Wednesday, 19 June 2019

I Don't Hear A Single Volume 72

Another Edition of the Aural Showcase Delight that is I Don't Hear A Single's recommended current must listens. No Archive Track this time, just 19 fine examples of the thing we call Music.

There is a four second watermark at the beginning of each, this is because I'm using the software as a trial whilst Jim is out of action. If I do them permanently, I will find the best program to buy.

The playlist details are on here and by clicking the Mixcloud tab. You can listen to the previous IDHAS Audio Extravaganzas on Mixcloud here.

Number 72 is awaiting your attention. The playlist is as follows  :

01 Mounties - Heavy Meta
02 The Needs - Summerbore
03 Onesie - Customers
04 Big Nothing - Quiet One
05 Faux Co. - Prozac Spaceman
06 The Sunset Spirit - Tonight
07 Taylor Knox - Live It Up
08 Mothboxer - New Satellite
09 Amber Clouds - Whatever You Are Now
10 The Proper Ornaments - Crepuscular Child
11 Shonen Knife - Dizzy
12 The Shake Ups - Meddling Kids
13 The Prescriptions - She Is Waiting
14 Peter Bruntnell - Thief Of Joy
15 The Lunar Laugh - Another Casualty
16 The Successful Failures - Love You So
17 The Thin Cherries - Follow Sun
18 Jim Basnight - Second Street
19 Drugdealer - Lost In My Dream

IDHAS Volume 72 Mixcloud Link

More Kicks - I'm On The Brink EP

I haven't been covering as many EPs over recent times. The only reason is that there are so many great albums around and much less time. That'll change next month with the start of a Monthly EP feature as this has been a bit of an IDHAS weakness. Singles get covered by the Audio Spectacular Volumes and albums via here, so we need to sort in between.

I certainly hadn't planned to cover EP's during the June Review A Day thing, but I really wanted to tell you about More Kicks for a number of reasons. Firstly, I love these three songs and I've already played I'm On The Brink on one of the I Don't Hear A Single Volumes.

I've been a big critic of the UK Power Pop and Pop Rock scene, it's treated like the runt of the litter over here. Shindig thankfully cover a bit of genre, but it still appears very US-centric at a time that Europe is bursting out with talent. Indeed, More Kicks are heading to Spain as most decent bands who do Pop with a Guitar appear to be doing.

Apart from IPO in Liverpool which goes on too long and hoovers Power Pop up to leave the other 11 months empty, there's not much. The Music Industry is so London based, yet IPO doesn't do Liverpool, thank goodness for the Spygenius gang.

IDHAS were on The Speedways album early and it's really pleasing to see the band grow and that a second album is planned. I digress though, so back to More Kicks. The Trio are London based, but are a multi national affair, representing England, Poland and Brazil. Coincidentally, the band's drummer, Kris Hood is also the live Drummer of The Speedways.

I'm On The Brink is a fine EP, proper Power Pop. The title track has everything you'd want from a PP song, hooks aplenty. He's Gonna Let Down is a real mix of 70's New Wave Pop and the UK in 1964. Can't Fake What You Got is a sort of Mod Psych Pop.

Three very different songs promise lots for the future and hopefully the Brighton Support slot with Autogramm will bring a raft of new fans. This EP is such a refreshing listen and a special mention must go to the wonderful German label, Wanda Records.

The label has a reputation for Punk when there is far more to them than that, Wanda provide some real finds for those willing to look. The other joy of More Kicks is that they do the whole New Wave Power Pop thing. Badges, T Shirts, 7 Inch Singles can be bought at their Bandcamp site here.

You can listen to and buy the I'm On The Brink EP here. You bloody well should!

The Bishop's Daredevil Stunt Club - End Over End

Chicago's The Bishop's Daredevil Stunt Club have been going for around a decade now and if there is a centre of the mind circle that denotes the I Don't Hear A Single world, they'd be around it. I won't go into those boring Best Album yet quotes, but End Over End Excels.

Anything from the band's back catalogue does the trick, but the new album takes on far more than previous albums have. There's a danger of confusion when a band goes for variety, but there's no danger of that here, because the influences aren't the everyday Pop Rock ones.

I've already played the infectious Get Up Get Up on the IDHAS Audio Spectacular and that's amongst the opening four killer songs that set the tone here. Starpower is definitely in The Feeling's first album territory, The Henry Norman Hotel is City Boy before Mutt Lange decided that the drummer was the singer and Delusional Love is Vegas With Randolph without the Social Conscience.

Here Is Today is great mid 70's Pop Rock with a seemingly Pilot type riff trying to get out. Cupid You Lose is very Chris Church, Christine Your Mean has a Who like riff to it  Lifeguard should be on the Not Lame label and Burndown At Sundown is built around a sort of Black Sabbath like riff.

There's no drop of tempo across all ten songs. Hook follows Hook, but it's far more than traditional Power Pop. The arrangements are thought out, the production top notch, this is everything that you could ever want from a Pop Rock album. Totally Outstanding!

I'll add some songs here as they become available. In the meantime, you can buy the album everywhere and listen to it on the likes of Spotify.

Monday, 17 June 2019

Taylor Knox - Here Tonight

Toronto's Taylor Knox follows up 2017's debut album, Love, with more of the same and why shouldn't he? With the appearance of a Skater dude, he's sort of hit upon a Pop theme for people who don't know what Power Pop is and it works pretty well.

Think of a Sloan for the next generation. Having said that, there are more synths around than older Power Pop fans would usually stand for. The synth run on City At Night is very The Cars for instance. Here Tonight does generally Rock a bit, but gently.

Little Creature's intro is a bit Road To Nowhere, but the Pop contained within is really hooky and Live It Up is so Dandy Warhols. One In A Million has a Psych Pop feel that is desperate to get out and when I listened to The Trees, I could have sworn it was Sloan.

Many Here Among Us is very 70's Pop Rock and In The Night is very Liverpool 80's Pop, bordering on The Lightning Seeds. Happening is a Brit Pop album closer and Everybody Knows is Space age rap.

There's lots to like here and enough variation. It doesn't always work the Disco Funk of Blue Moon is a real no no of a song, it's really amateurish. But I'd rather listen to someone producing a great Pop album without nine writers per song.

Here Tonight is a cracking little listen. It'll be interesting to see how Taylor Knox's career progresses. I'd probably prefer to hear more Guitar and a bit more noise, but then again I would and there's nothing here to dislike, quite the reverse.

