Northern Portrait - Pretty Decent Swimmers (Matinee Recordings)

It seems like an age since Northern Portrait swaggered on by and stole our hearts, but none of that matters any more, because they're back with a single that isn't so much confident as downright cocky. You better watch out, because 'Pretty Decent Swimmers' is as likely to snog your heart right the back of the bikesheds as much as steal it.

Urgh. Snogging a heart sounds disgusting, doesn't it?

Opener, 'Happy Nice Day' jingles and a-jangles in trademark Northern Portrait way before reaching an almost falsetto crescendo. It's as strong a song as the band have written, and blasts its way into your brain. 'Greetings From Paris' is, by comparison, almost bashful, with its "la-las", but Stefan gives a virtuoso vocal performance.

My favourite is 'Bon Voyage', a kind of Velvet Underground-meets-Orange Juice romp through a holiday romance ripped asunder by a lack of bravado, which reminds me of 'Queen is Dead'-era Smiths. It's also got a piano solo which you'll fall for instantly.

This remarkably self-assured ep ends the same as it began, with the power pop of 'I Feel Even Better', a sort of antidote to 'Bon Voyage'. Stefan is back on form, his pecker is up, and he's not afraid to tell his detractors how it is. This one's a proper earworm too, with its Marr-esque guitar refrain and flourishes.

There's dirty talk of Northern Portrait coming over to the UK to play some shows this summer. On this evidence we should all start getting excited right about now.

You can buy 'Pretty Decent Swimmers' here.

The Spook School + Milky Wimpshake + The Sweet Nothings + The Understudies, 2nd February

I suspect, if you have any heart and soul whatsoever, you'll be interested in this...

Honestly, you want to hear the glorious state of the new Milky Wimpshake album. Please don't miss this.

Love doesn't just stop

The last 24 hours has been a bit rum. First, last night, Shrag announced live on national radio that they were calling it a day, and just now Standard Fare have announced they're to go their separate ways too.

I can't say I'm particularly surprised by either decision, but neither am I particularly saddened by the news either. Pop music is all about the now; the rush of the immediate, immaculate seven inch single, or the perfect album. Standard Fare and Shrag made both of those things, and they both leave us on a high.

Memories of both bands run deep. I first came across Shrag at the Spiral Scratch all-dayer in... erm, was it 2008? They stood out because they played their songs like every note was the last. After that I bumped into them every few months, until we finally dragged them to Nottingham twice last year to play with Tunabunny and then our all-dayer. Both times they played and looked like proper pop stars.

Last year's 'Canines' album, I might have mentioned, is probably my favourite album of the last ten years. They couldn't have topped that, and so off they ride into the sunset. Pop music has been all the better for their fun, grace, smiles and skill tunes.

That Standard Fare's first demo sat on my office desk for at least three months before is one of the biggest minor regrets of my life. I vividly remember listening to it one afternoon when I had sod all to do and then playing it for the rest of the day. Then biking home like a maniac so that I could play it over and over again all night.

Standard Fare played some amazing shows for us in Nottingham - and beyond. The two that stick out are the sweaty, packed show with Mascot Fight, Pocketbooks and Allo Darlin' - the first time we'd seen The Chameleon so busy. Everyone at that gig thought that we wouldn't see Standard Fare play in such a small venue again. Life, as ever, gets in the way of the best things.

The second was last October at our all-dayer, when Standard Fare whipped the crowd into such a frenzy that the beams in the bar downstairs were bent like a banana. No-one died, but it would've been a heck of a way to go.

Standard Fare's two albums are flawless examples of the immediacy of pop music, and why I love it so much. I can also say that I've stood and watched Grimsby Town (lose) with one of my heroes.

Shrag and Standard Fare will be much-missed, but what they've done will be remembered and discovered by other bands who just might go on to touch their greatness. I'm looking forward to that.

The first great single of 2013

Confusion continues to reign about just how Shrag are going to better last year's 'Canines' album, but when you can rip another classic single off that record, we'll worry about the future when it happens, shall we?

