This article first appeared on The Music Files, 03/04/2022.

Fatherson are a band that have found their way steadily into my algorithmic Spotify bubble, partly through occasional recommendations through friends, and probably because Spotify knows that I listen to a lot of Scottish bands. Rich Turvey (Blossoms, Courteeners), Seton Daunt (Kylie, Amy MacDonald), and Amber Run’s Joe Koegh are all named song writing collaborators, which brings an exciting new flavour to an already accomplished and much loved Fatherson, but latest instalment ‘Normal Fears’ still maintains that special original recipe from the big three: bassist Marc Strain, drummer Greg Walkinshaw, and singer/guitarist Ross Leighton.

I jumped at the chance to speak with Ross over Zoom, and our conversation felt organic, informative, and fun.

I’m by no means a super fan, but I’ve also really enjoyed getting more into your music recently, I loved Charm School from the last album, there’s something to me about the sound of Fatherson that feels very familiar and comforting, is that something you’ve heard before?

Ross postulates, “I sing in my native accent, so it is inherently Scottish, and naturally embroiled with tongue and cheek sadness.” He adds with a smile, “I’ve always kinda wanted to be Damien Rice but with a Rock edge.” Melancholic I agree, I’m curious about how Fatherson have managed to build consistently from strength to strength, as well as the effects of lockdowns on their trajectory over the last couple of years:

Did the successive lockdowns and the inability to play live bring about any existential crises and make you question whether the band would continue?

“It was our longest stint without being able to play shows, which has always been the most important part of being in a band to us, but I never outright wanted to patch it.” Ross continues about how great it is to be back and releasing new music, “Playing shows scratches an itch that nothing else will.”

What kind of position then do you see yourself in now, and what are you hoping to achieve with this latest album?

Ross is keen to stress that simply being able to go on and keep doing what they do best is at the heart of everything they do as a band, “we’re fortunate that we can now sell out big rooms in places like Germany as well as across the UK, but ultimately we want to play as much as possible, we’re looking to grow and reach a new audience, but we still want to bring our older supporters along.” This brings me to consider the newer approach that has been brought to the song writing.

On Normal Fears, there are notably several exciting collaborations with other song writers, what prompted this approach in the creation of this album?

“I know so many people that play music that I personally love.” Ross explains that after years of being in a working band, you meet creative contemporaries along the way, and build special relationships that he’s keen to take advantage of, “I think that a guarded campus can be destructive,” he continues, “working with someone else brings a guarantee of learning something new, I’ve got three albums that prove I can write songs myself, the collaborations widen the net of possibility and opportunity.”

Ross goes on to discuss how arranging song writing sessions over Zoom was an easier and more productive process than one might think. His advice for aspiring artists and song writers is simple, “just reach out to people, don’t be afraid to be more collaborative.”

For the average reader then, how do you actually write a song with someone else over video call?

“Start with a conversation about songs that you’ve liked that you’d like to take inspiration from. You could say, let’s make something that sounds like a certain track.” Once an agreement has been made on the basic idea, Ross might typically start with some chords on piano, and do bits of singing on top, not necessarily words, just something to have an idea of a vocal melody line. Taking breaks is also a great thing to manage over a video call, “we might record a chord pattern, then go away for 45 minutes to an hour and think about it, then come back and review after giving it some space… It’s important to be flexible and supportive, ultimately you want to make sure nobody feels like shit.” Doing things online he has found also reduces the pressure around working with someone and feeling like it has to be a success because of the time and effort invested, which would be the case if you’re travelling a long way and spending money to make something happen, “there’s no harm in dipping your toe and not liking it.” Since doing things online is less intense, it’s easier to let something go that’s not working out.

He has loved spending time song writing in London, “chatting shite and writing tunes,” and feels that writing with others on this album has helped him feel comfortable doing more collaborations, partly due do being able to develop a good workflow, which makes the whole thing feel less daunting.

Speaking of trying new things for the album, are there any tracks that turned out to be a pleasant surprise to you when they were done?