The album is available here there and everywhere.


Sunday, 16 June 2019

The Shake Ups - Meddling Kids

Indianapolis's The Shake Ups have been around for a decade and a half, but it's since 2013 that they hit upon a formula that mixes Power Pop and Bubblegum that appeals to both Kids and the Power Pop Community.

Very much like They Might Be Giants, their appeal takes them to School Education, whilst also being melodic enough to gather an Adult Following. After starting with My Little Pony, the band have more recently hit the Saturday Morning Cartoon following, particularly Scooby Doo fans. This has resulted in Meddling Kids.

The Shake Ups do deal in kitsch, but the fact that these are original songs, there is a fine line between Nostalgia and originality. The likes of Masters Of The Universe and Thundercats join in with the Scooby Doo fun.

There's a lot here to like, the Title Track borders on Psych Pop and as a stand alone song it's really good. Robot Arm is very TMBG, Friendship is all Rachel Sweet, Epic Summer Romance is a Bluesy Girl Attitude shout out. Cosmic Sandwiches is a 70's Pop Rock Ballad dedicated to Shaggy.

All the songs don't always work, but most do and it's at best when it's aimed at Scooby Doo. The cover of the Mystery Incorporated theme with Character Intros is great. The Shake Ups can play and this is better than a lot of more serious Power Pop.

Scooby Doo has gathered a lot of fans across it's 50 Years and most of the latter day incarnations have been spot on in gathering a new young audience. The album will appeal to all who have loved the cartoon throughout it's life cycle and also grab a fair number of Power Pop and Pop Rock fans.

The album is available everywhere. You can find out more about The Shake Ups here. Meddling Kids is a great listen, particularly when accompanied by a bowl of Scooby Snacks.


Peter Bruntnell - King Of Madrid

This is Peter Bruntnell's tenth album and although he's been very much in the Americana circle, his beginnings were more Psychedelic and his last album, Nos Da Comrade, saw a small scale return to his roots.

King Of Madrid moves that on full tilt, the Psychedelic is here, but the Pop is Poppier and the Jangle Factor is high. It's great to hear his dulcet tones again in an area that I'm far more akin to. I've never been that much of an Americana fan and as time as progressed, that genre has just got confused and dull.

King Of Madrid sounds very American and it's even more confusing for new converts to realise that the Spanish title nods are from a UK artist, whose studio is in Devon. The Americana past still gets referenced on the likes of Memory Hood which has a real Country Twang, but the Pop is almost Powered at times everywhere else.

Bruntnell has a wonderfully laid back voice and that can get caught in Easy Listening too much on slower songs. The voice is moody and relaxing, particularly on the title track, but excels when the tempo gets more upbeat.

London Clay is very Richard Hawley with a real 70's Pop Rock feel. National Library has a real jangle background, but it's Dinosaur's almost late Monkees like pace that will appeal most. Thief Of Joy is very Del Amitri.

I still yearn for him to plug his guitar in and pick up the pace a bit more, but this is a fine album. It won't Rock Your Socks off, but not everything should and King Of Madrid will certainly leave you feeling happier than before you started listening.

The album is available everywhere. You can find out more about Peter Bruntnell here.


Faux Co. - Radio Silence

Aaron at Powerpopaholic recommended Chicago's Faux Co, and he's spot on. There's not a wasted minute across Radio Silence's 30 minutes. The mix of 60's Pop, Psych Pop and 70's Pop Rock is right up my street.

From the opening Prozac Spaceman, a sort of Jangling Psych tinged version of The Hollies to the big Brit Pop closer, Get A Say, the album is a fine listen. There's more than enough to reveal that this is no patische with the modern touch brought to the production.

The Sun Will Come Back is very mid 70's Jigsaw in style and there's an excellent Brass arrangement to the swing of Set The Record Straight. Gimme Sumthin is Showband easy listening that hits a groove. You can imagine the Top Of The Pops Studio audience dancing along.

Maybe Is A Word is brooding 60's Psych Pop, It's Nothing, Really is very late Marmalade and Oh Mother Night has an American Graffiti vibe that could be on the soundtrack on any Late 50's / Early 60's Teen Movie.

I'm really looking forward to hearing far more from Faux Co. in the future. This is a really accomplished debut album. You can listen to and buy the album here.


Thursday, 13 June 2019

The Prescriptions - Hollywood Gold

I've been to a lot of music this month for the One A Day IDHAS Series and outside reviews. Hollywood Gold grabbed my attention largely because amongst all the noise, it was refreshing to hear such a wonderfully laid back listen, crafted with love and revealing a talent for hooks.

Nashville's The Prescriptions offer up a splendid 11 songs that slowly creep up on you until you realise that you want the album on repeat. There are tinges of American and Classic Allman Brothers present, but you sense that the Power Pop is trying to get out.

As a debut album, this is an incredibly accomplished offering that doesn't seem to try too hard to get you on board, It's not awash with sound or desperate variety, it just knows what it wants to achieve and goes out and gets it.

There are hooks, but they creep up on you rather than shout out loud. I suppose it's heading for a sort of Countrified Pop Rock. Setting Sun seems a strange choice of album opener. It starts Fleetwood Mac like and breaks out into a real twang in the closing minute.

I'm reminded a lot of The Jayhawks, but there seems a real early Eagles vibe at times, the solo on Highway Gold offers a real hook. There's a fair amount of harmonica present across the album, a much needed revival is needed methinks.

This is definitely an American album, if someone like Snow Patrol did it, it would sound like a dirge. There is a real optimistic hopeful feel to the album. Can't Ask For More is real Good Ole Boy Country Bar music and the real surprise song is Night Before I Lost My Mind which is poptastic.

You can listen to and buy the album here. It's a real rest and listen.


Wednesday, 12 June 2019

The Resonars - No Exit

Matt Rendon returns with The Resonars and all is well. Unlike previous affairs, his live band get to play on some of the album and it shows, although the lo-fi nature of No Exit remains. The vibe is very much 60's Beat and Psych Pop.

A sped up Hollies probably describes the album best. Maybe even early The Who meets The Raspberries, because the Guitar playing outstrips most bands who frequent this genre. There's also plenty of similarities to The Move's debut album.

The killer riffs are still here on the likes of Days Fade Away. as is the Merseybeat on Before You're Gone. There's certainly lots here for mop tops. But the Psych Pop excels, particularly the wonderful Tucson Drag / All Those Hats, which is as good as anything I've heard recently.

