Left of centre, pro-European
Listening to a new (to me) album, every day
Unmistakably high-tenor, raspy Marriottesque vocals to the fore of this rocky/punky collection of songs. Difficult not to warm to his passionate delivery and the swagger of his performance. Songs are warm and funny.
7 out of 10
Unmistakably high-tenor, raspy Marriottesque vocals to the fore of this rocky/punky collection of songs. Difficult not to warm to his passionate delivery and the swagger of his performance. Songs are warm and funny.
7 out of 10
I prefer this to Henry Fool. Three longish keyboard-driven pieces with gentle male vocals which make them more like songs. The final one builds to a furious volley of drums over the Devil’s interval. I like the quieter, more reflective bits.
7/10
I prefer this to Henry Fool. Three longish keyboard-driven pieces with gentle male vocals which make them more like songs. The final one builds to a furious volley of drums over the Devil’s interval. I like the quieter, more reflective bits.
7/10
Sylvia and Hocus Pocus remain favourites over the last 4 decades. They’re on here, preceded by 45 minutes of jazzy noodling with his distinctive gritty guitar. Hoping he doesn’t fuck them up.. oh dear 1 min of HP and a half-arsed S.
2/10
Sylvia and Hocus Pocus remain favourites over the last 4 decades. They’re on here, preceded by 45 minutes of jazzy noodling with his distinctive gritty guitar. Hoping he doesn’t fuck them up.. oh dear 1 min of HP and a half-arsed S.
2/10
A very strong 60s vibe to this collaboration. Full of swagger and confidence. Clearly made with serious intent, but it didn’t really grab me.
7 out of 10
A very strong 60s vibe to this collaboration. Full of swagger and confidence. Clearly made with serious intent, but it didn’t really grab me.
7 out of 10
A curious mix of Arctic Monkey vocals and Busted production, but it holds together as a strong set of enjoyable and, at times, anthemic songs.
7 out of 10
A curious mix of Arctic Monkey vocals and Busted production, but it holds together as a strong set of enjoyable and, at times, anthemic songs.
7 out of 10
They’re coming to a favourite venue, so thought I should listen to how they’ve changed. Answer is they haven’t. Reassuringly reliable Scouse indie rock that would have sounded good in the 90s. Worth a watch.
7 out of 10
They’re coming to a favourite venue, so thought I should listen to how they’ve changed. Answer is they haven’t. Reassuringly reliable Scouse indie rock that would have sounded good in the 90s. Worth a watch.
7 out of 10
I quite liked the Smiths (long after their heyday), but put off listening to the musical half. I shouldn’t have. Interesting and eclectic mix of quality guitar-driven songs. His voice is functional, but certainly less marmite than Morrissey.
7 out of 10
I quite liked the Smiths (long after their heyday), but put off listening to the musical half. I shouldn’t have. Interesting and eclectic mix of quality guitar-driven songs. His voice is functional, but certainly less marmite than Morrissey.
7 out of 10
An eclectic, vaguely psychedelic affair. Richly layered, but not helped by lumpen, programmed drums. It’s the drums that anchor it in the 80s. Nothing reaches the level of Sign O’.
6 out of 10
An eclectic, vaguely psychedelic affair. Richly layered, but not helped by lumpen, programmed drums. It’s the drums that anchor it in the 80s. Nothing reaches the level of Sign O’.
6 out of 10
I’d never heard of them, in spite of a 20-odd year career. Serious indie creds. This sounded like a cross between the Beach Boys and the Lemonheads. Bursting with energy. Seeing them live next year.
6 out of 10
I’d never heard of them, in spite of a 20-odd year career. Serious indie creds. This sounded like a cross between the Beach Boys and the Lemonheads. Bursting with energy. Seeing them live next year.
6 out of 10
Out today. Set the Reverb on infinity and dig out some found audio. We’re in the vast world of post-rock. Provided a post apocalyptic soundtrack to my journey into Paddington. I may never return…
6 out of 10
Out today. Set the Reverb on infinity and dig out some found audio. We’re in the vast world of post-rock. Provided a post apocalyptic soundtrack to my journey into Paddington. I may never return…
6 out of 10
Halsell has been referenced by Andy Partridge as an influence and as this band is 50% Rutles, I thought it worth trying. Of its time. Gravelly vocals, dexterous guitar (and vibe) playing. Doesn’t really float my boat- lacks songs to my ears.
4 out of 10
Halsell has been referenced by Andy Partridge as an influence and as this band is 50% Rutles, I thought it worth trying. Of its time. Gravelly vocals, dexterous guitar (and vibe) playing. Doesn’t really float my boat- lacks songs to my ears.
4 out of 10
Shoe gazing by the yard. Dreamy female vocals drenched in reverb floating over echoey guitars and piano, with a bass and the barest of percussion plodding below.
Blurs into one.
6 out of 10
Shoe gazing by the yard. Dreamy female vocals drenched in reverb floating over echoey guitars and piano, with a bass and the barest of percussion plodding below.
Blurs into one.
