-based techno producer Larry McCarthy, AKA Bruce, is devoted to the most personal aspects of the diagram. His music has always torn away any veils of conventionalism to underpin a playfully outlandish hand, taking core elements and twisting them out of time and place. Making the obscure accessible is hard to perfect, but in the case of Bruce’s back catalogue he’s often managed it with a thrilling smoothness.

In many ways, the release of his debut full-length album ‘Sonder Somatic’ on Hessle Audio feels like a homecoming. His previous releases on the label (2016’s ‘Steals’ and 2014’s ‘Not Stochastic’ – EPs respectively) have occupied the same innovative world-scape, playing sumptuous floor-filling kicks and alien atmospherics off against each other, with a mischievous sonic smile overhanging it all. But it’s the exploratory nature of Hessle Audio’s output that suits Bruce‘s placement here so brilliantly. He’s talked openly about the label’s influence on him over the years, so the synergy that winds up here seems only right and proper.

The LP was written ‘partly as an attempt to capture that rare transformative feeling that can cause you to fully lose yourself in a club space’, and on ‘Sonder Somatic’ Bruce wastes no time in going for the jugular. The whole thing sounds absolutely huge, for starters. Whereas before the late-night rawness of his music could occasionally feel opaque, on the LP a crystal-clear sheen sets its primal nuances and physicality against a gorgeous big room backdrop.

Crucially though, he focuses on inviting and then reducing ambiences, atmospheres and myriad percussive senses. It allows for a constant sense of idiosyncratic motion that rises and falls and creates new imperatives whenever they are most necessary. This is executed most effervescently at the mid-way point and the trajectory between the shuddering tension of ‘Meek’ and ambient of ‘Torn’, which is spotted with ghosts of breakbeat-y decadence, into previously released single ‘What’. The latter re-engages his most banging sensibilities with an intense sense of joy – caterwauling vocals, a deliriously catchy lead loop and the same unpredictable drum sequencing brought to a mighty zenith.

The notion that ‘Sonder Somatic’ reflects both Bruce’s professional and recreational relationship with club culture is purveyed inimitably too. Whether it’s through swaggering heaters built upon historic UK bass mechanisms (as on the opening salvo of ‘Elo’ and ‘Cacao’) or the freezing, small-hours surging lope of ‘Baychimo’ and lullaby-esque grind of ‘Patience St Pim’, a see-saw of hedonism and an absorbing approach is delivered near-perfectly.


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While the LP will do plenty for chin-stroking types and those always seeking to be challenged on dancefloors, at the core of ‘Sonder Somatic’ is the most communal aspect of club culture; personality. Bruce is one of the most singular techno artists operating right now, and the music here continues to define him as one of the most innovative and sensitive.

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ALBUM: Estrons – You Say I’m Too Much, I Say You’re Not Enough

WORDS – Maria Passingham

You know when a band has been on your radar for a few years – you know the name, have an idea of how many members and some vague recollections of their debut single – but have never dedicated any time to properly explore who they are and what their sound is? They’ve been on the line-up for a few festivals you’ve attended, but at the last minute a trek across the site to see a band you can’t quite remember if you like seems too much effort, and another year keeping them at arms’ length passes.

Well that band for me is Estrons, and listening to their debut album You Say I’m Too Much, I Say You’re Not Enough (out this Friday via Gofod Records) fills me with regret for the past three years during which I could have been enjoying these sounds all along.

Debut single ‘Make A Man’ (released in 2015) is still a sensational, powerful track, but its placement on You Say I’m Too Much, I Say You’re Not Enough is a shame. Following ‘Killing Your Love’ (which ends on an eerily similar-sounding chord progression to the one that launches ‘Make A Man’), it dampens the impact of the latter, making it sound more like a ‘Killing Your Love’ reprise.

With a total runtime of just over half an hour, Estrons don’t mince their words or stretch out self-indulgent melodies. They get in, thrash about for a bit, and get out – the beauty on this record lies with those quick, intense, noisy tracks. The guitars in ‘Jade’ shimmer and threaten in a way similar to Yeah Yeah Yeahs, and you know album-closer ‘Drop’ is guaranteed to get even the most withdrawn of us to fling ourselves about in the pit.

Unfortunately, the lighter ‘Cameras’ feels like a poor man’s Paramore, and ‘Jesus…’ could easily have gone the same way. It is however redeemed by its Ana Matronic-esque vocals and building climax that wouldn’t have been out of place on a season finale of the OC, were this released 15 years ago.

You Say I’m Too Much, I Say You’re Not Enough is by no means a perfect debut for the Welsh trio, but it is a promising start – I have a hunch it may really come into its own in a live setting. Estrons kick off a UK tour with a couple of appearances at Rough Trade in London and Bristol this week, and head to Leeds’ Belgrave Music Hall & Canteen on November 1st and Manchester’s Soup Kitchen on November 7th.

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ALBUM: LIINES – ‘Stop Start’


There’s a brilliant thing about something new combined with something we’re used too. A bit like snowboarding, surfing has been around for decades and then skiing has too, bring them both together and it’s the best way to surf down a mountain! At the top of the mountain all you want are fresh lines, LIINES from Manchester are fresh, they’re made up of Zoe, Tamsin and Leila and they’re climbing a massive mountain of big sound.

‘Shallow’ sets the tone for the album with lyrics “what were you thinking” anchoring the song, plus you wouldn’t want to get on the wrong side of Zoe. She backs up her vocals with an aggressive guitar punch enough to keep the receiver of these lyrics from having a second short. The album has a grit to it, the songs are short and punchy, leaving perfect live gig bait. It’s recorded well and each track is written to destroy a room – be sure that the crowd will help out with that. The pounding drums will have no one stood still in front of these three.

‘Stop Start’ is full of bass, smashing guitar, wailing vocals and a solid drums backline. LIINES been likened to Joy Division and I get that, their debut album is produced by the best – Paul Tipler (Elastica, Idlewild, Placebo, Stereolab) has delivered this one. ‘Be Here’ and ‘Find Something’ gives out a solid Breeders/Pixies bass and a Bernard Summer Joy Division divide. Banging tunes!

On to the B-Side and ‘Blackout’ starts with ‘Stop’ and the staple LIINES 3-chord smash which throws energy into the hallowed vocals. The lyrics are dark, something (or rather someone) has created this deep feeling. Zoe can really take it the distance: “I love a band that gives everything and a singer who feels every single word”. She’s a female Eddie Vedder and the backline of Steph Walker (bass, who was a founding member of LIINES but left the band after the album was complete, with Tamsin Middleton stepping in on bass) and Leila (drums) give a solid backing that Elastica were always famous for and Kurt Cobain would have happily been in front of. The bass of ‘Disappear’ is Hooky and Morris all over and the guitar destroys that backline fighting it off to make room for the massive vocal. It’s a goodun.

LIINES are hot off the support of Hot Snakes, Desperate Journalist, and The Slow Readers Club as well as having headlined the Radio X Showcase. Along with getting airplay and 5* reviews from all the music industry elders like Louder Than War, BBC Radio 6 and Q they’re on a tour down the back bone of the country from Manchester and Preston, down to London.

Catch them at:
18th Oct  – Night and Day (Manchester)
17th Nov – The Ferret (Preston)
18th Nov – The Lexington (London – supporting Bis)
14th Dec – O2 Apollo (Manchester supporting Slow Readers Club)

‘Stop Start’ is out now on CD digipak, LP white vinyl and at Thanks to Reckless Yes for this record.

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