Fell Into A World is full of Searchers jangle, Gotta Get Out should be introducing a Hayley Mills film and Beagle Theory is a real hippy ballad. Many try to master 60's Pop. few succeed, The Resonars certainly are the exception, they master it.

You can listen to and buy the album here.


The Supernaturals - Bird Of Luck

When I look back to Brit Pop, it's not to remember how Oasis changed my life, because they didn't, but it's to remember some of the splendid Pop that was revived. It seems to get lost in the all the Parklife and Different Class that chatter, that that time was golden age for great Guitar Pop.

Bands like Dodgy, The Lightning Seeds, The Bluetones, Ash, Cast mixed with lesser known groups such as Straw and Octopus. One of my favourite bands of the time were The Supernaturals and I've stuck with them ever since.

The band were not a million miles away from The Bluebells, but far exceeded most due to the quality of the lyrics. Never afraid of a couplet, nor taking themselves too seriously, The Supernaturals were masters of Summer Pop. Thankfully, they have never lost that ability.

It was a 13 year gap to the surprise release of 2015's 360, which showed that they still were masters at what they do. Four years on, 1 August sees the release of Bird Of Luck and the 11 songs are outstanding. Much needed in these divided times.

There'll be a full review a little nearer the release date and James McColl will be talking to Mick about Bird Of Luck and what's gone before. In the meantime enjoy the title track of the new album. It's just the starter for the joy to come.

Tuesday, 11 June 2019

Big Nothing - Chris

I love the Big Nothing album, but need to get something off my chest first. I'm so tired of seeing lazy comparisons. The new XTC, the new Nada Surf, the new Jellyfish blah blah blah. Lately, apparently, everyone sounds like The Replacements, except very few do.

Big Nothing have conjured up a fine album, full of big riffs, so why are all the Yank Reviews showering this Mats comparison everywhere. Big Nothing sound nothing remotely like The Replacements. They have a far keener commercial edge.

The Philadelphia Quartet offer up an album that feels very 90's Alt Indie College Rock, but Power Pop seems to be trying to burst out. The Hooks are many and the fact that all four band members rotate the lead vocals adds an unexpected variety.

Liz Parsons comes across as half Shirley Manson, half Rachel Sweet to provide some great Girl Guitar Pop, but the band's versatility easily lends itself to tinges of EMO and IRS era Indie. Autopilot, for instance, jangles like Glasgow in the late 80's.

Can't Stop has an Everything Flows riff, Always Prepared is pure 90's Power Pop Rock, think Matthew Sweet. Real Name is crossover Punk Pop, reminiscent of the better bands of that ilk. Waste My Time is a little REM.

All in all, Chris has far more in comparison with the first couple of Teenage Fanclub albums and I can think of no greater compliment. Mats it isn't! This album is a fine listen, it doesn't let up across all 11 tracks and why should it?

You can listen to and buy the album here.


Monday, 10 June 2019

Mothboxer - Time Capsule Volume 1

I think that those who have been paying attention, (See Me Later those that haven't), will know how highly we rate Mothboxer. On the "Why The Hell Isn't This Artist Bigger?" List, Dave Ody features very near the top.

Time Capsule Volume 1 was born out of a re-discovery of many archived mixes and recordings dating back to way back when, specifically 1995 - 2003. The original recordings were pretty varied in quality so, as far as Ody was concerned, not really in a releasable state as they were, but worth a revisit in 2019.

Bearing in mind the nature of the project, I felt it would be great to get Dave to talk us through the ten songs and thankfully he agreed. You can read his thoughts below :

01. Pleased To Meet Ya

Written and demoed : 1997
Re-Recorded : 2019

"This began as an acoustic demo recorded to 4 track cassette. In my mind it was always meant to be a kind of tribute to the Revolver sound so this new re-recorded version is more what was intended. None of the original elements are included here, this is a complete re-record. Lyrically a little obtuse. but clearly I’m writing from the perspective of a screwed up 20 something!"

02. Sing To Me

Written and demoed : 1999
Re-Recorded : 2019, contains elements of the original ’99 mix.

"Another one from a basic acoustic demo, re-arranged and re-recorded but it does have the original track running in the background subtly. Always thought this was a great chorus but kind of gave up on it for 20 years!"

03. Ball And Chain

Written : 2001
Added Vocal, bass synth and other stuff : 2019

"One of the first songs I demo’d on my new Mac setup I got in 2001, so I managed to find the original files from the backup disc. Was listening to a lot of Beck at the time. as it has that feel to it. This was intended for the old band, Kid Galahad, but it didn’t make it onto the debut album for one reason or another."

04. New Satellite

Written : 1998

"One of my favourites and a song that’s resided in the back of my mind for 21 years. This is a totally brand new recording of the original song. No demo elements in this as they were recorded on tape, broken tape, so the tempo varied way too much to get it to sit properly. Turned out nice in the end."

05. Song For Everyone

Written : 2000

"Re-recorded pretty much all of this, although the original drum loop from the demo is sat nicely at the back in the intro. It’s come out a little groovier than the original, thanks in part to the newly written guitar lick at the start. This was one of those tracks that I wasn’t sure about. but is now one of my favourites on this volume."

06. See The Light

Written : 2001

"From the same period as Ball And Chain, so tracked digitally. This is the only one on this volume with the original vocal, somehow managed to get the old rubbish mic sounding good! I was playing around with a lot of the old synth plugins and effects that came with the new tech I got in 2000!.

Might be seen as a little self indulgent but, hey.. If you have a new phaser effect, why not use it! Recorded drums, extra piano and this track benefits from a beautiful orchestral arrangement by Patrick Martyn."

07. What You Do Today

Written : 1995
Re-Recorded : 2019

"Oldest song on this collection, original was hilarious (in a bad way). It will never be heard while I’m walking this earth. But hidden deep down, was a good song, albeit 24 years old. Some crazy chord changes in the middle 8 but it was one of those early songs that managed to write itself once I got going.

 I can remember vividly writing and recording this back in ’95. Same can’t be said for a lot of the tracks from that period, so I figured it must have something going for it. Probably the bluesiest thing I’ve done."

08. White Out

Written : 2001
Re-recorded : 2019

"This is a full re-record again, inspired by 2 different demos from 2001/2. One totally acoustic, one way too electric! Clearly couldn’t make up my mind. This version is a blend of both ideas. On this I used a bit of recording trickery to slow down some of the tracking and then record the vocal as it was written in a key, way too high for me! Intended for Ash Bull, the singer for Kid Galahad."

