New Music Reviews November 2020

Umbrella Assassins, instigators of the local phenomenon known as Shed Punk, have a new EP due for release on November 20th called ‘King of Fruit Vol 1’. Since slimming down to a three piece and joining German Shepherd Records, Steve, Garry and Bunge have been pretty prolific, not that they were slouches prior to this. The slimming down and subsequent re-jigging of roles in the band seems to have worked to their advantage, pushing them into exploring new ideas and seeing a great leap forward in the quality of song writing. Describing their music as Shed Punk possibly does it a disservice as, though it has roots in punk and is largely recorded in a garden shed, there are elements of garage, heavy psychedelia and the occasional dollop of Eastern mysticism in the music. The three tracks on the EP are awash with raw fuzzy guitars, heavy bass lines and jet-propelled drums topped off with a growling and passionate in-your face vocal delivery. The first two songs have a primal Stooges attack allied with some Sabbath like changes of pace while ‘Strange Smoke’ starts off relatively sedately in comparison, though the insistent riff still gives the song a driving energy in a Doors like manner. I very much look forward to Vol 2 in the New Year, not to mention sharing a tin or two with them down the shed when the opportunity arises.

Also available now is the new single from Swiss based Andy Jossi and US based Krissy Vanderwoude, working as The Churchhill Garden. Whereas previous efforts have been firmly in the dream pop/shoe gaze arena, this time the guitars still shimmer and shine, but with an added urgency and drive. Similarly, Krissy’s vocals match this energy, giving an overall feel of classic mid to late 80’s indie pop. It’s the latest in an impressive run of singles produced by Andy over the last few years.

Vernons Future have a new single out- Waiting at the Station/B Movie. Apparently, the band have a history going back to Liverpool in the early 80’s and it’s probably fair to say that era and geographical location have left an imprint on what they’re producing now- which is certainly a good thing. Guitars and keyboards vie for centre stage while prominent bass lines circle to keep things pumping along. The first track is insistently catchy while the second has a laser guided sharpness and sci fi references that fit the song’s title perfectly.

There’s a certain irony in the new release from The Speed of Sound, another band that have been quietly releasing (as in ignored by mainstream radio?) for many years. The irony being that lead track ‘Radio Safe’, a jibe at the dull playlisted banality of commercial radio, is one of the most accessible and catchy records they’ve released. For a band based in the North West of England, there’s always been a touch of US Punk/New Wave about them, especially in the vocal delivery of John Armstrong, which falls somewhere between Joey Ramone and Lou Reed. Despite being acoustically driven, it bursts out the speakers and its barbs against not just radio, but the large media organisations that feed them, hit the spot. ‘No Kicks’ is equally vital, an energetic romp with the lyrics sung by Ann-Marie Crowley bemoaning a lack of action that leads to a night of boredom. Cracking stuff.

Where do you start with Tim Holehouse? Though he’s been involved in countless releases over the last 20 odd years, both solo and as a member of various bands, I have to admit I’m rather late in discovering his unique talents. I first heard his music when Ian Perry of Aaahh!!! Real Records sent over Tim’s ‘Come’ album from last year, a release that made my top five for 2019. On Tim’s Bandcamp page he states that his music has its roots in the delta blues. That may well be true, but it also takes in everything from punk to heavy metal to prog to folk, all done with his own individual stamp all over it. His latest album, entitled ‘Lost’ takes several other diversions, including electronic music and trip hop. His distinctive voice, what could be described as a melodic rumble sitting somewhere between Bill Callahan and Kurt Wagner of Lambchop, is well to the fore though he shares vocal duties with a range of male and female singers that compliment rather than detract from his own singing. Tim is someone who thrives on playing live, gigging around 300 times a year gives him a focus, a purpose and great joy. I can only imagine what the pause in being able to gig due to the current world situation has done for his health. A cursory glance at the list of song titles will probably give some clues to this – ‘Lost’, ‘Trapped’, ‘Insomnia’, ‘Twitch’, ‘Polar’- all have themes of mental health and dealing with these situations running through them. Recorded during lockdown, it is at times powerful, raw, claustrophobic, thought provoking and stirring. To give you an idea of the variety and invention in the music, just listen to the opening title track. It kind of circumnavigates the world musically, starting with something akin to tribal drumming of indigenous North American Indians and ending with some Far Eastern exotica. Track two is piano based with bluesy slide guitar, track three includes some rapping over ambient sounds and a solid beat that stealthily, unnervingly creeps up on you. And so it goes with the rest of the album. As with his gigging, presenting the idea of a restless soul never wanting to stay still for long, so it is with his music- always stretching out and looking to discover new ways of channelling the words and ideas in his head. Check it out via the link below.

Another artist I’ve only recently come across (as a solo performer), and coincidentally another one who has used the period of lockdown and the lack of gigs to record an album, is Tensheds. I have to say, there’s been some wonderful music released during the many months where gigs haven’t been possible and this is another. Maybe there’s something in the ‘tortured artist’ theory- take away their ability to gig and communicate directly with a live audience and it’ll feed an urge to produce some wonderful music. Perversely, it’s one of the few positives of the whole situation.  Reading up on the artist that is Tensheds (love the name by the way), you realise here’s another musician with a varied and unique talent, taking in classical music training and a background that includes punk. I guess it’s a little surprising this album, called ‘The Days of My Confinement’ is almost entirely piano based. To carry off an album with such limited instrumentation (the odd guitar, other keyboards and the odd string embellishment make fleeting appearances) obviously relies on a number of things including great song writing, an engaging voice and a certain inventiveness. There’s plenty of drama and romanticism in the songs, partly down to the playing but also down to the singing. His voice has the breathless, raspy emotion of a Springsteen, Tom Waits or Bill Fay on many tracks, though there’s a tenderness that matches the delicate playing on others and a number of almost jolly sing-alongs that help the album rise and fall in tempo and feel. This all adds depth and an ebb and flow to the album that carries the listener on a rollercoaster ride. The piano playing contributes massively to this- sometimes the classical training bleeds through, other times a gentle, heart breaking tinkle while there’s also some stirring playing a la Roy Bittan of the E Street Band. Whether an album of piano based singer/song writing is your thing or not, you’d be missing out greatly if you didn’t check this album out.

Finally, the debut single from Cambridgeshire based duo, Collars, called Heart Beats. I was impressed when I first saw them perform in an on-line all-dayer in support of The Hunter Club, a rather wonderful venue in Bury St Edmunds. This first release confirms the promise of that performance and gives me the urge to see them live. Kane plays guitars and drums (at the same time) while Danielle sings and adds the odd keyboard flourish. The single, released on their own label, is a choppy guitar driven track that frequently changes pace and features a delicious organ solo and an unexpected stop/start barely half way through. Florence Welch and White Stripes are both mentioned on their Facebook page and though you could loosely say their sound is late 90s/early noughties indie, there’s plenty in the music and vocals to separate it from those comparisons and stamp its own identity.

Author: Smelly Flowerpot

Just a bloke that finds life far more bearable with music. And macadmias. And laughter.

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