Describing themselves as “Country punks” Langkamer blend indie rock and funky alternative pop with a signature twang unheard from others in the genre. Their new single “Full Contact” is a brilliant example of everything Langkamer stand for.

The growling bass and singing lead guitar fight for your attention as the track opens, but I would be remiss to not mention the excellent drumming, with that awesome introductory stuttering hi hat. The sheer fact that the drummer is also lead vocal boggles my mind. This coupled with the underlying rhythm guitar provides a substantial groove for the bass and guitar to wander over.

To contrast the funky verses, the chorus of course has to be very loud, very cool sing along over punk chords. It’s brief, but critically leaves a lasting impact. This is something a lot of bands in this style get wrong. Either they get lost in the funk, or try to overdo the chorus. Langkamer prove their mastery of arrangement, remembering what is important. The song.

Unfortunately this restraint appears to dissipate in the last few seconds of the tune. What should have been either an impactful stop or a longing fade out is replaced by a short bass solo. I’m all for bass solos in music, I’m a bassist myself. However here it just isn’t necessary. The bass before this point I absolutely loved because it was so present and damn funky. But I can only call this last section an example of self indulgence. I wouldn’t have minded if it was a break earlier in the song, perhaps before the guitar solo. But to end on it? Disappointing.

Still despite the last ten seconds attempt, the song is entirely worth it for the catchy choruses, excellent vocals both lead and backing, the awesome playing and most importantly the FUNK. Langkamer come highly recommended.

Peace, Love and Cowbells,

Oscar

Confetti Institute of Creative Technologies have released a 2020 album of new up and coming artists and you can discover many great artists including singer songwriter Pixie Styx. Pixie is a Nottingham based artist and I’m always impressed by the thorough research she puts into the material for her songs. On this album she has the track ‘That’ll Do’ featured which is about her Great Great Grandmother Charlotte Cain and her life as a seamstress. The supporting musicians on the song are Andy Duckering-bass, Richard Mitchell-mandolin, banjo and ukulele and Sue Leonardi on ukulele and they all help to provide a very accomplished folk sound……….buy the album and give Pixie and the other artists a listen. Peace, Love and Cowbells Bassey https://www.facebook.com/pixiestyxie

Logan Lee is a one man experimental project that started in his bedroom and he has remained there but do not be deceived by this. His patience to develop a musical theme can be heard in this album with the tracks Fleeting Memories, It’s Not Easy and Shine Down along with an almost dreamy, floating feel to the vocals and great musicianship. Strongly influenced by previous experimental bands like Rush and Yes, Logan Lee has fused those sounds with a more updated feel and is more post rock than prog rock. Personally, I would love Logan Lee to become a full band and take the sound to the limit…..it needs to go there!

Peace, Love and Cowbells,

Bassey

It’s been a rough week folks. My mental health took a dive, but Idles are back with new tracks and an announcement about their new album. It’s brightened my week and I can’t wait to review it for you all. For now they have released two new tracks. “Grounds” (which I’m less of a fan of) and the subject of today’s review “Mr. Motivator”.

I’ll be honest I didn’t like Mr. Motivator at first. I found it to be another Idles formula, which while brilliant I believed was getting old. But after I saw that really funny animal crossing edit of the song that someone on the Idles AF Gang fan page made the other day I decided to give it another chance. And by the beard of zeus this is now my favourite Idles track. Hands down. Its just so amazing. Pounding rhythms. Dirty bass. I’ve been jumping round my room air drumming for the past 20 minutes. As a bassist I mainly focus on the rhythm of a song and never pay attention to the lyrics (which has landed me in hot water more than once, for example once sending the Soft Cell tune “sex dwarf” to a romantic interest…) but once again the masterful Joe Talbot hooks me in. His lyrics are so powerful I’ve not felt words in such a way since I heard The Smiths. And at least this time the singers not a Tory wanker! Quite the opposite in fact.

I’ll admit I was a bit concerned about the future of Idles. Brutalism and Joy As An Act Of Resistance were both masterpieces and groundbreaking in many respects. But with every local punk band now trying to mimic the style, could the boys deliver something fresh? And while Mr Motivator is recognisably Idles and doesn’t do much to expand on the formula, Talbot and company prove their masterful grip of songwriting. Once again showing themselves as the rightful kings of U.K. rock music. The 1975? Never heard of them.