“The second to last song Crying Wolf was quite interesting,” Ross tells me how the band got together in their rehearsal space, “we had this organ sound playing on keys that we liked, and played for about 12 minutes solid over it, and in that time the full song was finished.” He likes this because some of the rest of the album is, “demure and soft,” see tracks 10: All the Time, and 13: Wreckage in the Rubble as a notable examples, whereas Crying Wolf Ross shares, “feels big and busy.”

Another special mention goes to the final track, Wreckage in the rubble, which Ross reveals is the first and only song Fatherson have ever released that features a solo acoustic performance from himself.

So why have you chosen to aim towards making albums over the years, rather than follow the more modern formula of lots of singles, and focussing on streaming and social media?

“Listening to albums is my preferred way to listen to music, I remember growing up and having a new CD, and that would be the only thing I had, so I would just listen to that on repeat, I listened to all my favourite records that way.” We talk about bands and artists today that we both like that also follow the album-focussed approach; Bon Iver, Sam Fender, Idles, Biffy Clyro, Paramore and Foo Fighters (RIP Taylor Hawkins) comprise an eclectic list. This demonstrates to me that if a band like Fatherson are working hard, and building on their successes, they can follow a similar path.

If you were starting a new band in Scotland then, what would you do now if you wanted to follow this approach?

“Write lots of songs, play (live) as much as possible, pay attention to what people like, apply to Creative Scotland for funding… through being on the road for years, we were able to find our people,” which feels like a great way to think of your fans, the love is clearly mutual, hard earned, maintained and cherished carefully. Ross talks about how his own stage manner can change depending on his mood, “it’s all still me,” he says, “our audience obviously like that.”

Ross goes on to warn against the dangers of virality as a band, “it’s essential to remain authentic,” he says, “it keeps you grounded.” Although he does recognise the value of social media and strategy to promote yourself, “build up to your best work, you want people to see the progress in your output. Don’t worry about what everyone else thinks” – although he adds as an aside, “even though it’s impossible not to care.”

I realise we’re touching on some of the themes behind Normal Fears, and I ask Ross to unpack some of the relevance between the conversation and the new album:

“What are some normal fears?” he says, “it’s ok to be afraid, it’s ok not to have things figured out, despite how it may seem, no one has it all figured out.”

He then goes further, harking back to working with collaborators on song writing, “any thought you’re having has been thought before, there is comfort in the fact that not everything you can conceive of (creatively or otherwise) is unique to you.”

This brings further emphasis to the notion of being authentic, and Ross warns against trying an idea you’re not fully behind to gain clout or success. “Doing things for a specific outcome is a sure-fire way to break your own heart.” – This statement hangs in the air with a palpable sense of inherent truth. I pause to reflect on this, and congratulate him on such a poetic line to encompass this concept of being real as an artist, versus trying to deliberately generate progress in your career.

It’s been a sincere and somewhat therapeutic conversation for someone such as myself, looking at a band like Fatherson and wondering how I can emulate their successes and longevity in music. Acceptance of Normal Fears, Ross has confided in me, would certainly go a long way.

Listen to Normal Fears.
Keep up with Fatherson.

Scottish dates:
May 27th – Aberdeen, Lemon Tree.
May 28th – Glasgow, Barrowland.

This article first appeared on The Music Files, 12/02/2021.

Moonlight is single number five for Dictator, and though this track is more chilled in feel, the boys are showing no sign of slowing down.

The voice of Michael Campbell rings out clearly, while managing to slot nicely into the mix. Laid bare against subtle production, it feels intimate, and gives a sense of fragility. My first comment to Mike when we spoke on the phone was that ‘Moonlight’ feels like a lullaby, to which he agreed, but there is a story behind what makes this track feel surreal. Although fluid in its delivery, the song has gone through quite a fragmented and calculated process.

The full structure and lyrics were written on piano by Mike, before the spine of the track was recorded with Mark Morrow in his Edinburgh studio. Mike explained that they used his vocal and piano take as a guide, before stripping it down and rebuilding it with the creative instrumentation of the rest of the band – Zach Goodhur(bass), Joe Murty(guitar) and Allan Ramsay(drums).

Stems in hand from Mark’s studio, the band turned to West Lo staple Liam Doc to produce the track; evidence of this is in the depth of the drum parts, the ethereal vocal effects – spot the Frank Ocean homage near the end – and assorted decorative samples throughout. After a few dashes of sugar, spice, and everything nice from the DJ Mag award nominee, (Best Breakthrough British Producer), the song was finally ready for release.