'On the Spines of Old Cathedrals' is my favourite track from 'Canines'. It's apparently not about Lincoln Cathedral, but one of those fancy Dan foreign cathedrals we hear so much about in the press. Shrag, it seems, were quite taken with the building, and Helen went a wrote some lyrics about it.

This song has just about everything; and just shows how versatile Shrag can be. And, yeah, of course it sounds like New Order a bit but that's no bad thing.

If they want to write a song about Lincoln Cathedral, then I can't help them, but I could tell them about climbing to the top of Lincoln Castle (an altogether different beast, not to mention building), on a school trip and having a massive panic attack because of my ridiculous vertigo. I'm available for counseling sessions should they want to draw on my experiences.

Anyway, it's 2nd January, and this is probably the single of the year already. Unless you know something I don't...

Download 'On the Spines of Old Cathedrals' here

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Milky Wimpshake - 20 years of heart and soul

Another year ends with news of the next Milky Wimpshake album, due out in February on Fortuna Pop! 'Heart and Soul in the Milky Way' comes 20 years after the band's first record was released, and, if 'Chemical Spray' is anything to go by, it's set to be another sure-fire pop classic.

Before I disappear to the Peak District to eat and drink way too much this Christmas, take a listen. Milky Wimpshake make the perfect festive gift.



Have a smashing Christmas. See you in the New Year.
x

2012: Long players for the longest days

Got paid in the end, just in case you were wondering, like.

Anyway, my favourite albums of the year, you say? Well, read on...

Tigercats released 'Isle of Dogs' this year on Fika Records. I've raved about this album loads, and was lucky enough to finally see the band in Nottingham at our Christmas party a couple of weeks back, where they suitably wonderful.

I was also lucky hear 'Isle of Dogs' very early, after being sent the demos. Why on earth had I ignored this band for so long? 'Isle of Dogs' is just wonderful, but listen at me rattling on in January...
What Tigercats has come up with is a manifesto for what it means to be alive, to be in London and to be living life. Like Suede did twenty (gulp) years ago, and like Hefner did a little bit later. Those other three bands I mentioned earlier are doing it to, and however old you are you should cherish these times, because they're golden days for pop. 

Did the Evans the Death album really come out this year? This splendid band seem to have been around for ever now, but their precious eponymous long player on (Fortuna Pop!) rounded that thrilling first year of gigging off perfectly.
In a world where slack-jawed 21 year olds in bands seem to think that growing a beard will render them instantly fascinating, then this, amongst other things, makes Evans the Death heroes of my pop world.

Difficult second albums don't come much more perfectly formed than Allo Darlin's 'Europe'. It took me a fair old while to really love this album, but when it finally burrow its way into my affections it stuck there, and there it will stay. 
If you’re still addicted to the instant pop hit of Allo Darlin’’s first album, then ‘Europe’ might take a while to worm its way into your head and heart, but once it does it’s more than likely to stay there forever. Look back, for sure, but don’t stay there.

Ah, Cats on Fire, we meet again. The band's 'All Blackshirts To Me' (Matinee Recordings) finally realised their potential. Chock-full of off-kilter pop classics, this was the album I'd been waiting for them to make. I'm sure they're delighted they've made me happy.
Five years on from seeing this band at the pre-Indietracks gig we organised in 2007, Cats on Fire are back on form. 'All Blackshirts to Me' is their 'Strangeways, Here We Come'. Only now I really hope they get to make another record.

But, really, there's only one choice for my favourite album of the year, and that's Shrag's visceral pop fest, 'Canines' (Fortuna Pop!/WIAIWYA). Full of sex, zoology, humour and pathos, 'Canines' is a masterpiece.
Real, instant pop albums like this only come along once every three or four years. This time it's Shrag's turn. Still in love with these times.

