Welcome to the first Here Is The News in a while. As with everything on I Don't Hear A Single, it contains no influence whatsoever from anyone but us. We get lots of releases, PR, label contact, but we have always decided what we like and want to tell you about.
Tamar Berk - ocd (5 September)
Dealing with the two soonest upcoming albums first. 5 September sees the release of the new Tamar Berk album. One of our greatest discoveries, her fifth album in five years and each one has seem progression and different routes taken. old îs a much more reflective album, darker in places and a little less rock out.
Berk has always managed to express her feelings to great effect without angst. Moodier maybe, but I've been living with the album for a while and it is a superb listen. Mature and her development as a solo artist has been and continues to be amazing to witness.
Power Pop goodness arrives with a great fanfare as Australia's The Wellingtons return with their sixth album, the first since 2017's End Of The Summer. The trailing singles make you realise what we have missed. Outstanding Guitar Pop.
Melodic to the extreme, packed with Big choruses, Riffs to die for and a chirpiness that at times hides the lyrical adeptness of the songs. You will be singing along until your heart is content which will certainly continue into 2026.
John Brodeur is a superb singer songwriter, taking unusual storytelling angles and displaying real depth in all that he does. Recorded with Jason Falkner, as always Brodeur wears his heart on his sleeve revealing a tenderness and exploring self doubt around wonderful memorable arrangements.
One of the most underrated artists around, his third album was recorded over four years and underlines his mastery of his art. It is also great to have Jason Falkner in tow, more about one of our great favourites later.
The Len Price 3 - Misty Medway Magick (24 October)
The Len Price Three have been releasing singles that preview the joy of what is to come on this Wicked Cool release. Known for Mod Pop, but performing much more than that, this is an absolute Tour De Force.
A Power Trio maybe, but the sheer pace and melody overwhelms you. Some might call them Garage Pop, but that gives an impression of noise and these are catchy songs that emphasise the tightness of the trio and the strength of Glenn Page's mellow vocals.
Cheap Trick remain one of my all time stalwarts. A little too Rock for Power Pop, a little too Power Pop for Rock. Well into their sixth decade and still as relevant, this is their first album in four years and they sound as great as ever.
Robin Zander in particular sounds as timeless as ever. The sound of my youth and still resonating now. All Washed Up is as melodic and sing along as you might expect. It is splendid that bands like Cheap Trick and Sparks are still releasing new material today that is just as engaging to an audience of over three generations.
The Salt Collective - A Brief History Of Blindness (21 November)
Stephane Schuck's second album has the songwriter and guitarist surrounded by what appears to be a I Don't Hear A Single who's who. Mike Mills, Chris Stamey, Mitch Easter, Andy Partridge, Jason Falkner, Kimberley Rew, Matthew Caws, Lynn Blakey and Aimee Mann are all involved.
Partridge adds two new songs, Falkner takes lead vocal on one of them. Aimee Mann appears adds vocals on two. As you might imagine from the cast list, the results are amazing a nd most of the material was not recorded remotely.
Nick Heyward - The Epic And Creation Years (4CD) (31 October)
Nick Heyward's 90s were an inspired time. He mastered his solo years with three wonderful albums. From Monday To Sunday, Tangled and The Apple Bed. Enhanced by multiple bonus tracks including 12 demos, the strength of all three albums is revisited.
Coinciding with Brit Pop, Heyward shows that the period wasn't all about loud Guitar music. I've often been an advocate of how great much of the Pure Pop was around the outer circle of Brit Pop. Truth be known, the whole set is worth the admission for Kite alone, one of the greatest songs ever. The three individual albums are also released on Vinyl.
Finally Mommyheads return on 7 November with the release of No Quietus. I have the album here and it is truly wonderful. The New Yorkers are absolutely beloved here and more details will be released soon. Now almost four decades old, the band continue to be one of the most inventive groups that you are ever likely to hear.
Just over six months, I branched out into Radio. I'd always wanted to, but hated the sound of my own voice. I'd been asked in the past and refused, but KOR Radio convinced me to give it a go. I explained my doubts and these were catered for. I could do an hour long show that would be no talking apart from an intro and outro and had complete freedom to choose what I wanted to play.
No playlist, all the songs come from me, not a computer generated list. The success of the show has been heartwarming and opened up 2018 opportunities to do something talky with sessions and interviews which is currently in Pilot stage.