09. Down Break

Written : 2003
Additional recording : 2019

"This is another that has been rattling around for 19 years! The “newest” of these old songs in fact. Was considered for the Geen album in 2007, but didn’t get included. Re-recorded drums, vocals, some lead guitar and keys this year."

10. Standing In The Sunshine

Written : 2002
Additional recording : 2019

"This started life as an instrumental, again learning what I could do with a computer based recording set up and going a bit crazy with the arpeggiated synth sounds! Managed to find the original stereo mix of the instrumental and went from there!

The lyrics / vocals were written back in 2002, but this is a new take. Added drums and all manner of stuff to it but the original version is pretty much the backbone."

You can listen to and buy the album here.  Whilst there, you can also discover the superb Mothboxer Back Catalogue.


Sunday, 9 June 2019

I Don't Hear A Single Volume 71

We get fully up to date with the 18 songs that combine to provide Volume 71 of the IDHAS Audio Explosion. Back to three per month now from Volume 72.

There is a four second watermark at the beginning of each, this is because I'm using the software as a trial whilst Jim is out of action. If I do them permanently, I will find the best program to buy.

The playlist details are on here and by clicking the Mixcloud tab. You can listen to the previous IDHAS Audio Extravaganzas on Mixcloud here.

Number 71 is ready to delight you. The playlist is as follows  :

01 Tsar - I Don't Wanna Break-Up
02 The Needs - Summerbore
03 The Wild Reeds - Moving Target
04 Marcus Wilsson - Sexuella Vibrationer (Feat. Moa Bl├╝cher)
05 KiDD - A Picture I Don't Want To Paint
06 The Damned Things - Invincible
07 SALT - Crime Spree
08 The Morning Line - Nostradamus
09 The Dowling Poole - Optimum Delirium
10 Supraluxe - Chocolate Gravy
11 Decent Criminal - Nowhere
12 A.C.T - Running Out Of Luck
13 The Maladaptive Solution - Consort (Queen Of Everything)
14 The Galileo 7 - The World Looks Different Today
15 Timothy Eerie - Transformation Of Things
16 The Honey Pot - A Simple Act
17 Potty Mouth - 22
18 Paws - What We Want

IDHAS Volume 71 Mixcloud Link

Onesie - Umpteenth

I committed to a review per day in June for a number of reasons. Mainly, due to being way behind this year, but also as a reaction to a conversation with someone who asked if I cover anything bar Power Pop. I would strongly suggest that the person looks more into what IDHAS does to realise that I Don't Hear A Single celebrates a lot more than that.

Throughout this first week, I think you've already seen the variance on offer and as we reach Onesie, I think you can hear here what is the real love of my life. That is Angular, Clever, Left Field Pop that sits somewhere between Psych Pop and Pop Rock. Onesie are definitely that and Umpteenth is an absolute stormer of an album.

The Brooklyn quartet offer up a wonderful mix of songs that evoke memories of the much missed The Sugarplastic. It must be in the "Ben's" for Ben Eshbach read Onesie main man, Ben Haberland. I could mention XTC, but too many do.

A starting point would be Would You Be My Goon? These three and a half minutes sum up Onesie perfectly. A multitude of ideas and chord changes are present without ever losing the point of the song. Generally, the album's lyrics focus on the mundane whilst surrounding these words with incredibly original arrangements.

You have the Fuzz Rock of  Legacy Act, yet Coin Op has undertones of Devoto era Buzzcocks. Customers is a mix of The Futureheads and 90's College Riff Rock. Final Days Of Nineteen is pure Sugarplastic, Vanity Plates has a Jonathan Richman drawl with a killer hook. Have you got the gist yet? Across these 11 songs there is so much variety and each has so many ideas fighting to get out.

The real thing that shines through is the lyrical excellence of these gems, the unexpected couplets are many and manage to heighten your enjoyment of Umpteenth. I have embedded three songs to hopefully underline how great the albums is. To be honest I could have chosen any, the album is that good.

This album will be high up on my Best Of 2019 list. It's an incredibly good album, one of the best things that I've heard in ages. You can listen to and buy the album here. The Vinyl release is a bargain 15 dollars and the Cassette is a ridiculous 5 dollars.


Criminal Hygiene - Run It Again

Los Angeles's Criminal Hygiene offer up their second album and it's wonderfully loose. This is a real riff-athon, even when the band slows things down on the likes of Thankless, the song is still built on a riff and a singalong chorus.

I've talked about lazy comparisons in the past and it seems hip at the moment to compare bands to The Replacements. However, this is pretty close, although the songs are less chaotic and a  little more structured that The Mats.

There is a sort of UK New Wave Rhythm that underpins the songs, no bad thing and this is never more so on Rearrange Me. Private Screening Heroin has an Another Girl, Another Planet Feel, particularly the riff, but Greetings From A Postcard has a real Jangle about it.

Run It Again isn't just a heads down up and at 'em affair, there are nearly as many slower songs as wilder numbers, but it's fair to say that the band are at their most enjoyable when they let loose with the album opening duo of Hardly News and Breaking Out The Stained Glass.

Young And Obscene is almost 12 bar Blues and Turpentine is two songs in one, switching halfway into a paint stripper of a closing track. All But Your Swansong is probably the stand out and also when they sound most Mats like.

Run It Again is a fine listen, really enjoyable. You can listen and buy it here.


Friday, 7 June 2019

Mounties - Heavy Meta

Supergroups tend to produce music of little merit, even the good ones produce an album that you revisit and think, this wasn't as good as I remember it. Most make an album that it is solely for themselves and the only nod to the listener is usually some banter to show how normal the band members are.

So anyone giving this "We didn't know how much we had in common" studio approach starts at a disadvantage and the only ways out are to produce something surprisingly outstanding or  to come up with something surprising and inventive.

Mounties largely manage to do both. The trio consisting of Hawksley Workman, Steve Bays and Ryan Dahle offered up an unexpectedly good 2014 debut album and this follow up doesn't disappoint. There's a ton of ideas across the 53 minutes, maybe a few too many.

All avenues are covered as Heavy Meta as it takes in Pop, Rock, Psych and Electronica. There's noises from everywhere. This is wonderfully inventive, but it's a lot to take in one go. However, anyone who can come up with a song as marvellous as the title track deserves persevering with. It's a constantly changing , sprawling magnificent seven minutes. This song is worth the admission alone.

