Review: Dead Love Fear Wave - New Feeling

Whether it was intentional to have the tracks on their EP in alphabetical order I don't know, but that's how they appear on the five-track 'New Feeling'. Starting with 'Common Ground' these are dark, gritty, well produced tracks with tight electronic styles. The opener is a subdued affair that plays along nicely, but it's on lead single 'Don't Exist' that the EP really bursts into life, the heart-wrenching instrumental opening and haunting, echoing, vocals giving it the distinction the release needs.

'Golden Rule' continues the theme of thick music and simple, stripped back lyrics, the strings carrying the song through. 'I'm Still Here' and 'In The Morning' wrap things up in a gentle and atmospheric way.

'New Feeling' finds its formula over five tracks and sticks with it, but it's a good formula, and a smooth way of spending 23-minutes. (6.5/10)

Review: Meat Loaf - Braver Than We Are

Sometimes as a musician you have to know when it's time to stop and Meat Loaf is an artist that hasn't quite mastered that decision. Following a series of live cancellations and some questionable television appearances we get his thirteenth album and though, overall, it's a rather enjoyable album, the cracks are showing.

Built up from songs from Jim Steinman that have seemingly been pulled out of a cupboard, there are some really strong songs on here but Meat Loaf if not on great form, with his vocals wobbly and at many times the supporting singers become the highlight, as well as moments when the songs seem to cherry pick from elsewhere in the back catalogue such as snatches of 'I'd Do Anything For Love' on track two and 'Total Eclipse of the Heart' lyrics on the penultimate number.

Circus-themed opener 'Who Needs The Young' establishes the theatrics and over-the-top style familiar to his work and has some great lyrics but it's a tad messy in parts in its production. Second track and 11-minute opus 'Going All the Way Is Just the Start (A Song in 6 Movements)' is much more like it. Name-checking the album title this sounds like a classic operatic Meat Loaf song and though his voice struggles this is a great song with a good balance of having disparate elements in it but one consistent thread. With plenty of hooks, some strong call-and-balance moments, and a great sing-a-long ending this is a true highlight of the record, even if it does feel like an ending number as the hooks start to fade out.

Third track 'Speaking in Tongues' is pretty much the polar opposite, a much gentler ballad but the dual vocals works really well and its emotional highs and lows make for a good musical journey.

'Loving You's a Dirty Job (But Somebody's Gotta Do It)', aside from the title sounding so Meat Loaf it sounds like a joke (and was previously recorded by Bonnie Tyler), is a neat track but the elements showcased have been done bigger and better before, but it's not that skippable and by the time its six minutes are up it's actually settled in.

'Souvenirs' feels like the first average track after a strong four-song opening, and at eight minutes feels, in this case, like an indulgence. 'Only When I Feel' at under two minutes long is a small distraction before 'More' returns more to form, but again, outside of the 'I need all the love I can get' break-down lacks the spark of those early tracks on the album.

'Godz' is the next best track and probably the most distinctive on the record, it's energy and over the top lyrics are a winner. Bleeding directly into 'Skull Of Your Country' this is another memorable track but it's chief hook comes from its Steinman self-plagiarism of 'Total Eclipse of the Heart' which is never a good sign even if it does come across well.

The album's closing track - 'Train of Love' is weirdly one of its best. Though short at just over four-minutes that feels like one of the strongest tracks on the album and certainly the most radio-friendly thanks to its train-like rhythm, catchy pop-chorus and Queen-vibe.

'Braver Than We Are' is a mixed bag. Song-wise it feels like the barrel is being scraped, Meat Loaf is no longer on great vocal form, and there's some filler mid-album, and it certainly locks the operatic energy of something like 'Couldn't Have Said It Better'. That said it has enough on the LP to keep you interested and it all just about holds together. But let's call it a day now shall we? (6.5/10)

Review: Dalton Deschain & The Traveling Show - Freakshow

Just two tracks on this preview of Dalton Deschain & The Traveling Show's album. 'Freakshow' is well cemented in the circus theme with appropriate music segued into the production, with a driving forward style seen on songs by acts like Royal Republic with hints of Panic! At the Disco. The chorus isn't particularly obvious but the track is more like something you'd get from a musical and it works all the better for it, putting together an atmosphere more so than a radio-friendly hit.

'Different Constellations' is a slower, more subdued affair with a call-and-response vocal set-up and is a much more straight-forward track to its a-side and though it doesn't immediately grab you it's a nice, smooth and touching listen but it does also display some balls later on too.

Until we can hear the full release both these tracks together are promising for the circus-themed act. (6.5/10)

Review: Izzy Bizu - Moment of Madness

Izzy Bizu releases her debut album 'A Moment of Madness', seventeen uplifting tracks of light-pop, and it's a triumphant collection of positive, upbeat songs centered around her distinctive, loveable vocals and a light touch on the production front. Sounding like a cross between Corinne Bailey-Rae and the Noisettes, the album is packed with some really great and memorable tunes, some of which you may have heard from the radio.

Opener 'Diamond', with a mid-tempo swagger, sets the scene for the album whilst big single 'White Tiger' takes a jazzy start and drives it home with a bouncy piano / hand-clap combo that gets the blood pumping. Skinny, an ode to jeans, is surely a future single thanks to its combination of vocals and catchy hooks. 'Naive Soul' continues the poppiness with a brass-hefty chorus that makes this another highlight.