The show has currently broadcast 28 Episodes and two Christmas Specials. I was asked to compile a Top 10 songs of 2017 by KOR and so I have. This Top 10 is different to what I would choose for I Don't Hear A Single's year and I'll explain why.
Firstly, I set myself the restriction that the artist had to have had the song played on the Radio Show. Secondly, things evolve via feedback etc and the IDHAS show has primarily developed a Power Pop / Pop Rock theme. Not always the case, but the majority has.
So this Top 10 Songs Of The Year for KOR would vary from my own. My favourites do change daily, but the show buts my Psych, Prog and Indie adventures on the backburner. So this piece is intended to tell you why I chose these songs for the show and in My Top 10.
I'd also note that there have been songs played that have not yet been released. Daisy House have previewed not one but two songs that could appear in this Top 10 if they had been unveiled to the public yet.
Sparks - Missionary Position
I reveal my age when I tell you that the first album that I bought under my own steam was Propaganda. I love that album as much now as I did then, I still know all the words. That developed a love of the Mael Brothers which is now into it's fifth decade.
There was a ropey decade after the Angst In My Pants album, but largely this has been one of the most interesting rides for me musically. I'd compare it to the career of XTC, although that only lasted half of the Sparks duration.
Sparks have always carried the fans along, but as time has developed. new fans have joined the gang, people who wouldn't have heard a lot of the Island stuff, loved the multi layered vocal albums of the Noughties.
FFS, the collaboration with Franz Ferdinand, hinted that Sparks were back in the band mix and those songs hinted at the wit and sheer joy of those earlier albums and Hippopotamus confirmed that with balls on. There will still hints at what had gone on in the decade before, but the lyrical with came back to the fore.
No song underlines that more than Missionary Position. It's lyrics are risque and underline what a songwriting genius Ron Mael is. It's a testament to Sparks to note that the song sounds so fresh and different, but it could also easily have appeared on Propaganda and not been out of place.
The Sunset Spirit - To Have It All
Last year the Pop Rock revelation was Somerdale and they've enhanced that reputation this year. This year it is The Sunset Spirit, who I'm delighted to tell you are currently recording the follow up to From The Top.
As I Don't Hear A Single has developed, I still bemoan the barrenness of the UK Pop Rock scene. The Indie and Psych scene is currently fantastic, but great Pop songs are hard to find. The Sunset Spirit are a big exception.
Hailing from Fife in Scotland. there's a real energy in their chorus heavy songs. They come across as a popped up Crowded House or perhaps the nearest example are Squeeze, they certainly have the same strength in creating a hook.
To Have It All enforces that Squeeze comparison. The swirling Farfisa like solo could be Jools Holland in those early Deptford Adventures. The Sunset Spirit feel like my very own secret, I'm convinced that's about to change.
Ian Person - Whatever It Takes
Ian Person is a constant revelation to these ears. It's infuriating that he remains unknown to the masses. Some may remember him from The Soundtrack Of Our Lives, but his solo work should aid a break out from Sweden.
Exit : Highway Of Light is a fantastic album. It's influences take in Psych, Pop, Power Pop, New Wave and Pop Rock. But all of it is from left field. Guitar Runs and Riffs that re unexpected, songs that twist and turn.
Whatever It Takes is a great example of what Person does. The guitar hook absolutely grips you. I defy you to listen to the song and not want to put it on again. There is so much contained within it's three minutes, so many ideas fighting to get out.
A lot of what I cover is obviously also covered elsewhere, I don't see as much about Ian Person, that should change. He is one of the great unrecognised talents and deserves to be listened to by a much wider audience.
Nick Heyward - Perfect Sunday Sun
Nick Heyward is beloved in the UK and I've only recently realised how far that expands elsewhere. The Haircut 100 days and the Woolen Jumpers are remembered and he lit up Brit Pop providing a Jangle that tempered down the pomposity of a lot of that genre.
So after waiting so long for his return, it's pleasing to say that he released what could be his best album ever. Woodland Echoes is very pastoral and beautifully low key, but there are also glimpses of that Jangle Pop that lit up Brit Pop.
Both Baby Blue Sky and Perfect Sunday Sun are great examples of this. The latter trumps it for me. It's 60's film references and visions of lazy sunday afternoons are enhanced by the sheer wonder of the song. Heywood is on as top form as ever.