Anyone who doesn't instantly fall in love with Orca Team needs a good look at themselves. Their 'Restraint' album on Happy Happy Birthday To Me Records was this year's surprise hit, and, combined with some charmingly tense live shows, the band charmed the UK on an early summer tour that I hope they can repeat in 2013.

In a year when the Tory government continued to oppress the weak and vulnerable, then it was good to see The Great Leap Forward take up the agit-pop mantle with the inspiring 'This is Our Decade of Living Cheaply and Getting By' (Communications Unique).
There's nothing wrong with heartbreak over a saveloy, but sometimes I need more, and the Great Leap Forward have given me it. A properly thrilling, angry piece of work. 

Another triumph return came in the form of a newly-invigorated Tender Trap. 'Ten Songs About Girls' (Fortuna Pop!) was somehow the choice for being played endlessly in the car. It kind of seemed perfect.
I didn't really see this coming from Tender Trap. Always a band to adore, with 'Ten Songs About Girls' they've become a band to be in awe of. A bona fide pop masterpiece.

Into the Autumn and a band from years and years ago came back, and how glad I was. Matinee Recordings were good enough to put together The Sugargliders retrospective 'A Nest With a View, 1990 - 1994'. This brought the old days flooding right back.
What you have here, comrades, is the most perfect indiepop - a tribute to defiance, hope and the beauty of finding confidence in a simple piece of spinning plastic. Thank heavens we have that left, at least.

They were my favourite albums of the year. You may very well disagree.

Single life 2012

... but I'm bored of waiting for a reply from the accounts department of a company that owes me £1,000 in unpaid wages, so I thought I'd go all misty-eyed and take a look back at what was ace about this year.

Firstly, there are two glaring omissions: albums by The School and The Smittens - both of which I've simply not got around to listening to. I am a lazy, good-for-nothing tyke. Also, I missed London Popfest this year after being too tired and too skint to spend even one night in London back in February. With 2013's version just around the corner, I hope to make up for this.

Okay, which were the best singles of the last 12 months? I've omitted the Big Wave record on Soft Power from this, because I've only just come across it. Needless to say it's utterly thrilling.

Let's start at the beginning with...

Allo Darlin' - 'Capricornia' (Fortuna Pop!). It seems so long ago now, but I went all Mystic Meg with:
'Capricornia' ois frankly beautiful. I suspect there are plenty of people waiting for Allo Darlin' to trip up after their faultless rise and rise, but this isn't the single that'll let them down. And if this is a signpost the forthcoming album, 'Europe', then Allo Darlin' will be ready to take on the world. And they will.

Into February, and along come Shrag with 'Tendons in the Night', also on Fortuna Pop! (there's a theme here).
If this is a taster of what's on the new Shrag album then I'm in for a Spring of hiding indoors, crouched over the CD player, finger hovered over the repeat button, because 'Tendons in the Night' is the band's best single yet. Bob's deadpan delivery melds perfectly with Helen's hissyfit vocals across a strict background of clockwork drums, organ and squally guitar. The last 20 seconds in particular are just about the most exciting thing that's everey happened to me on a Monday.

Mascot Fight released a single in 2012, and not many people know that. 'Played a Hand' (Cassette County) was apparently released in March, and here's what I, rather unimaginatively, said:
Mascot Fight are still going, and thank heavens for that. Their brand of awkward pop deserves to be heard by more people than a few people in the East Midlands... if you're tired of the same old chords played in the same old order then you should chuck a few pennies their way.

Into April, and stalwarts Peru were back doing the rounds with their first single in what seemed like forever. And what a dreamy return it was.
'Archie's Luck is In' (Archdeacon of Pop) is like Haircut 100 playing McCarthy song, and if that sounds terrible, then you have tits for ears. There's also a bit of The Loft in there, too. It fair takes you back.

