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"CHAMPIONING ALTERNATIVE MUSIC"
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"CHAMPIONING ALTERNATIVE MUSIC"
REVIEWS
FUTURE WEST
‘LATE LAST NITE'
Read Time: 3 minutes
Words: Ellis Jean McArthur
It's no secret that Irish musicians have an innate punk in their bones. The last fifty years has given us some of the best in Rock history, from My Bloody Valentine to The Cranberries and The Pogues, but lately a purple patch of talent has emerged from the Emerald Isle that can't be ignored. Obvious figureheads are the hugely acclaimed Fontaines D.C. who recently sold out a 10,000 strong crowd at Ally Pally, and bands following closely in their footsteps like Alan McGee's recent find, The Clockworks, prove that Ireland is still the home of punk and this movement of talent is not putting on the brakes just yet.
We're here to add to that list of exciting new music with a 4-piece band from Dundalk, Future West, who are ready to carry the torch for the next wave of Irish rock n roll. Their new single 'late last nite' is an introspective look at the human condition during pandemic life. Like a cool blend of Talking Heads and The Strokes, the track is layered with punchy phrases, ethereal guitars, and a bass line so melodic any hardened Interpol fan would rush to the speakers for a closer listen.
Full of conversational angst, frontman Francis Watters croons through the opening verse with an effortless vocal tone, narrating a familiar internal struggle and then unravelling into chaotic bliss;
"Tell me, how do we get back to normality? Have I gotta do a 9-5 to shake it all off? Join the gym, read a book, put down the telephone"
With a multitude of moving parts, the song threatens to buckle under its own weight, and yet it never does. Layers of sound make this track a sonic missile, capturing the spirit of punk in one swoop. Future West are instantly relatable and lack nothing in originality; a combination that makes them one to keep an eye on in 2022. Check out their single right here:
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TINY DYNO
‘STILL'
Read Time: 6 minutes
Words: Ellis Jean McArthur
Bristol duo Tiny Dyno have graced our ears with a single that you want to soak up time and time again.
Headphones in, immersed in an indie-pop microcosm, their latest release 'Still' sits in the sweet spot with soaring melodies and the coolest synth lines. With parallels to Fleetwood Mac's 'Everywhere', Tiny Dyno have an eclectic sound that would be welcome in any era; making artists like this an exciting find for UK's new music.
After an intro that feels euphoric and somehow nostalgic, a female vocal reminiscent of Dolores O'Riordan of The Cranberries emerges with a warmth and purity that doesn't come around often. It's always a buzz to hear a wicked female voice in the world of alternative music. The opening lyric made it a firm 'yes' from the start: "What a wicked game. What a waste of time knowing it's all through". With its anthemic chorus, dream-like harmonies and undeniably cool sound, 'Still' could sit atop any radio playlist.
Available on all streaming platforms today. Go listen. Put it on a playlist. Share to friends, lovers, mothers.
But before that, check out our Q&A with Tiny Dyno below:
1. Where was the single written?
Half in Tom’s bedroom, half in my spare room! Home studio vibes…
2. If you could sell out a show at one iconic London venue, which would it be?
The Royal Albert Hall. It’s big, it’s glamorous, it’s slightly rock and roll and it’s authentic.
3. What inspires you to sit down and write? Do you have to be in a certain mood?
Emily: I’m either a classic insomniac writer or its when I’m out and about walking - which quite often means I’m not sitting anywhere to write - just stood on a street tapping into my iPhone notes!
Tom: I only really write when there is a reason to write like a song is needed for a gig or a release. I’m constantly thinking about sound and lyrics though, storing my good ideas.
4. You're asked to play the John Peel Stage at Glastonbury. What tune do you walk out to?
Heartbeats - The Knife.
5. How did Tiny Dyno begin?
It began with two musicians whom had lost all work for the foreseeable, with no hope but to crack on and get started. (The secret in doing it, is doing it).
6. Who would you love to collaborate with on future music?
In terms of producers - Rick Rubin or Jon Brion. In terms of artist: LCD System.
7. Tiny Dyno and four musical guests sit down at the pub. Who do you invite? (bands/artists, past or present)
Emily: Freddie Mercury and Guy Garvey - but only if we can do kareoke!