For a group of musicians coming from the West Lothian music scene, and having mostly played in indie/rock bands up till now, Dictator as a project is quite a departure for all of the boys. Zach told Brownbear in his Instagram live interview that Gorillaz have been a major inspiration for the band, particularly the collaborative approach that Damon Albarn has championed since the early 2000s. This perhaps gives a better insight into the attitude and process that goes on behind the scenes. Mike is still firmly of the opinion that the sound of Dictator is very much a work in progress, and judging by the strength of ‘Moonlight’ with its unique quality, the only way is up for the boys.

Stream ‘Moonlight’ here.

Keep up with the lads on socials:
Facebook.
Twitter.
Instagram.

This article first appeared on The Music Files, 16/02/2021.

The latest installment from Weekend Debt, ‘Why Don’t you Realise’ (WDYR) has had an excellent release in the run up to Valentine’s day, which it turns out was deliberate, after some excellent content on the band’s socials. The main thrust of this piece however, is the story of collaboration and creative progress behind the record, and the beginnings of a clear trajectory for the boys taking shape.

‘WDYR’ is the third track that the band have worked on with producer Jamie Holmes (Recently signed to Manana Music Management), a relationship which has helped bring about the newfound definition and purpose that the band have found in their sound. I caught up with drummer Harvey on the phone, who told me that he fondly remembers Jamie on their first sessions turning round from the desk on the track ‘Legato’ (2020) and announcing that the track was indeed decent, and how the ubiquitous Gianluca Bernacchi (The Vegan Leather, and other various projects) had dropped in for a listen, ideas were apparently floating about the room in a freeform manner that could only bolster the strength of the music.

Harvey explained that the next two releases, ‘Pomposity’ and ‘WDYR’ were the natural progression from the foundations set with ‘Legato,’ yet there is still a healthy diversity about the sound of all three songs.

Weekend Debt’s frontman and lyricist Grant has echoed this himself in the band’s press release for ‘WDYR’: 

“The song was written and recorded at the same time as Pomposity yet feels a different entity. It offered a lot of space to explore new ideas and ways of writing as a band, which has been absolutely beneficial in improving on all our abilities. The song was written during lockdown about the frustration and jealousy that comes with still ‘fancying’ someone, and seeing them with someone you don’t feel deserves them. We are exploring new ideas (probably due to all of the free time on our hands) and trying to explore new emotions in their lyrics.”

In reference to this sense of envy and furtive anger, lyrics I picked up on include, “He’s just a haircut and fancy shoes,” and “I used to think our love would last forever,” which I enjoyed, mostly because these kind of trivial lockdown dramas have become far closer to home for many of us, struggling at times to keep things in perspective.

Speaking of lyrics and the meaning behind the song, Harvey mentioned to me that Grant could at times be very set on structural elements of the track in rehearsals, vetoing the omission of any sections, such as alternate verses and alternate choruses. Also critical to Grant, the concept of changing any lyrics was out of the question, as they were equally essential to the narrative behind the song, as he has discussed above. The writing process for Weekend Debt sounds to be a healthy and collaborative one, as I was informed: Grant would arrive at practice with a full song structure and lyrics that he would perform on acoustic, from there the rest of the boys, Calvin, Russell, and Harvey would form an open court over how the song should grow into what would become a new option for the setlist.

On ‘WDYR’ specifically, there are multiple changes and transitions, which is slightly more unusual in the indie genre, but this represents well the strong sense of individuality that the band are striking out for. Harvey made a point on our call of asserting that the band wanted a refined and layered build up to a powerful big ending, which can certainly be heard on the record. The song is longer than most of its ilk in the indie scene, coming in at 4:21. This again demonstrates the resolve to honour a narrative, whilst creating a fun and compelling track that will certainly be well received by audiences once venues finally reopen and the pints are flowing.

In summary, it’s refreshing to see a band like Weekend Debt taking on quite a saturated genre of music, adapting their style as they go and improving their sound, but still retaining their own sense of identity.

Listen to ‘Why Don’t you Realise’

Keep up with Weekend Debt here.