There's so much variation, the early Blur like Dark Heart Suffering, the Numan-esque You Were Right. The J Pop plinkity plonk of  Modesty Plays and Devo-ish No XTC's just ratchets up the directional changes.

Amongst the Kraut Rock and Flaming Lips comparisons of other individual songs, a New Wave Pop masterpiece, Burning Money shines out. Heavy Meta will take quite a few listens, but it's exceptional and well worth the effort. Canada should be proud of these three. Heavy Meta is a fine album.

You can buy the album everywhere. You Should!


Thursday, 6 June 2019

I Don't Hear A Single Volume 70

Audio Time as we hit Episode 70. You will hear 20 fine examples of tunes. Thanks to Tom Dahl for pointing me in the direction of the above image.

There is a four second watermark at the beginning of each, this is because I'm using the software as a trial whilst Jim is out of action. If I do them permanently, I will find the best program to buy.

The playlist details are on here and by clicking the Mixcloud tab. You can listen to the previous IDHAS Audio Extravaganzas on Mixcloud here.

Number 70 is ready to tingle your ears. The playlist is as follows  :

01 Ash - Envy
02 Middle Kids - Beliefs & Prayers
03 The Anderson Council - Our Worlds Collide
04 Alex Lahey - I Don't Get Invited To Parties Anymore
05 Traffik Island - Queens Park
06 The Cringe - Time is Moving On
07 The Glow - Lose
08 Doug Tuttle - But Not For You
09 Richard Hawley - Alone
10 Armstrong - Gratitude
11 Geoff Palmer - Cha-Ching
12 Beauty In Chaos - Drifting Away Featuring Robin Zander
13 Louise Connell - Ten Feet Tall
14 Sewage Farm - Misery Loves Company
15 Cloud Eleven - One Big Hideaway
16 Sacred Paws - Almost It
17 School Of Language - Rocket Man
18 Blue Jeans - Adult Hits
19 The Laissez Fairs - Phantom Stranger
20 Robert Jeffery - Don't Give Them Any Reaction

IDHAS Volume 70 Mixcloud Link

RPWL - Tales From Outer Space

It's Prog Time and before you all run to hide in the cupboard, there is more to this than meets the eye. I do get stick for my Prog loving ways, but lately I've grown a bit weary of it. Modern Prog is not really my thing, it's all too kitchen sink and "insert your (long) guitar solo here".

Now when I hear great new Prog, it's a far more melodic affair, think Big Big Train, the likes of Billy Sherwood have dampened my spirits. I'd rather have a band that show they can obviously play, but not to please themselves. RPWL fit that bill.

It's probably even harder to sell when I tell you Tales From Outer Space is a themed, dare I say concept, album. The Munich Quartet, RPWL, are probably an unknown to most I Don't Hear A Single followers. Yet their following is quite large in the UK and Europe.

They also have a stratospheric Live reputation, hence six live albums have been released to accompany the eight studio offerings that precede this. They write some mighty fine melodic songs that pitch them some between The Alan Parsons Project and latter day, Pink Floyd, the Waters-less version.

They do take more chances here, the theme aids them in this. Give Birth To The Sun features a Wakeman like solo. What I Really Need features an Edge like Guitar riff, not usually a good thing, but it develops into a big ballad.

RPWL, though, are best when they venture more towards Alan Parsons Project on splendid songs like Light Of The World, a ten minute epic. The arrangements present across the album are exceptional and man, can these boys play.

We keep getting told that the album format is dead, well here is proof that it isn't. Tales From OuterSpace should be played from start to end. Well done all! You can find out all about the band here. The album is available everywhere,


Wednesday, 5 June 2019

Cosmo Sheldrake - The Much Much How How and I Deluxe Edition

The world is a lot worse off since the passing of both Todd Dillingham and Wim Oudijk, the former for the lyrical composition of songs and the latter for arrangements. I mention this because Cosmo Sheldrake reminds me of both.

What's more, he offers up songs that sound as though they are from 70 year old Veterans, when he is in fact less than half that age. This album was released last year, but gets a welcome re-release with the addition of the instrumental versions of the 14 songs. This is definitely the purchase, because the arrangements are far away from what you'd here, oddly wonderful.

For someone offering up a sort of Toytown left field Prog Pop, you'd be surprised to hear that his claim to fame was the use of a song on an Apple I-Phone Ad. Not the sort of thing you'd expect to be unloaded on the GPO Turntable buying hipsters.

I loved this debut album on initial release and the instrumental additions add even more. Sheldrake is a multi- instrumentalist and it's as though, Roy Wood like, he's played every instrument in sight. There's a real Circus feel at times and the songs could very well be about Robyn Hitchcock sees in his dreams.

There are songs about Egg and Soldiers and heffelumps, the lyrics sound Victorian and yet it's all held together because as well as being musically strong, the vocals are really affecting to. It's a long strange trip across the 47 minutes, but a real life affirming one.

Added Sound Effects make it sound as though the album has been recorded in The Archers studio. This is a wonderfully off beat affair, an incredibly fun listen, very 60's orientated, but appealing to all. Prog and Psych fans will love it, but so will quirky pop fans. I can't get enough of it.

You can listen to and but this album for a bargain 6 dollars here.


Tuesday, 4 June 2019

The Lucky Setback - Buy Low Build Cheap

Ottawa's The Lucky Setback have only been together for a couple of years, but I'be listened to what they've been doing in that time and been more and more impressed. It's all culminated in this nine song debut that is a fine album.

This is great down and dirty Indie, but the highs are high and the hooks are plentiful. There are real glimpses of the likes of Payola$ here, yet the band seem equally comfortable in the great Pop of Cut Me To Quick. Bang Bang Electric is a sort of Funk Glam and All In My Head is a splendid meander of a song.

You do sense there's a liking of Grunge, but fortunately when they head there, they nail it, particularly on Full On. There's plenty here to admire and Buy Low Build Cheap is a splendid debut album. I look forward to seeing their career prosper.

You can buy the album here and find out more about the band here. You can listen to the album here.


I Don't Hear A Single Volume 69

Welcome to the I Don't Hear A Single Audio Delight that is Episode 69. You will hear 20 of the finest new songs from the finest new albums and one classic archive track to open proceedings.