Peace, Love and Cowbells,

Oscar

Grace and Danger have just released their new single Play With Me and it will please anyone who loves the UK rock/blues scene. The band consists of Gary Stafford on bass, Tom Stevens on keys, Aiden Purdey on drums/percussion and Rory Purdey on guitar/lead vocals and they have developed a really tight sound since formation in 2016.
Solid bass lines and powerful drumming from Gary and Aiden provide the foundation that allows Tom and Rory to develop the melody and hook lines to this song and powerful vocals. Think of some of the great rock bands from the late 1960’s and 70’s and you get an understanding of where these guys are looking to develop their sounds and I understand that they developed a strong following since playing throughout the UK.
If you’re in any doubt check out their new video on the youtube link below and give them your support.

Peace, Love and Cowbells Bassey

Michael Webster is a singer songwriter based in Manchester and this is his sixth release on Bread Records. The a side Ibis Hotel has a great intro and reminded me of the guitaring on U2’s first album ‘Boy’, particularly the track Into The Heart. A raw but vulnerable sound and the melancholy feel is put out there immediately AND THEN……..Michael’s vocals come in and it’s dripping with emotion and solace. If Bob Dylan had been born and bred in Lancashire I have no doubt that he would have sounded like this, a lazy drawl but totally listenable and makes you want to play the song again and again to understand Michael’s story telling better. I’m cursing now-why haven’t I heard of Michael Webster before? Where the hell have I been? I’m informed that Ibis Hotel is a song inspired by a friend of his, who has been ill for some time now and sales of this single will be donated to a fundraiser set up for this friend so that she is able to live her life to the fullest post-lockdown. The b-side Collision Course is a cover of a song by Toria Wooff, a songwriter based in the North West who has also been raising funds for previously mentioned fundraiser. I’ve heard both Toria’s acoustic original song and now Michael’s electric version and both are awesome.

Give this single a listen and I guarantee you’ll want to play it again and again and again.
https://open.spotify.com/artist/337KNnNPPHatcOU7epvTLT

Nicola Edwards, a friend of mine and bassist/vocalist for post punk sensation Repairs recently contacted me to let me know about Repairs new single “Last Chances”. Well I’ve had a listen. Or two. Or three. To be honest I’ve forgotten, it’s been on repeat for the last hour. And as with every song I review, is still playing while I write this.

There’s elements of bands both old and new here. I feel as this is as if Estrons and Sonic Youth had a beautiful baby, and while I hate children, this one is pretty cool. You’ve got the heavy rhythm and Riot Grrl vocals of Estrons, coupled the swirling guitar sounds of Sonic Youth and even elements of Joy Division. This makes for an intense and addictive sound.

I do feel however, as they market their sound as “catchy sad pop” they don’t quite hit it on the catchy front for this particular tune. It’s an absolute banger, full of atmosphere and meaning in both sound and lyrics. But there’s no particular vocal hook like you would hear on a pop record, not that this is really a pop record but I feel that all bands should have a pop sensibility. The vocals are definitely cool, well performed and I love the background vocals. Nicola has an interesting and intense voice, and I absolutely love that. I believe that this style benefits the band greatly, but in terms of catchiness? I feel as though the verses draw you in excellently, but when the chorus kicks in there should have been something a bit less staccato. If that section was instead a pre-chorus leading to a massive punky chorus with some epic vocals, there could have been more impact. However, this style does make the song unique and that is to be applauded in an age where the majority of post punk sounds the same.

One thing I will compliment the chorus for are those awesome guitar chords, I’d love to chat with the band about how they got that sound and that tone. Such intensity is rarely heard and I greatly appreciate it. In fact the whole song sounds great tone-wise and is brilliantly produced. Trying to get an atmospheric sound while still maintaining a raw punk edge is no easy task. Hats off to the producer.

Overall, a brilliantly written, performed and produced track despite my criticism. I really hope they get this track on Spotify ASAP so I can add it to my playlists alongside post/alternative punk legends like Idles and Wolf Alice. Repairs can go toe to toe with such acts and I can’t wait to hear what they do next.