This article appeared first on The Music Files, 14/03/2021.

‘Nature Always Wins’: Inward examinations mixed with compelling up-beat pop combine to make a record that resonates well.

As we approach the anniversary of the first UK lockdown, Maximo Park are leaning into that uncertainty and sadness and recognising it, whilst offering a light at the end of the tunnel with an overall positive seventh studio album.

The Song ‘Placeholder’ encapsulates this feeling of loss and regret from lockdown. Wrapped in 80s romantic melancholy, the track has a more uplifting, self-coaching feel, rather than a self-deprecating one, opening with the lyrics: 

“Identity lost, an incalculable cost
Though you’re phased, you’re unscathed
Now I know what we’ve gained
There’s no need to explain it again
I know.”

The following chorus hits home well on the feeling of moving on and looking ahead with optimism:

“The last shot at the net
Before I try to forget
The sunlight on the corner
A page turning over
A placeholder.”

Unmistakably, there is a feeling that there is much to explore beneath the surface of this record, four years in the making, it’s teeming with details and feelings, memories and monologues.

Some of the tracks contain intimacy, while others are uplifting up-tempo bops, but many of them contain both, such as ‘Why Must a Building Burn’ (said to deal somewhat with the Grenfell disaster.) Again the listener is rewarded for paying close attention to the tracks, but this is not a mandatory process to enjoy the album, the songs are enjoyable at surface level.

The band, reduced down to three members from the original five, worked with Grammy winning producer Ben Allen to allow the album to reach its full potential. Ben reportedly pushed the guys to have 40 songs ready for the 12 track album, which has definitely paid off. Another stand-out track that provides multiple perspectives to the listener is ‘Baby, Sleep,’ which gives us jangly guitar hooks and driving beats, while singer Paul Smith asks existential questions like, “What does the modern world mean to me?” He’s described the song as, “a light-hearted look at the surreal nature of sleep-deprivation, and the way it distorts normality in a capitalist society.”

Featuring Pauline Murray, ‘Ardour’ is another stand out track on the album, dealing with ‘Always On’ culture, through addiction to social media, “Swiping in my sleep, pinch grab a magazine, what’s become of me? I’m scrolling in my sleep…” and alluding to the false positivity we feel the need to express online, “This ardour is arduous.” A recurring theme of the record, is the sense that the band are trying to deal with the mental and physical consequence of numerous lockdowns, living digitally, as opposed to natural reality. “No time for walking in the park, when maybe that’s just what we need, too tired for talking in the dark, of our anxieties, this ardour is arduous.”

While dealing with some rather dark and introspective themes, listening to ‘Nature Always Wins’ has filled me with a gentle encouragement, something Smith has discussed recently in a promotional interview for the release:

“There’s light at the end of the tunnel with the pandemic. The progress will be incremental compared to what was promised by politicians who want to play politics with it, who want people to feel good, so I suppose the best way to feel good is to listen to Nature Always Wins!”

Maximo Park releasing this album has been a welcome respite at the end of a dark and gruelling lockdown winter, listening for the first time felt like waking up from a dark and dismal hibernation, and realising that there is so much more than I thought possible to look forward to.

Listen to ‘Nature Always Wins.’
Keep up with Maximo Park.

This article orginally appeared on The Music Files, 06/04/2021.

The new single ‘Become Undone’ is their best work to date.

I spoke with singer Tam, and bassist Calum to better understand what was going on beneath the surface that led to this release. As a disclaimer, I am a long-time fan of this band, but we’ll try to keep superlatives to a minimum.

The first thing that struck me about ‘Become Undone’ is the more direct nature of the sound. The soundscape of two guitars, bass and drums is far more focussed than on previous records. Tam was eager to agree with the notion that they had “trimmed the fat” on this track. Sounding big and baggy is a pitfall that 5-piece heavy rock bands often fall into, mistaking more noise for a bigger sound. 