6 out of 10
Homemade folky vibes dominate this lockdown inspired collection of songs. Creates a gentle and melodic whole which captures a Sunday afternoon summery atmosphere.
7 out of 10
Homemade folky vibes dominate this lockdown inspired collection of songs. Creates a gentle and melodic whole which captures a Sunday afternoon summery atmosphere.
7 out of 10
An interesting and eclectic mix of songs and styles with angelic vocals firmly at the front of busy mixes. Draws you into its world.
8 out of 10
An interesting and eclectic mix of songs and styles with angelic vocals firmly at the front of busy mixes. Draws you into its world.
8 out of 10
The same producer/co-writer as Swift and shares some of the vibe. An interesting mix of songs delivered with melodic vocals. I had the impression she might be grittier, but in fact the overall impression is laid back and tuneful.
8 out of 10
The same producer/co-writer as Swift and shares some of the vibe. An interesting mix of songs delivered with melodic vocals. I had the impression she might be grittier, but in fact the overall impression is laid back and tuneful.
8 out of 10
More jazzy noodling, but creating an interesting soundscape that had the effect of making me feel relaxed. It must be difficult to know when each track is ‘finished’, but one senses they had a splendid time recording it.
6 out of 10
More jazzy noodling, but creating an interesting soundscape that had the effect of making me feel relaxed. It must be difficult to know when each track is ‘finished’, but one senses they had a splendid time recording it.
6 out of 10
My final attempt at the Canterbury scene and by far the best. Largely amiable jazz-rock, with occasional very English vocals singing inconsequential lyrics. There’s way too much noodling, though some Crimsonesque bits add a bit of grit.
6 o/o 10
My final attempt at the Canterbury scene and by far the best. Largely amiable jazz-rock, with occasional very English vocals singing inconsequential lyrics. There’s way too much noodling, though some Crimsonesque bits add a bit of grit.
6 o/o 10
I’ve enjoying their other work, but this album falls flat. It veers into Neil Young territory with sloppy playing and whiny vocals.
6 out of 10
I’ve enjoying their other work, but this album falls flat. It veers into Neil Young territory with sloppy playing and whiny vocals.
6 out of 10
As a Feelgood fan, I went and wept at Wilco’s last gig. He then got surgery and went on for a few years, recording this on the way. It suits Daltrey’s old man voice and you can’t fault the band. Solid but lacks piss and vinegar.
7 out of 10
As a Feelgood fan, I went and wept at Wilco’s last gig. He then got surgery and went on for a few years, recording this on the way. It suits Daltrey’s old man voice and you can’t fault the band. Solid but lacks piss and vinegar.
7 out of 10
Soft, melodic and melancholic songs. The instrumentation is compressed into a comfortable soup allowing the soft male vocals to float gently on the surface, like croutons perhaps.
7 out of 10
Soft, melodic and melancholic songs. The instrumentation is compressed into a comfortable soup allowing the soft male vocals to float gently on the surface, like croutons perhaps.
7 out of 10
I’ve enjoyed much of Mitchell’s output of late, but this is Godfrey’s baby. Very assured pop-oriented proggish songs played with virtuosity and slickly produced. Much to like, and worthy of further listening.
7 out of 10
I’ve enjoyed much of Mitchell’s output of late, but this is Godfrey’s baby. Very assured pop-oriented proggish songs played with virtuosity and slickly produced. Much to like, and worthy of further listening.
7 out of 10
Pye Hastings got a mention on our album sleeve, but I’ve not listened to them before. Half English whimsy with crap lyrics and the rest an endless noodle on fuzz boxed organ which goes nowhere. I can’t see the appeal.
3 out of 10
Pye Hastings got a mention on our album sleeve, but I’ve not listened to them before. Half English whimsy with crap lyrics and the rest an endless noodle on fuzz boxed organ which goes nowhere. I can’t see the appeal.
3 out of 10
Bright and modern prog, where the Californian band have a major injection of creativity from Michael Whiteman of Manic Whale. There’s not an inch of flab. Some strong Genesis influence in much of the keyboards. Virtuosity abounds.
7 out of 10
Bright and modern prog, where the Californian band have a major injection of creativity from Michael Whiteman of Manic Whale. There’s not an inch of flab. Some strong Genesis influence in much of the keyboards. Virtuosity abounds.
7 out of 10
Interesting electronica created using 25 year old sample CDs. It’s engaging and enveloping and never dull despite the lack of obvious songs.
7 out of 10
Interesting electronica created using 25 year old sample CDs. It’s engaging and enveloping and never dull despite the lack of obvious songs.
7 out of 10
I remain a fan of the Ronson era but have given scant regard to his mid period. It suffers from the lack of melodic input, using Fripp & Alomar’s noisy atonal guitars instead. It’s hard to love.
6 out of 10
I remain a fan of the Ronson era but have given scant regard to his mid period. It suffers from the lack of melodic input, using Fripp & Alomar’s noisy atonal guitars instead. It’s hard to love.
6 out of 10