The driving rhythm of 'Give Me Love' makes this my favourite song on the album and is very much like the Noisettes, with a bridge and chorus duo that really kicks up the pace. 'Adam and Eve' is again great thanks to its straight forward but listenable chorus, and funky background. 'Gorgeous', 'Lost Paradise' and 'Glorious' are similar sounding numbers, suggesting at this point the album may be settling into a formula, but are worth a listen.

'What Makes You Happy' is slower and stands out more because of this, becoming a tribute to the dancehalls of yesteryear. 'Mad Behaviour' is the most anthemic number on the piece with the music injecting plenty of drama into the words, whilst 'Circus' and 'I Know' continue the vibe. 

There are a smattering of further tracks near the end with 'Someone That Loves You', a single, the best of the bunch thanks to the big chorus and dual vocals.

There are a few elements of filler - or at least lesser tunes - on Izzy Bizu's debut but these are easily outnumbered by the radio-friendly pop hits, delivered by her delightful and distinctive vocals, and it's difficult not to see how this could be seen as anything but a superb breakthrough album. (7.5/10)

Review: The Lancashire Hotpots - The Elusive Sessions

Record live at for elusivecountryclub.com top comedy-folk band 'The Lancashire Hotpots' have released a six-track live EP featuring a selection of their hits from across their albums, from famous hits to album tracks.

The EP begins with 'The Barmaid's Baps', ticking the innuendo box alongside 'The Baking Song' which appears as track four. The live recordings are crisps and capture well the fun live sound of the band, which is a definite must see. Recent single 'Eggs, Sausage, Chips and Beans' appears second and sees the band on fun and friendly form, whilst 'Thirsty Thursday' feels much stronger in this live form.

The EP wraps up with the Oasis-like ballad 'The Girl From Bargain Booze' and sing-a-long favourite and breakthrough track 'Chippy Tea'.

Though many of these tracks have appeared on previous records this is something not to miss for fans of the band. (7.5/10)

Download the EP free now online.

Review: Madness - Can't Touch Us Now

It's been seven years since 'The Liberty of Norton Folgate', what I still consider to be ska band Madness' finest hour, and this is only the second album the band has done since then.

'Can't Touch Us Now' is basically Madness being Madness; don't expect any huge changes on this record. Feeling less distinctive than both their 2009 opus and 2012's 'Oui Oui, Si Si, Ja Ja, Da Da' (that was four years ago? Good grief), it still has the fun touches the band are known for but feels a little like they're on autopilot.

The album opens with the titular track that mixes in upbeat ska rhythms, guitar tuning sounds and Suggs' familiar vocals, and has enough hook in the chorus to work. Second track 'Good Times' thrusts some saxophone central to the mix on a track that opens like a cross between 'Baggy Trousers', 'Hit The Road Jack' and something melodramatic from the thirties. With some nicely introspective lyrics, it's a strong follow-up.

'Mr Apples' naturally deserved lead single status. Upbeat, catchy, and with a big chorus, this is Madness on top form thanks to the perky rhythm, pop sensibilities and relentless energy.

'I Believe' mixes in some well written words on the subject of belief with some ragga piano, circus hooks and vocal production effects. There's a Western feel to 'Grandslam' which feels like the album's next single, and is Madness doing something a little different to the expected formulae, even if the ska influences are still all present and correct.

'Blackbird' is more spoken word than song and though it has its moments as it builds to the chorus, feels like too confused a piece and the imagery of the titular character feels a little regressive and pedestrian.

'You Are My Everything' feels at times like a slowed down 'NW5' but is a ballad with a surprising amount of musical bite even if the lyrics can come across as a bit Hallmark.

The 'I've Got A' hook of 'Another Version of Me' makes this short track really stand out and it's one of my favorite on the album whilst the sunny samba feel of 'Mumbo Jumbo' has a real fun, catchy, swagger to it. 'Herbert' flits between 2009's 'Sugar and Spice' and something a little more mystical, the cheeky chorus a winner amongst its intriguing production vibe and musical efforts.

'Don't Leave the Past Behind You' is a perky, brass-led piece that lifts the spirits whilst '(Don't Let Them) Catch You Crying' is a catchy mid-tempo pop number.

Opening to the sounds of arcades machines and amusements 'Pam the Hawk' is a gentle, swaying story-led track that switches between sombre monologue about Pam to gentle, saxophone-led piano breakdowns that compliment each other well.

'Given the Opportunity' is a perkier affair that is a good little pop song whilst 'Soul Denying', the longest track on the sixteen-track strong album is a more rambling affair but it does ascend into a real anthem as it peaks after five minutes. Closer 'Whistle in the Dark', once more channeling the circus feel, is a strong closer.

Though 'Can't Touch Us Now' feels at times like Madness on autopilot, "being Madness", it's a fun, upbeat, perky album with some stand out tracks, and it doesn't feel like an hour passes from start to finish. (7/10)

Review: The History of Colour TV - Something Like Eternity

Berlin-based 'The History of Colour TV' release their eleven track LP 'Something Like Eternity', a gruff, downbeat trip whose song titles like 'Wreck', 'Overcast Half' and 'As Gray as Park Can Be' tell you everything you need to know about the mood of the record.

If you can handle your music downbeat and introspective you will be home here, but at times you just wish they'd perk up. Channeling The Editors on songs such as opener 'Granite Verge of Tears', fifty-five minute is a long time to spend in such relentless gloom. The sombre yet swaggering 'Days Numbered' is the best on the piece and there's an attempt to lift things up on 'Wait' but overall it's just a bit too relentlessly gloomy for my tastes. (4/10)