The production on this track does sound tighter and more compact, courtesy in part of producer Bruce Rintoul, who the band have worked with on previous releases. I was interested to learn from Calum and Tam that they had worked on their own pre-production for ‘Become Undone,’ and upon hearing it, Bruce was already perfectly happy with the song itself. The relationship that Volka have built with Bruce is important, because it lends itself to the feeling that ‘Become Undone’ is the sum of long-term relationships, harmony between artists and producer, and the general sense of the band coming into their own to create increasingly better music over time. Calum shared with me that when the two guitarists, Calum More and Steven Dunsmore write their own parts, there is no discussion of who is lead and who is rhythm, they seem to telepathically work it out themselves. This creative partnership was reportedly commented on by Bruce in the studio who said, “I don’t understand how this works, but this works.”

Complimentary partnerships are essential in any good band, and it doesn’t get closer than the bass and drums rhythm section of the Sked brothers Calum and Euan. Calum was eager to assure me that Euan is an excellent technical player, which I would absolutely agree with having seen the band play several times in recent years, while Calum sees himself as more of a feel-style bass player, honing in on sound and tone. The pair communicate openly with each other as they formulate the beats and basslines of the songs. The combination of Euan’s chops and Calum’s reserved style works well, and comes across on ‘Become Undone.’ It’s worth mentioning that Calum spent a brief period down in London last year, and without doubt these kind of moves can often unsettle a band. However upon his return to Scotland, Volka have been able to push on, stronger as a result.

Another prominent talking point on the call was the idea that this song was more about vibes and structure. On ‘Become Undone,’ the boys waste no time getting straight into a short punchy verse before firing into a ripping and hooky chorus. This pattern repeats throughout the track, with measured crescendo leading back into the main feature – “Get into my space then, you’re under my skin.” I was delighted to discover that the formulation of the song and lyrics was a collaborative process among the band members. This translates into a more mature and collective effort that older fans will appreciate, and has already attracted new listeners, the band have enjoyed a notable spike in streaming figures since the release.

The final, and key, ingredient to Volka’s progression in their sound is the singer Tam, his gritty vibrato adds a sense of pain and urgency about the song. The delivery of the lyrics combines melody and rhythm in just the right way. I was keen to tell him on the call that his vocal performance sounded like his best to date to which he and Calum both agreed. As I looked to explore the lyrics, I was told that, “Become Undone is a narrative about what goes on inside your head as you try to process complicated experiences. A study in how those thoughts and situations can make you feel. Things that stick with you. Get under your skin. Regrouping and releasing this track has been an overwhelmingly positive experience for the band, bringing light and purpose after a year to forget.”

‘Become Undone’ has definitely found its way under my skin, and into my spotify algorithms. As for things that stick with you, Volka will thankfully be with us for the foreseeable future, and with more releases coming soon, I can’t wait to hear more.

Listen to Become Undone.

Keep up with Volka.

This article first appeared on The Music Files, 04/06/2021.

Dead Pony are bursting through our screens with the Official Video to their latest single ’23, Never Me.’

All the nervous tension of a band held back until recently by covid is laid bare in a focused statement of intent to return to the stage with a bang. Having recently picked up plaudits from the likes of Lauren Mayberry of Chvrches on Radio 1 with Jack Saunders; Dead Pony are anxious to live up to their hype by demonstrating their raw energy and compelling stage presence in their companion video to ’23, Never Me.’

Photographer/ Videographer and regular collaborator of the band, Daniel Blake, returns once more, and has put together a video that is visually gripping, from the dynamic sets and cuts to the organic capturing of the band’s compelling movement and energy.

The video itself ties together this live force that Dead Pony want to portray, with the visceral representation of what the song ’23, Never Me’ is about – dispelling negative people from your life.

The opening spiralling shot symbolises how toxic relationships can leave your head spinning, people who are using you, and draining your life energy to fuel their own, are adept at leaving you feeling confused and inept. The track itself is pulsing, with a punching, driving beat, and has an active nature that is well captured by Blake.

Serving also as an introduction to the fanbase of new bassist Liam Adams, the band are oozing with attitude, and singer Anna Shields clearly has a firm grip of her own narrative, matching beauty with anger and power. Her comfort in front of the camera indicates a natural talent and cements her presence as the front of a proper punk band.

“Know it, I know it, I know it, I know it, *gasp* *gasp* I know he’s gone; I know he’s gone.”

The sharp breath intakes from Anna in the chorus are infectious, and you find yourself emulating them as you watch, her performance in the video drags the viewer into her mindset, which is helped by the compelling and eye-contact rich, personal camera angles.