Tom: Jimmy Page and Robert plant. They are both still alive so I guess it could happen, if you’re reading this guys get in touch via our Twitter x
8. How do you connect with your fans?
I think connection with fans is massive now with social media in play - the way forward is honesty and integrity.
9. In your opinion, what does it take to become a great musician?
Practice, humility and being a nice person.
10. Favourite thing about being part of an Indie record label?
Having a say and having a team. The support (and the Beatles memes) are endless.
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BLISS WILLIAMS
‘MAKE TIME FOR MOURNING’
Read Time: 7 minutes
Words: Ellis Jean McArthur
‘Make Time For Mourning’ the latest single from Colorama artist Bliss Williams has got all the sentiments of a wistful 60s pop tune. Think ‘The Hollies’ but with a modern day blissful groove and a melody that sits sweetly in the pocket of Williams’ melancholy vocal. It’s a juxtaposition we can get behind: lyrics tinged with sorrow, backed with an infectiously hopeful beat.
“Through tired eyes I can see you on the other side. I’m tired of mind, it’s a shame the way my heart runs wild”
You know it’s a great track when you can’t quite pin down the decade it throws you back to. Make Time For Mourning has sounds of 60s pop with all the soul of 70’s Bowie (think Young Americans era). Catchy guitar riffs from the off giving you hints of Glen Campbell’s ‘Southern Nights’ and the 80s twang of INXS. That paired with the unmissable bass line and you’ve got a song that will sit firmly on any new music playlist.
Bliss Williams’ eclectic music taste really comes through on this track. It’s an idyllic listen that you can’t help but put on repeat. Check out the Q&A below where he answers 10 of our questions on life and music:
1. How did you find the process of being a DIY artist before you joined Colorama Records? Was it easy getting your music out to people?
It’s a tough old slog as a DIY artist, especially if (like me) you don’t know anyone in the industry. People are terrified of using their own ears and want someone else to have decided you’re worth listening to before they’ll give you a chance. I just made sure I was doing things on my own terms and making the music I wanted to make, so I could be happy enough either way.
2. Make Time For Mourning is melancholy yet so uplifting. Are you a fan of bands like The Cure, The Verve, Pink Floyd etc. known for songs that are sombre yet hopeful?
Thanks, I love The Verve and The Cure. I think the music that speaks to me most does capture that bittersweet essence of real life. I would say the same of all art forms too, be that films, poetry or anything else. For me, the most powerful works touch upon a range of things that make up the human experience - sadness, beauty, pain, confusion, joy… anything real!
3. Would you link your sound to a certain genre or do you think it's important not to box yourself in?
I definitely don’t want to be put in a certain box. My musical taste is very varied - everything from traditional folk to disco - and the songs I write reflect this I think. Hopefully there is a certain sensibility of my own that links it all together in the end though.
4. You're asked to play the John Peel Stage at Glastonbury. What tune do you walk out to?
Nana Caymmi - Tens (Calmaria). It’s very emotive and would get the adrenaline pumping! I’m not sure how fitting the lyrics are though as it’s in Portuguese...
5. Did you learn to play instruments growing up? At what point did you go from learning to writing your own songs?
I got a guitar for my 10th birthday and was obsessed from the word go. It was only a cheap little three-quarter size nylon string effort but I loved it. I started coming up with my own ideas pretty quickly, but it tended to just be bits and pieces, little riffs, etc. rather than whole songs. By the time I was a teenager I was writing full tracks, but I didn’t sing back then so they never really saw the light of day… probably just as well!
6. How long did it take to find your sound?
I’d been playing guitar in bands in London for a few years when I decided to go down the solo route. Before releasing anything, I wanted to take some time to just write, demo tunes and get back to enjoying making music with no pressure. It didn’t take too long for a body of work to come together and I put out my first single, ‘Thought I Was Young’, last year. I like to think I am still young, although I’m not as young as I used to be. Funny one that...
7. If you could go to the pub with four musical guests, who would you invite? (bands/artists, past or present)
I’d probably give you a different answer every day of the week! Today I’ll go with:
Carol Kaye - She played bass on so many classic recordings, I’d love to hear about the different characters she worked with and how she approached such a wide range of styles. I think I’d get good value for money out of this selection as I’m sure there would be anecdotes about countless other legendary musicians (I’d be particularly interested to hear about The Beach Boys and Glen Campbell).