You'll hear a four second watermark at the beginning of each, this is because I'm using the software as a trial. If I do them permanently, I will find the best program to buy.

The playlist details are on here and by clicking the Mixcloud tab. You can listen to the previous IDHAS Aural adventures on Mixcloud here.

Number 69 awaits your lugholes now. The playlist is as follows  :

01 Terrorvision - Middle Man
02 Berwanger - Bad Vibrations
03 Wreckless Eric - Strange Locomotion
04 Ausley - Make This Relevant
05 Big Character - Favourite Record
06 Nick Lowe - Love Starvation
07 Deco Auto - Turnaround
08 Thrush Hermit - From The Back Of The Film
09 Yipes!!! - Pure Insanity
10 Moon Goose - Goldfish In A Bag
11 The Last Bees - Way Too Deep
12 The RAZ Band - I Got This
13 The Artisans - A Week of Wednesdays
14 District 8 - All Is Forgiven
15 Radiator Hospital - For Daydreamers Only
16 Joe Sullivan - Mr. Positivity
17 The Bungalows - Davola's Funhouse
18 Lolas - A Dozen or Seven Tapestries
19 James Clarke Five - What Do You Know About Ray
20 Amoeba Teen - Suit And Tie
21 Big Big Train - Theodora In Green And Gold

IDHAS Volume 69 Mixcloud Link

Monday, 3 June 2019

Alex Lahey - The Best Of Luck Club

I seem to be listening to a lot of Australian artists lately and maybe because they have discovered the mainstream after a bit of a lull. This is the third Oz related review in quick succession, but with all three, the vibe has been anything but antipodean.

Since Avril Lavigne seems to now want to be Lady Gaga, there's a definite space for a female vocalist who can rock and why not Alex Lahey? Don't misunderstand me, Lahey hasn't got that Lavigne shouty drawl, she's a much better vocalist and there's a real self depreciating quality in her songwriting. The production is also a bit Butch Walker, but thankfully without the audio compression and those bloody hand claps.

The Best Of Luck Club though comes across more as a rockier KT Tunstall with far more self awareness. The album doesn't come up from air until nearly halfway through with Unspoken History and then that's followed with the wonderfully noisy, venomous, Fuzz Rock of Misery Guts.

Lahey's debut album. I Love You Like A Brother was a really good album, if a little rough edged, but album number two irons out those creases and results in a splendidly melodic album, it's never short of a hook, but more importantly the toe tapping quotient is very high.

The time spent in Nashville shows at times, Black RM's is very current FM Country , yet I Want To Live With You is far more 80's Big Hair, very Belinda Carlisle. Don't Be So Hard On Yourself has a Clarence Clemons like Sax Solo that catches you by surprise, particularly as the chorus is so jaunty.

The gem is I Don't Get Invited To Parties Anymore which could very well be a Song Of The Year.  contender. You'll hear that on an upcoming I Don't Hear A Single Audio Extravaganza. But Am I Doing It Right, with it's killer riff and storming chorus and the brooding Interior Demeanour are every bit as good.

Here are 10 songs that will have some singing along. whilst others will investigate the lyrics, either way all will be listening. The Best Of Luck Club is a really admirable affair, it'll be up there fighting for IDHAS End Of Year Awards.

You can buy the album here.


Sunday, 2 June 2019

I Don't Hear A Single Volume 68

There's been a delay in posting the Audio Extravaganzas due to technical problems at Jim's end. With Volumes 68 - 71 already compiled, I'm aware that delays at my end have also created a backlog. So with Volume 72 in compiling mode, I felt we were getting a bit out of date in bringing you the best of the new.

So, I've done the mastering and mixing of these four volumes and to catch up they'll appear every other day to the end of next week. Please be aware that these sound fine to me, but I'm no expert. Jim is brilliant mastering wise, so with these being prepared by me using two shareware programs, please bear with me.

They sound great and normal service will soon be resumed. You'll hear a four second watermark at the beginning of each, this is because I'm using the software as a trial. If I do them permanently, I will find the best program to buy.

The playlist details are on here and by clicking the Mixcloud tab. You can listen to the previous IDHAS Aural adventures on Mixcloud here.

Lose yourself in  No 68 by clicking on the link at the end of this post. 66 minutes of Audio Joy.

The playlist is as follows  :

01 Ulysses - Dragons
02 Pezband - Back In The Middle
03 The Wildhearts - The Renaissance Men
04 The Armoires - Not A Good Man
05 Donnie Vie - Beautiful Things
06 Adrian Belew - The Times We Live In
07 More Kicks - I'm On The Brink
08 The Gold Needles - This Autumn Road
09 The Pearlfishers - Love And Other Hopeless Things
10 The Smallgoods - Satellite
11 The Damned Things - Omen
12 Singing Swords - Mario
13 The Kaams - Floating in My Fantasy
14 Sofa City Sweetheart - Stanley Waited
15 Dream Cars - Dream Cars
16 Kitty Kat Fan Club - I'm Loving You More Than I Should
17 The Top Boost - Dreaming
18 Pale Moon - Exile
19 Peawees - 'Cause You Don't Know Me
20 I'm Glad It's You - The Things I Never Say
21 David Mead - Bedtime Story

IDHAS Volume 68 Mixcloud Link

Thursday, 30 May 2019

Traffik Island - Nature Strip

It's back to Australia for the debut Traffik Island album. I've long been an admirer of Flightless Records, a superb Melbourne Psych label, home of King Gizzard And The Lizard Wizard, The Murlocs and ORB. The latter is relevant.

ORB come across as a modern day Hawkwind, a sort of Psychedelic Space Rock that is bewitching. Zak Olsen has taken a break from leading that band and been touring as Traffik Island. Live, the band are a fourpiece, but Nature Strip is largely his solo recordings.

This is great Psych Pop, splendidly twee and lo-fi, there's an endearing quality to the whole shebang. That's not to say this is throwaway or bedroom doodling. Queens Park is Syd Barrett Pink Floyd in Bike mode, Mind You has a 60's film soundtrack charm with unexpected twists.

Ode To Everything is wonderfully Toy Town, as if played on Party Bag Instruments and has Olsen crooning away. Bluish pale is piano led and again very 60's groovy. Something Sweet barrels along like a Madness Song.

The closer, Lazy Cat, is all Sunday Afternoon Kinks, but overall, I'm very much reminded of Orgone Box, particularly on the jangling 17. There's also a great gentle Psych instrumental present with One Tenth Of A Second.