Another band back to haunt me (in the nicest possible way) this year were Amida, whose rattling pop showed up bright as a button in May in the shape of the 'My Life As a Trashcan' ep (Jigsaw Records).
Amida choose their influences well; the eponymous opener comes on like the Bachelor Pad covering one of The Creepers' more frantic moments. It's all over the places in the most thrilling of ways, whilst 'A New Low' sounds like a more wired Jonathan Richman, with its gloriously grating guitars.

Meanwhile, Bart and Friends cooled me right back down with the 'There May Come a Time' ep on Matinee Recordings.
When you've got tracks as chocolate-y as 'A Kiss You Won't forget, which combines the effortless grace of Berry's vocals with a guitar line straight from 'Johnny Marr: the early years', then you'll never be alone.

July threw up three of the best, starting with probably my favourite single this year, The Hobbes Fanclub's 'Your Doubting Heart' (Shelflife).
Sure, The Hobbes Fanclub wear their influences on their sleeves, but they do it with pride and when they take their lead from bands that have sat if your record collection for years, then it's pretty much impossible not to fall in love with them.

Similarly understated, and just about as equally brilliant, was Charlie Big Time's 'Dishevelled Revellers' on Matinee Recordings - a record so world weary I couldn't help but love it.
Charlie Big Time are never going to find themselves breaking down any barriers musically, but when they make such gorgeously gliding melancholia like this, well, I couldn't care less.

As if that wasn't enough, back from the dead came Pale Sunday after far too long away with 'The Fake Stories About You and Me' (Matinee Recordings).
Like everything about indiepop, it's a small miracle that this records exists at all, but it does and that's wonderful. Here's hoping Pale Sunday continue to soundtrack the lives of people everywhere.

The unsung heroes of 2012 have been Dufflecoat Records, and I guess they'd have it no other way. The Proctors/Apple Orchard they released in August was the perfect end to the summer.
Dufflecoat Records, the perennial outsiders of a scene already outside of just about everything else, have been putting stuff out at an alarming rate over the last couple of years. CD-Rs have been a speciality, but this is a beautifully packaged indiepop seven inch single on vinyl so thick you want to bite it.

By the time September was here, Shrag had pummelled me into submission with their flawless 'Canines' album. It was only natural that their 'Devastating Bones' single on Fortuna Pop! struck a chord.
'Devasting Bones' is at the same time savage, sexy, filthy and full of pop.

Just as deliciously dark were Fever Dream who in October released their 'EP', erm, through Underused Records. I'm still listening to this every day.
Six songs, then, that show more invention, more emotion and more pop nous than most bands manage in six years.

Also sneaking around in October were Pale Lights, releasing a single on their own Calico Cat label. It's flippin' tremendous.
The whole ep makes me want to sit and play the record over and over again - y'know, like you did in the old days. Take a listen to the mod-ish 'She Won't Ever Calm Down' and tell me you don't want to get off the settee, get dressed up and go out dancing. And how many records do that to you now that you're THAT age? 

The Spook School look set to take off in 2013, but this year they did just fine too, ta very much. Singles on Softpower and, before that, Cloudberry have been vignettes of what's to come.
This single is one of the most exciting things I've heard in quite a while. By the time the gentle distortion fades away at the end of 'Here We Go' you immediately want to go right back to the begin again. This is what pop music is all about.

I've nearly finished - honest.

November was similarly wonderful, mainly for September Girls' dark pop classic, 'Wanting More' (Matinee Recordings).
Throughout the three flawless tracks on this seven inch, September Girls create something so exciting and deeply beautiful that it's hard to understand why they aren't pop stars already.

Lastly, at the other end of the scale, come The Sunbathers with their 'EP' (lot of those this year) on Dufflecoat. A quiet classic with which to wrap up warm with.
The Sunbathers are something of a rarity. Julie and Paul are never really morose, but if you're looking to cut a rug, then you'll be searching in the wrong place on a Sunbathers record or at a gig. A gentle masterpiece.

This year was more of a great singles year than great albums year for me. Of course there were some great albums. The next time someone's not sending me any money for something I've worked ridiculously long hours for I'll write them down. Probably tomorrow, then.