“Fly, stuck in my room, buzzing around, getting on my nerves.”

As Anna delivers these cutting lyrics, guitarist Blair Crichton thrashes out, bringing that harder, metal-influenced side to the band and sound. The boys bring a menacing nature to the screen, Liam with the baseball bat, and Blair with the chains.

“Your face could use a bruising, what’s falling out your mouth is nothing more than just amusing.”

This notion of wielding destructive force to dispel negativity is depicted with the smashing of the pile of trash, and the brandishing of the former chains, now broken, symbolises wresting control from an oppressive or toxic friend, and serves as a warning from Dead Pony to stay in your own lane, and out of theirs.

The video serves its purpose well, hitting the mark visually, and drives the viewer to want to see more from the band, as gigs appear increasingly on the horizon, this reality is moving closer to us than we realise.

A live version of the track has been recorded for BBC Radio 1’s Big Weekend, and tickets are now live to see Dead Pony at King Tut’s Wah Wah Hut in Glasgow on August 28^th 2021. If you can make it, don’t miss out.

Watch the video for yourself.

Keep up with Dead Pony.

Listen to ’23, Never Me.’

This article first appeared on The Music Files, 15/06/2021.

Like Royal Blood’s previous albums, Typhoons is short and to the point. Granted there are only two tracks longer than four minutes in length, but the songs have a new dynamic thanks to a more eclectic spread of instrumentation into the mixes, such as the electronic opening on ‘Million and One.’ There is a sense that ‘Typhoons’ is more mature in feel, and it feels like a lockdown album. The lyrics are noticeably darker and tackle more mature themes around mental health and addiction, particularly on the title track:

“Coz all these chemicals, running through my veins, they don’t kill the cause, they just numb the pain.”

“My thoughts becoming parasites, that live to keep me terrified.”

The final track, ‘All we Have is Now’ takes a sombre tone, evoking some of the typical tropes of healing and impermanence of feelings, “All we have is now, so just let it go.” A clear departure from the usual bravado and noise that come with Royal Blood, however lyrics such as, “No one makes it out alive,” and, “If there’s no God to meet us, don’t be scared,” are ringing with cliché and difficult to connect with in the context of the rest of the album.

Conversely, ‘Boilermaker’ is a song named after a cocktail, and was the teaser single that hyped the album release. The mark of Josh Homme is unmistakeable on the track, the dirty guitar and sleazy groove are drunken and staggering and offer an excellent match of styles that lean towards the heavier side of the band.

While the album is still very much a celebration of chunky guitar noise with expressive drum parts, ‘Either You Want it,’ is a standout song from the list, the interweaving of the drum groove and bass riff create an irregular feel, despite the song staying in regular 4/4 time, also the use of effects on the drum kit and backing keys add a mild 60s psychedelic element to the track that adds more colour to the track.

In this regard, Royal Blood have reached the top of their game with ‘Typhoons,’ the songs are better evolved versions of the first album, with more time in the game, and working with the best in the business – producer Paul Epworth has five Grammies – the production on the album might be described as manually perfected, the sound is certainly highly controlled.

One downside to having rock music sound so polished is that the tracks can tend to homogenise in your ears when listening to the full album back-to-back. The songs have a patchwork quality to them, where it feels like separate sound packets and ideas have been thrown together into a blender to see what sticks. Each packet takes form in a cool riff, or an interesting drum fill, and the vocals feel very much part of the sonic puzzle, meaning that the lyrics tend not to stand out on their own, which some listeners may find alienating if they are hoping for a clear sense of a deeper meaning or bigger picture from ‘Typhoons.’

The band are telling their story through a blend of unique two-piece power and a controlled aggression which is their strong point, and somethign that has demostrably improved over time. At first glance, this can seem like quite a limited vein, in the form of the same old shred music from two highly capable rock musicians, however, it appears more that the boys have elected for a more fragmented approach to song writing and album formation, it is clearly not designed to be enjoyed in one long sitting, instead, short and potent bursts that fit well into curated playlists by fans and streaming platforms alike.