The Funk Brothers - Again, a bit of a cheeky choice as they worked with many big names as the Motown house band. What Berry Gordy and everyone else involved with Motown achieved was staggering and this lot were integral to the label’s success. James Jamerson’s bass playing is particularly sublime, but they all did their job magnificently and were the perfect accompaniment to so many classic songs.
Richard Hawley - One of my favourite guitarists, singers and songwriters of all time. He’s incredible in all three departments. I’d love to hear his stories about growing up in Sheffield, as my family are from Yorkshire too. He seems like he’d know some decent old-school boozers as well, so that would come in handy.
Jimi Hendrix - Obviously a majestic musician, but even before finding fame with his own music he spent time backing artists like Little Richard and Sam Cooke on the live circuit. So he must have some stories to tell! Not to mention his time in the army… I’m sure the others would be up for meeting him too.
8. What's the best way you've found to connect with your fans and following?
I released my first two singles in lockdown so it was hard to reach people other than online. I filmed some grooves with a drum machine and also some acoustic clips, but I was itching to get out into the analogue world! Now things have opened up again, I’ve done a couple of stripped-back acoustic shows and it felt so good to be in a room with real people. I’ll be playing electric sets soon so I can bring a better representation of my records to the stage.
9. How does it feel to be part of an independent label like Colorama?
Colorama is the perfect home for my music. The other artists on the label are right up my street and we all get on really well, so it’s been a welcome development in the world of Bliss Williams. Everyone supports each other which is great, as I was a bit of an island before.
10. What are you most excited about for the future of your music?
I’m most excited about playing my first full band electric set and reaching as many new ears as possible out and about. I’ve been daydreaming about it for far too long now! I'm also excited to see Colorama and all my label mates go from strength to strength, especially now the world has started to open up again.
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DEATH OF GUITAR POP
'PUKKA SOUNDS'
Read Time: 8 minutes
Words: Ellis Jean McArthur
Press play and it’s an ethereal five second trill on keys and an epic crescendo into Death Of Guitar Pop’s third record: ‘Pukka Sounds’.
The album starts firmly as it means to go on: an immediate arms-in-the-air “this is who we are” battlecry comes in the form of track one: ‘When The Ska Calls’. It’s a tonic to anyone’s bad day.
“We play 2 Tone Records. We play Trojan Records” - with a nod to the originals that have brought us ska and reggae-inspired music since the 60s and 70s, track one feels like the band’s mission statement: landing with two feet, shoulders back and ready to give the fans some of their best work yet.
A total joy of an album opener.
On the surface this tune has classic DOGP dance-hall swagger “It’s the nuttiest of feelings, when the ska it calls, I bounce off the walls” but beneath the contagious beat, Silky’s vocal depicts the way a ska tune can be the perfect antidote to some of life’s darker moments. In the world of jovial ska where songwriters lean on the lighthearted joys of the genre, DOGP’s music achieves that same ecstatic feeling but with an unrivaled depth. This is songwriting at it’s best.
While the pure elation of ‘When The Ska Calls’ keeps you rooted carefree in the moment, track two takes you someplace else as TopKat croons his way into ‘No.1 In America’. This song is John Cooper Clarke punk-poetry meets big band soul with lyrics that get you straight in the chest:
“I’m the footprint filled with booze. I’m the wild-child in sensible shoes. I’m the human remains of your love”
Cue the horn section and a gorgeous melody that will lure you to sing along every time.
Next, listen to the intro of track three ‘Cinderella’s Fella’ and you wouldn’t be far off if you thought it could sit comfortably on early Arctic Monkeys record ‘Favourite Worst Nightmare’. The brooding guitar lines bring all the vibes of an indie anthem, but cut to 45 seconds in and ska cuts through with the unmissable sound of the off-beat. This tune paints the image of main character "Don Draper with an iPhone" via some Springsteen-esque storytelling. Add to that an epic saxophone solo reminiscent of 80s ‘The Specials' and a brilliant DOGP chorus, our guess is that fans will be two-stepping all over the country.
Like any great album that weaves the tapestry of a musical journey, you get to track four of ‘Pukka Sounds’ and you know the party section has begun. ‘Back Of A Lorry’ the latest single from the upcoming album is undeniably a banger. “Come on, liven up, we’ve got some coats to move” - Silky delivers an effortlessly cool vocal that gets you up for a party every time. This tune is bursting with character and has some standout components that shine through: a half-time chorus momentum builder, lyrics brimming with clever satire and a top-class solo from ‘Guitar George’ in the middle 8 that leans on the band’s rock influences.