Mothboxer - Get It Right
If you were to ask me which bands I get frustrated with because far far more should know about them two spring to mind. Spygenius, who I have a big feature planned for at the start of next year and Mothboxer.
Maidenhead's Mothboxer is essentially Dave Ody and they have a stellar back catalogue now dating back to 2010. There were signs that the deserved success would come when they blitzed IPO Liverpool's 2013 Extravaganza, but sadly, the delights still remain in the shadows.
Kent seems to be the centre of some fantastic Psych at present, but Mothboxer are of a different template. The Psych Pop feel is there, but the songs are far more hook led. Big Choruses arrive unexpectedly.
This Year's The Secret Art Of Nothing is a fantastic album, cementing the band's reputation. No greater example of the songcraft can be found away from the album's opener. Get It Right has two choruses and is an absolute joy.
GospelbeacH - Hanging On
In those halcyon Anything Should Happen Days we were all Beachwood Sparks fans and nodded thankfully for Brent Rademaker. That band were a sort of Country Rock, Gram Parsons inspired calmness that was a pleasant change from all the noise around at the time.
The Beachwood Sparks songs always seemed a bit sad though, melancholic, so the GospelbeacH albums are a marked change, particularly this year's Another Summer Of Love. There's a more Power Pop or AOR feel to the songs, very much like UK Mid 70's Pop Rock.
It's also great that so many in the UK are getting them, because this is music that deserves a wider audience. Rademaker also comes over as one of the nicest guys ever, a lover of music and appreciative of any attention.
Hanging On is as good an example as any of what the band are about. Catchy, concise, melodic, harmonic, say what you want to in two and a half minutes then move on. A great Summer Guitar solo is included too.
Pink Beam - Wrote Me A Letter
I see a lot of Bloggers and DJ's who put out requests for band Tags or videos etc and I always think that's a bit of a cop out. I suppose now that I'm more fortunate in that people know what I do, what I like and so I get sent a lot. I listen to everything, but don't review the vast majority of it. I also spend a lot of time discovering stuff for myself.
There are exceptions, Music Submit is one. This is an Internet thing that sends you songs you may like, very much like an Indie Play MPE. The vast majority of stuff that I get from them doesn't appeal.mainly formulaic, but in 18 months or so there has been about half a dozen exceptions.
Pink Beam are one and it was after delighting in their submission that I discovered that my good Ice Cream Pop Friend, Wayne Lundqvist Ford was a big supporter. Pink beam are far from Rockford, home of Cheap Trick.
There's a lot of similarities with Da Trick, the band focus on the meatier end of Power Pop, the songs are ratcheted up rather than jangle. It's incredibly appealing. Wrote Me A Letter is still one of my most favourite songs of the year.
The song rocks and has been an earworm for the past six months. If there's one band that I can't wait to hear more from it's this lot.
Pugwash - What Are You Like
I'm a massive Thomas Walsh fan. That likeability started well before rejoicing about Pugwash. We knew each other as big fans of The Move and ELO and Thomas happened to mention that he was in a band and would I like to hear some stuff. I was hooked.
Pugwash as a live act were probably my favourite live band, it was the mix of the Walsh's songs coming to life, but also the humour and camaraderie of the four piece. I don't get out and about as much these days, but I rarely missed a Pugwash show.
Silverlake is Thomas solo with Jason Falkner, but you wouldn't know. As a long time admirer of Falkner, I was bursting to hear that album, a sort of marriage made in heaven. It doesn't disappoint, it's full of hooks and although you'd expect to have Jeff Lynne comparisons, I hear more Jon Auer and Posies comparisons.
Silverlake is a bit more understated than previous Pugwash albums which allows the songs to breathe, The best example is the killer second single, What Are You Like, great Summer Pop that showcases Walsh's superb voice.
The Stanleys - Amy
I'd been waiting for The Stanleys album to appear for quite some time. It doesn't disappoint. Australia's contribution to Power Pop has been much less so in recent years, The Stanleys rectify that at a stroke. This is as fine an example of the genre as there as ever been.
The self titled album is a chorus heavy, high riff count affair that will underline to all Power Pop fans the reasons why they love the field. It just doesn't let up from start to finish. This is Guitar Pop at it's finest.