The songs are perhaps deliberately segmented in nature, as a way of trying to bring a straight up rock sound to younger ears in a streaming dominated age, the video for ‘Typhoons’ is indicative of this. The best way to relate to this style perhaps is on a more rhythmic, guttural level. Ultimately this band are meant to be heard live, and the relatable element of Royal Blood is the intensely cohesive partnership that Mike Kerr and Ben Thatcher have built upon year on year.

Selfishly, I am delighted by this album because it shows that riffs can still drive songs and cool drum fills are still possible on a big record. Every time I give the tracks another listen, I find myself bobbing and thrashing along, drumming on the table and making a scene in the local coffee shop. It is a winner for instrumental live performance, guitar music generally, and shows that interesting and satisfying songs can still be made this way at the highest level, with the live audience in mind.

Listen to Typhoons.

Keep up with Royal Blood.

This article orginially appeared on The Music Files, 28/06/2021.

I would like to preface this piece with my prior ignorance of the history of James, apart from the 90s hits, it was not until I took on this review and did some research that I realised that vocalist Tim Booth is not James, James is the whole band.  I did enjoy their performance at T in the Park 2014, which was a welcome education to a 20-year-old at the time, but I have not kept up since.

Nonetheless it has been a joy to delve into ‘All the Colours of You,’ the mix of traditional guitar-led pop music song writing with a new myriad of sounds, including “contemporary psychedelia” as mentioned on an interview with the band on Absolute Radio, it’s refreshing to hear a band who have been around as long as James to come out with a modern sounding album that holds up against younger, trending contemporaries, especially listening only through streaming platform. The sound feels relevant, with tasteful employment of smooth hats, drums, and minimal basslines on tracks such as “Hush.”

The themes explored throughout are intense but handled with a profound maturity and appreciation that comes with an accomplished and sincere collective of artists. James have shown that they can raise their game and meet the moment appropriately in an age where it feels increasingly more challenging to express contentious ideas coherently. Tracks to look out for are the discussion of racial equality, inspired by the death of George Floyd on the title track, or the tragic death of Booth’s father after contracting COVID-19 on “Recover.” Meanwhile, “Getting Yourself Into,” is far more uplifting, reminiscent of comparable big UK acts like LCD Sound System with the driving rhythmic keyboard part and accompanying beat, or even more recent Coldplay albums with the soaring backing vocals.

There is a pulsing quality that keeps a good pace for the album as a whole, and there is no mistaking the design at the hands of the band and producer Jacknife Lee, (picking up a shoutout on penultimate track “Isabella.”) to create something that sounds fresh but maintains the grounded, organic feel that James are known for in their live performances. The album was clearly intended to be appreciated as a whole, bringing another aspect to the sound itself that makes this a manageable long play listen is the conscious effort put into ordering the tracks and linking them up sonically. On top of this, there are a few different vinyl and CD releases to the delight of record collectors and fans, with some interesting designs on the vinyl discs.

Coming into listening for the first time, I was scared to find another filler album from an act that has nothing left to prove to their fans, that seem uninterested in climbing to a pinnacle, stratospheric level of the likes of genre contemporaries such as U2, R.E.M, or Coldplay. Thankfully, this concern was utterly unfounded, and I’ve been incentivised as a keen listener to explore further into the back catalogue of James and had to stop myself from impulse-ordering the double album on vinyl.

Oh, and don’t be put off by the opening line on track one, ‘Zero,’ “We’re all gonna die,” – it gets better, I promise.

Listen to All The Colours of You.

Keep up with James.

This article first appeared on The Music Files, 21/09/2021.

Carrying all the right tropes of some good Indie/Pop, The Holiday is a fun track that can raise your mood in a summer vibes, music festival kind of way.

Plucky, and full of energy, The Katuns have worked with Jamie Holmes to develop their sound in the right direction to set themselves up for a future in music. The track carries all the necessary tropes of a modern indie sound, the straight, solid drums complimented by a more liberated bassline, lead guitar that weaves throughout the song, and simple, effective vocals that act as another layer to the overall sound, rather than a solo artist with a backing band.