The followup track ‘DOGP Shuffle’ is, to put it simply, an unapologetic bread-and-butter ska bop. “I’m standing loyal and true to my roots, a stern believer who scores when he shoots, Death Of Guitar Pop we’re in cahoots” a lyric that feels sentimental to the record, is sung by Nick Welsh aka King Hammond, the tracks featured artist. Grammy Award winning musician, producer and former member of Bad Manners, King Hammond has worked with the likes of the late Lee Scratch Perry to name-drop one of Reggae’s greats and it speaks for itself that he has chosen to collaborate with DOGP for this classic ska number.
We're half way through the album and DOGP provide a little piece of heaven in the form of track six: ‘For Alys’. It catches you off-guard in the most beautiful way. Like a loveletter to ska, placed as an interlude into the second half of the record, this song is a four-and-a-half-minute instrumental that showcases the musicianship of this band. A melodic trade-off between the brass section and some elegant string arrangements that bring some absolute magic to the track.
It’s that moment at a party when you’re stood at the bar, reflecting on the night as you look back on the dancefloor. Who knew two geezers from Essex could be so pretty?!
Although, if ‘For Alys’ is the glance back at the dancefloor, then track seven - ‘Absolute Happiness’ is a knee-slide back in! DOGP narrates the human condition with down-to-earth grit:
“I finally feel alright inside. Free from the madhouse that I call my own mind”.
It’s a perfect contradiction of raw and honest lyrics being held by the most upbeat and infectious hooks; making them so relatable in the world of music. This track is a Pukka Sounds anthem.
Moving onto ‘Storylines’ - a song that has all the sentiments of Northern Soul. Think Chuck Wood’s ‘Seven Days Is Too Long’. It’s a big band experience and you wouldn’t want it any other way. It links your arm and takes you for a stroll, with some Alex Turner sensibilities.
Next on the album is a real moment in the form of track nine ‘Bobby Dazzler’. The piano line sits proudly front and centre with a vocal that has an endearing sense of ‘everyday-ness’ to it; like the sound of Suggs from Madness. Few artists can master this art but Silky’s lyrics and delivery have a grounding effect that can bring a lump to your throat.
“A brisk walk in the rain upon the sands of Margate, no other place and person would I choose”.
It almost feels like a ballad until, in true DOGP style, it picks up the pace to become a ska infused love song, built on Silky’s subtle humour: “For you are a right old Bobby Dazzler. You know that I’m so in love with you”. Not forgetting the trumpet part that deserves a shout-out in this track. It's the perfect accompaniment.
As we near the end of the album with track number ten, you can be sure the fun is far from over. Co-written by Martin on keys is the brilliant ‘Captain Melvin’s Reggae Party Bus'. If there’s a song you didn’t know you needed to hear, this might be it. Melody of dreams, a chorus reminiscent of The Beatles, it ties together the style and character of Pukka Sounds in one swoop. Then its straight into DOGP’s powerful take on the classic 'Junkie Man' by Rancid. Loyal ska lovers would have seen the epic video to this which DOGP released earlier this year. It was a huge success.
What a journey this record is so far! The penultimate song has one of the coolest basslines of the album and a sax solo fit for Van Morrison’s ‘Moondance’. Track twelve ‘Velvet Drum’ with it’s four-to-the-floor drumming is a tune that makes you nostalgic for the songs that came before it. Topkat’s vocal is effortless, and between the brass-filled choruses is a guitar riff that will prick the ears of Indie lovers.
Finally it’s one for the road with track thirteen ‘Pukka Ballad’. Like a six minute English sonnet this tune is delivered with a conviction and style that reminds us of Ian Dury in the late 70s punk era. It’s a perfect tribute to someone special, highlighting the themes of life and love, relatable to us all, that are weaved throughout this record with endless amounts of character.
Pukka Sounds is as down-to-earth as it is elevating. As bold as it is humble. A total success of a third album which comes out this Friday 10th September.
We’ll definitely be getting our hands on a copy because, well, Ska really is the bollocks.
If you haven't already pre-ordered Pukka Sounds, head here to support this DIY band's Top 40 campaign: skaclub.shop
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