Nature Strip is one of the best Psych Pop albums that I've heard in ages. It's the sort of album that you just don't hear so much these days. I'd recommend it to all. Wel Done Zak Olsen and yet again, well done Flightless!

You can listen to and buy the album here.


Tuesday, 28 May 2019

Wreckless Eric - Transience

Everyone loves Whole Wide World. With Nick Lowe and The Rumour's Steve Goulding, Eric Goulden possibly offered up the definitive Stiff Single, more so than many of the more lauded label mates. I can think of none of my associates who think this anything but a great DIY anthem.

There's the spirit of WWW present on Transcience. The Cover of Kevin Coyne's Strange Locomotion is very much a Part Two and what's more, Steve Goulding plays drums on the album. However, those expecting a return of those Stiff days haven't kept in touch with his solo career, because there is far more to Wreckless Eric than that.

Eric isn't wreckless any more, his trio of recent albums including this have shown a depth that many would not expect. When you have Cheap Trick's Tom Petersson  and the splendid Alexander Turnquist on Guitar, you know this is serious stuff

His previous two albums AmERICa and Construction Time Again join Transcience with a theme resembling an Englishman abroad. All three albums and his work with Amy Rigby, who plays piano on the album, reveal an artist pushing himself to the limits. Lyrically excellent, Goulden's real strength is making something so deep sound so haphazard.

The opener, Father To The Man, a memorial to his dad could make you weep. Dead End could be a Ray Davies Song and Creepy People has a country vibe with a Jagger - Richards song bursting to get out. Tiny House desperately wants to Jangle. Indelible Stain is all Maharishi with few words.

What does really stand out though are the two seven minute songs which inhabit a surprisingly Psych Pop world. The Half Of It is pure Psych Folk, California / Handyman is all stream of consciousness with it's meandering arrangement, it's really trippy.

Transience is an exceptional listen. One of the best things that I've heard this year. Forget those Stiff days, this is an artist at the top of his game. You can listen to and buy the album here.


Sunday, 26 May 2019

The Bungalows - Something's Going On

The Bungalows offer up their third album and the four piece from Gerringong in Australia don't disappoint. There's an awful lot going on across these 15 songs, none of it sounds that Oz, it's a big big sound that changes as many directions as is possible in it's 55 minutes.

The production is very Brit Pop, but the influences sound so varied that pigeon holing is worthless. You can here Classic Rock but there also seems a ska undertone and then everything changes by an addition of a sort of Together In Electric Dreams synth.

For all the chord changes and big choruses, it's that drums and bass back beat that glues everything together, mix in unexpected Guitar solos and the keyboard interruptions enhance something that feels so singalong, as though there's a group in the studio joining in with those choruses.

A song like Davola's Funhouse is very The Strokes with more words with a Surf metal soundtrack. Crazy Ain't Clever is pure early 80's Blue Oyster Cult. We Get Along is again very Strokes like, although Marc Bolan could be the front man.

Ireland Knights could be from some late 60's Kitchen Sink Drama and yet First Bit Of Light could be one of those big Brit Pop closing Anthems. Wasteland is Goth, Roll could be INXS, perhaps the only time this album sounds Australian, with a killer riff.

There is so much here to like and the variety of songs is admirable. There's a lot of different styles and that may confuse some, but it's an album that will allow you to keep finding different favourites. In these days of people blabbing on about the end of the album and the death of the guitar, we should make them listen to Something's Going On. They'll realise they were wrong.

This album is highly recommended and can be listened to and ordered here. You can also get the band's back catalogue at Name Your Price whilst you are there.


The Decibels - Scene, Not Herd

Sacramento's The Decibels cap off their return with a splendid new album. Their heyday was in the second half of the 90's and after their 2001 split, you wouldn't be forgiven for thinking that was largely that, bar a few hometown gigs.

However, a highly successful tour of Spain in 2013 revealed that there was a real appetite for the band and led to a proper reunion in 2017 with the eventual intention of recording a new album. The result is Scene, Not Herd.

It's really pleasing to report that the new album is as good if not better than they ever were. Although that Spanish Tour encouraged many to hail them as a great Mod Pop quartet, Scene, Not Herd is primarily straight ahead good old fashioned Power Pop.

After my recent adventures in compiling a couple of 80's things and being awash with the syndrum and that awful dated keyboard sound, it's refreshing to be back on more welcome territory. It's refreshing to hear three minute pop songs in the say what you've gotta say and get off style.

Although the album feels very mid to late 60's UK Beat, those Mod references are few, although All Of Your Lies and It's Not Me are definitely from that mould. There's a great jangle on She Thinks Of Everything and The Truth is very much in The Beat and The Plimsouls territory.

The band feel and sound far more UK New Wave than Californian Pop and they pull it off really well. Riffs are plentiful, harmonies spot on and all this leads to doing what it says on the tin. This is a perfect brand of toe tapping Power Pop.

You can buy the download, vinyl or CD here. The CD is another on the Kool Kat label and continues KK's wonderfully varied 12 months of releases.

Saturday, 25 May 2019

I Don't Hear A Single Special - I Do Hear An Extended 12 Inch Mix

Something very different to what you normally hear on the IDHAS Audio Extravaganzas on this special! Unlike the usual mixture of Power Pop, Pop Rock and Psych Pop, you have a 49 minute mix of six White Label 12 Inch Mixes. I hope you enjoy listening to this one off as much as I have.

During the IDHAS down time this month, I was sorting through my vinyl collection, something that the Queen Of Burtonwood tells me I should do more often as the attic resembles a teenager's bedroom (her words).

I dug out some of the 80's White Label Extended Mixes that I hadn't played for a long long time and really enjoyed listening to something very different to what I listen to nowadays. Indeed, I listen to the past less and less.

So I thought that you'd like to hear a mix of half a dozen of these, Fear not, normal service hasn't been affected, Volumes 68 - 71 have already been compiled for those who are missing the Guitar. A massive thanks to Jim Moody for his superb technical skills, without whom this would not be possible.

The playlist details are on here and by clicking the Mixcloud tab. You can listen to the previous IDHAS Aural adventures on Mixcloud here.