With recent successes of other young Scottish bands in this genre (The Snuts, Dancing on Tables, Vistas, Parliamo, Fabric Bear and more…)  the Katuns have very much announced themselves at the party, following a recent set at The Isle of Wight festival, the boys have an impressive list of gigs booked ahead of them. Tipped by Gigslutz as “ones to watch,” The Katuns have already secured radio play in the US on Sirius XM, which bodes well for 2022.

It’s a precarious tightrope to walk as an indie/pop band to avoid a flat, forgettable sound, as can happen when tracks are ‘over produced’ and lyrics blander than oat cakes. The Katuns have something about them however, it’s encouraging to hear the prominent lead guitar of Declan Milne command the melody of a tune and dominate throughout, the buzzy tone adds enough texture to the mix to keep the track from sounding thin. Singer Adam Frame has a slight huskiness to his voice that serves him well, and it will be exciting to see him develop his lyrics further as the band progresses. The drumming of Matt Collins is solid, with small but welcome flourishes onto the toms allowing for more depth in the groove; but he is well complimented by the bouncy, melodic bass playing of Declan Fisher who to me really brings this song to life and hooks the listener in.

It’s clear that The Katuns have made a great start, and things are moving in the right direction for them. They have a lot to be proud of so far, but we definitely want to see more from them, we know that they have the facility to push the boat out on the next track, and we’ll be waiting with baited breath. Absolutely a band to catch live as soon as you can, check their upcoming schedule here.

Listen to The Holiday.

Keep up with The Katuns.

This arcticle first appeared on The Music Files, 22/10/2021.

On the last night of the tour –it was palpable that the band were clearly happy to finish up in Glasgow, the excellent sounding St Luke’s church acted as a perfect venue for the next stage of the Maximo Park trajectory.

Just like the latest album, the setlist  was colourful but notably contained a dedicatedly subdued, introspective section, punctuated with tunes from across the band’s career, with older hits ramping up to a real crescendo at the end.

As can often happen with a band of any rock related genre that have reached a certain age, the spunky songs are replaced by a slower paced feel, some examples of newer tracks in this vibe include ‘Child of the Flatlands.’ While slower in tempo, there was a real feeling that Maximo Park are continually working to make music that’s important to them, and this was well appreciated by their audience. Another new song ‘Placeholder,’ a personal favourite from the new album, marked a turning point in the energy of the show. I suspected that the audience reaction was one of pleasant surprise, with a sizeable number perhaps only along for the older hits, but the mood of the whole venue was raised by the urgency of the track, helped by the catchy melody and consistently driving performance of the whole band. From there more and more popular favourites such as Books in Boxes and Apply Some Pressure were laced into a varied collection from the bands back catalog.

Another standout song was Ardour, again from the latest album. In the live setting keyboard player Jemma Freese capably took on vocal duty from Pauline Murray’s excellent contribution on the studio recording.

A heavier focus on synth and keys completed a measured and full live sound. The guitar of Duncan Lloyd carried the lead melody lines effectively, and added interesting texture for the more electronic focussed tracks. Meanwhile, the drums of Tommy English were more relaxed, and groove focused. Mr Smith has lost none of his energy however, bouncing all over the stage, peering out over our heads, locked in contemplation, pulling out moves that wouldn’t go amiss in the Globe Theatre. Dressed like a jester quite literally, Paul has the eccentric air of a traditional entertainer, he knows what he’s trying to do, and his audience knew it too.

Honourable mentions go to Smith’s tongue-in-cheek stylophone solo, (a tour first apparently,) and a brilliant opening set from indie/pop touring support act Peaness, who sold several t-shirts on the night by appealing to the local sense of humour and strong DIY identity.

Maximo Park’s UK tour finale depicted an experienced act well received by an experienced crowd. However, there was no sense of a fall from previous glory or a diminished relevance. Watching The band blow the doors off St Luke’s in just the right way to a loving crowd was a joy to witness, I find myself a late fan having only really delved into them after writing a review for recent album ‘Nature Always Wins.’ The band have been to the top during the Indie heyday with two first rate albums of their time in ‘A Certain Trigger’ and ‘Our Earthly Pleasures;’ and have since gracefully floated downstream to where they find themselves in 2021, still making great music, still touring (springing back into action after Covid), still keeping their reduced but sizable core fanbase happy, and still winning a few new ones along the way.

Keep up with Maximo Park here, and Peaness here.