The lead off single, Amy, tells you all you need to know about the band. Very reminiscent of the best of UK New Wave. A time when these sorts of songs were all over the charts. A two and a half minute joyful romp. Felix Hagan And The Family - Attention Seeker
Although I'd love to claim I Don't Hear A Single's success as being all down to me, it's not the case. Just as Mick Dillingham was a big part of Anything Should Happen, Nick Fletcher plays a similar role on I Don't Hear A Single.
Mick and Nick's taste is impeccable and Nick's part in the 18 months of IDHAS shouldn't be underestimated. As well as being an expert on the Scandinavian scene, he feeds a lot into here. Our tastes meet in the middle. I veer off into Psych and Prog, he into Country and AOR, but it's the middle ground that hits the ink.
Nick has been praising Felix Hagan for quite a time and with the new album I see what he's been on about. It's such an accomplished debut, a real treat. I compare their impact to that of The Killers debut and on my first hearing, Foxy Shazam.
This is Theatrical Rock, but it doesn't rely on the dressing up, the song quality is high, high enough to make them the next big thing. They also have an incredible Live reputation. If Deaf School were starting out now, they'd be this lot.
Attention Seeker opens the album and reveals all you want to know about the band. Lyrically adept, constant changes and a splendid romp that previews all that they do, encapsulating it in the one song. It's a corker of a song.
One of the biggest surprises that I've had after the release of Nick Heyward's new album is people that I know saying that they are surprised at how good he is. I thought most of my circle knew that, yet there are still people who think of him as the youngster in a cricket jumper who was around for a bit in Haircut 100.
People still associate him with the Teen Pop of Love Plus One and either assume what followed was more of the same or the end of it all. Incidentally, Haircut 100's second album, without Nick, Paint And Paint has recently been released as a 2 disc affair by Cherry Red and that's excellent too.
After that splendid first Haircut 100 album, Heyward released three great solo albums in the 80's to diminishing returns. However he returned in 1993 and we all know how modern music writers think music began with Brit Pop and Oasis and Blur, so someone may remember his return as all references lately seem to start at that point.
The one great thing about Brit Pop was the Pop around the edges. There was plenty of it if you listened, most notably by the likes of Dodgy, The Bluetones and The Supernaturals, but much more too. One such inspiring album was the poptastic From Monday To Sunday from Nick Heyward. It lit up the year.
It was all jangly and wonderful with the lead single, He Doesn't Love You Like I Do and the magnificent Kite. This was followed by the equally ace, Tangled and the The Apple Bed, which could be my favourite album on the Creation label. The latter was released in 1998 and until now it was his last solo affair.
He released an album of poems narrated by Greg Ellis in 2001, Open Sesame Seed and the excellent collaboration with India Dupre, The Mermaid And The Lighthouse Keeper. There has never been a drop in quality, so the hope was that his anticipated return wouldn't be a let down. Well it isn't, not in any way.
Woodland Echoes is a brilliant listening experience. It's also very a much more reflective affair, reflective in a way that something like XTC's Skylarking is. It is also an album of two halves. Lots of different styles, but the jaunty pop that most fans adore is all in the second half.
Before you get to that, there are some fine songs to get your ears attuned to. The McCartney Beatles strum of Love Is The Key By The Sea with some great harmonies, the Country Folk of Mountain Top, the shuffle of Who? and the funky backdrop of The Stars. All are great songs.
It's that second half of the album that brings that seductive pop, Baby Blue Sky and in particular, the magnificent Perfect Sunday Sun. The latter could be the best thing Heyward has ever written with it's jangle hook and lyrical depth. It's a crackerjack of a song.
Ass to these two gems, more jangle and an infectious chorus on on I Got A Lot and the captivating love song, I Can See Her and you have a real feel good, beautifully written album. That's even without mentioning, the sweeping Jayhawks like closer, For Always.
You can always tell how good an artist is by the price of their Back Catalogue on Amazon. You won't pick up any Nick Heyward CDs up for buttons.
You can buy the album everywhere and there are some special editions here. I should also give a mention to a recent Live Show that you can watch online or on some UK TV Platforms. The set for Vintage TV is excellent. Vintage TV is really providing some great Live stuff. It's not the rubbish cut and paste video site that it used to be. You can watch the set here.
You can hear 30 second sound samples of each track here. There are also videos for Baby Blue Sky and Mountaintop here.