There are more specials planned, although most will be archive songs from the usual form of sounds that we enjoy. I'll write a little on each selection after the playlist. That playlist is as follows  :

01 The Power Station - Some Like It Hot (And The Heat Is On)
02 Sparks - Tryouts For The Human Race (Alternative Extended Version)
03 Dead Or Alive - Brand New Lover (The Dust Monkey's Love Bubble Club Mix)
04 Paul Young - Everything Must Change (Extended Version)
05 Frankie Goes To Hollywood - Rage Hard (The Young Person's Guide To The 12 Inch)
06 Tears For Fears - Shout (U.S. Remix)

The Power Station song is probably the only Power Station song that you need.

Tryouts For The Human Race has an extra verse that isn't available elsewhere.

Stock Aitken And Waterman get a lot of stick, but I love what they did with this lesser known Dead Or Alive single.

Paul Young's No Parlez is a superb album, the follow up, The Secret Of Association is half a great album. However, Everything Must Change is great pop and this extended mix adds some wonderful harmonies towards the end.

ZTT messed around a lot with the Frankie Stuff, most of it inessential, but this extended mix of Rage Hard is beautifully done, very different and a real anecdote to the largely dross filled second album.

Shout has always been an underrated TFF single, this Mix ups the drums.

I Do Hear An Extended 12 Inch Mix

Mick Dillingham On Greenslade

God I was so young when I first got into Greenslade. Sifting back through the memories these reissues have evoked it seems like another time, another place and almost another me. Back then my adored record collection was little more than maybe forty or fifty album strong but boy did I love the albums I had.

After a childhood spent basically ignoring music in 1972 or thereabouts, my elder brother Todd started bribing me to listen to music from his, even then vast collection. Which I did reluctantly at first, we were more enemies than friends at the time and the sibling rivalry ran deep. Soon enough I started to love some of the sounds I heard blasting out from the speakers.

Music went from meaning nothing to meaning everything. Now I was above all else a music freak. The bands that swept into my heart were the progressive ones back in the days when progressive music was a wider term than it was later pigeon holed into.

It simply meant for a band to be on a mission to progress with each new album, to strive to push the boundaries of what they could achieve with each new release. Todd introduced me to Yes, King Crimson, Genesis, Steely Dan, Family, VDDG, Egg, Little Feat, Caravan, ELP, The Floyd, Focus, Camel, Rundgren and Barefoot Jerry, all of whom were, I considered Progressive.

Once I left school and started working, I had more money to spend on building up my collection, the hunt was on to find bands that had maybe passed us by. In the record section of the lighting and electrical shop in Mill Hill, which had a listening booth, I discovered Three Friends by Gentle Giant and Capability Brown’s Voices.

I remember standing in Serendipity Records in Hampstead in my lunch break and eyeing up the first
Greenslade album. It was housed in a beautiful Roger Dean cover and that was somewhat alluring but was in itself no guarantee that the music within was necessarily going to be to my taste as the likes of Uriah Heep and Osibisa from Todd’s collection had shown.

In those far off pre-internet days it wasn’t that easy to find out about stuff and with little in the way of money to spend I had to be careful when venturing into the unknown. But for some reason I decided to be bold that day and take a chance on Greenslade, even though they had no guitarist but instead were fronted by two keyboard players, Dave Greenslade and Dave Lawson.

A couple of plays in and I knew that my nervous chance had paid off in spades. The interplay
between the two keyboards was both delightful and interesting, full of colour and texture. Leaning more towards the caressing mastery of Wakeman than the exquisite maniac torturing the mighty Emerson inflicted on his ivories.

In the space left by the lack of a guitarist, bassist Tony Reeves was both driving and brimming with complex melodic invention. Playing his bass like a lead instrument rather than a subservient part of the band in the grand tradition of Squire, Lake and Wetton and every bit as great.

Turned out Andrew McCulloch was also the drummer on my favourite King Crimson album, Lizard and the stunningly precise, clean and masterful drumming that he displayed throughout that fine album was there at the heart of Greenslade’s unique sound.

Throughout their short existence their albums mixed instrumentals, that generally came across like wordless songs rather than just tunes and actual songs and it is the latter that gave the band it’s individuality above all else.

Dave Lawson’s striking enunciated vocal style that like Roger Chapman’s and Peter Hammill’s, ranged effortlessly between the strident and the wistful was utterly unique and unmistakable. Nobody sung like Dave Lawson and I loved it.

Just as unique was the unexpected subject matter of the songs themselves. Often pitched from the perspective of an innocent trying to get by in a guilty world the lyrics delved into reluctant relationships with dysfunctional partners, foreshadows of ecological disaster and social

While the first album was excellent and contains the bands signature song Feathered Friends,
the follow up, Beside Manners Are Extra found the band at their creative peak. I loved it and must have been hunkering to see them live, desperate enough to take a chain of long bus journeys all the way out to the exotic wilds of Hounslow to see them at the Technical College.

An adventure into the unknown that paid off handsomely since the venue was beautifully civilised, (unlike the black walled smelly dumps that constituted most small London venues at that time). The sound system was warm and crystal clear and the performance magnificent. It remains a perfect gig in my memories even now.

A third album Spyglass Guest continued the high quality that proceeded it effortlessly and even grazed the album charts for a brief moment. I saw them live again, this time at the shabby shit hole that was the Chalk Farm Roundhouse. which always boasted a pretty harsh sound system full of unpleasantly sharp sibilance and muffled murkiness.

The band was in blazing form, despite the less than ideal sonic shambles of the venue. By 1975
the record labels were growing less tolerant of progressive music and the smaller bands like Camel,
Caravan and Gentle Giant were the first to cop it, told to be more commercial, more Prog Pop than Prog Rock.

It’s hard to say if Greenslade were affected by this as their final album Time and Tide, with new bass player Martin Briley, is a slight and brief affair. The songs as ever are great, though played more straight forward than before, the instrumentals are nice enough but lack passion and half an hour in its all over.

I saw them live one last time and they were as ever excellent, but their days were numbered and soon they were no more. Cherry Red’s newly remastered and expanded reissues of all four albums are superbly packaged beautifully realised and reasonably priced.

The first album has a lavish ten bonus tracks from the BBC archives, Bedside Manners has only three but comes with a bonus DVD of three previously unseen promo films and the two tracks performed on the OGWT. Spyglass Guest has another eight wonderful BBC tracks while Time and Tide has a sparkling nine track 1975 Swedish radio in concert as the bonus disc.

For the long term fan there’s plenty here to justify opening the wallet. For the uninitiated…well welcome to the world of the truly excellent Greenslade, a forgotten band that are well worth remembering.

You can buy these Cherry Red Reissues here.