Peace, Love and Cowbells,

Oscar

Two weeks ago I reviewed Vagabong’s debut single ‘Unite’ and now they’ve only gone and released their debut album! ‘Dystopium Blues’ is a 9 track concept piece of work that explores the idea of freedom for all humanity-a concept that should surely be reality for us all. Band members Scott Makepeace, Kev Magnesh, Ian Eggy, Jack D Smith, Dan Millwater and Gavin Spotiswood have surprised me again by rehearsing, recording, mixing, mastering and releasing this entire album from their respective bedrooms and the band have not even met up yet because of the lockdown madness that is upon us all.

The album starts with a recording of the House of Commons being told to give order by the Speaker John Bercow and the voices start to change into chattering monkeys, out of control and out of order. This is the taste of some beautiful Stoner Rock vibes that take you on a journey that is strong, powerful and inspiring with tracks Witness, Now We Fight Like Wolves, This Is Our World, Vampires Of The Soul, The Call, A Message From Jiddu, Stoned Instrumental and then finally ending with the single track Unite. A great debut album guys alongside the great debut single last month. I hope to see the band play live when lockdown is over and I hope to see you all there.

Peace, Love and Cowbells Bassey

https://www.facebook.com/vagabongband/

Ist Ist are the latest sensation to come out of Manchester, a place known for its legendary musical acts. Following in the footsteps of fellow mancunians Joy Division, but with elements of the Cure and My Bloody Valentine with epic, soaring soundscapes. Their latest album “Architecture” does justice to these influences, while presenting something refreshingly new.

While some have called them “too obscure to be popular” Ist Ist have a knack for catchy hooks, such as on “You’re Mine” that demonstrates just how wrong those people are. Deep, dark vocals very reminiscent of Ian Curtis of Joy Division and Andrew Eldritch of Sisters of Mercy are used to great effect, and the effect heavy guitars and synths also reminiscent of so many post punk acts provide a brilliant atmosphere. However, the instrumentation I really must cite as masterful is the rhythm section. The combination of electronic and live drums heard throughout the album is a brilliant hit of 80’s nostalgia and are expertly placed. The bass guitarist has definitely worshipped at the altar of Peter Hook, just as I have. The melodic lines played up high, the gothic clean tone paired with the awesome use of fuzz makes me desperately want to go on a bass nerd rant but I’ll spare you for now. Just know that I get so excited when the bass line for “Silence” kicks in.

You’ve probably noticed by now that I’ve made multiple comparisons between Ist Ist and Joy Division, Ist Ist are more an example of superb song writing rather than a wholly original sound. Every single song on this album is brilliantly written and arranged and I only wish I had as much song writing talent. Much like the Greta Van Fleet argument a few years back, sounding similar to another band doesn’t necessarily make that band bad, and in fact provides a new platform for the genre in the modern day. There are worse bands to sound like than Joy Division.

Unfortunately, as brilliant as the writing and sound is of this band, I feel as though they have the same problem I feel Joy Division had. Over the course of the album, I start to become slightly bored by the time I get to later end of the B-side, especially after multiple listens. These songs are not at all bad, and the songs do have variation when it comes to melody and rhythm but I feel as though the tone of the album is too similar between each track. My recommendation for listeners is to listen to the album in its entirety at least once, it’s a great listen and this is an album I’ll definitely be adding to my record collection. But after that take your favourite songs (My personal favourites being “Black” and the aforementioned “Silence”) and add them into your preferred playlists. My recommendation to the band is that they continue with their awesome sound and expert song writing but work more on keeping the listener engaged for longer periods. Perhaps by shortening the albums length or some variations on the vocal style. Still, I love this record and I will continue to watch Ist Ist with serious interest. I have no doubt that they will go far if they keep this momentum up and release an even better follow up album.

Peace, Love and Cowbells,

Oscar

Looking back through my Spotify rewind for the past 4 years has been quite an experience. It shows my growth as both a person and as a musician. I thought today I would tell you a little about my music and my journey through these playlists.

First, a little context. Aged 14, through a combination of edgy friends and Nightcore gamer music compilations on Youtube I discovered the Emo subculture, in particular the particularly awful glam rock/metal boyband Black Veil Brides. My obsession with the group meant I rapidly changed my look, trading in my nerdy suit jacket for a leather one. Within the year I’d acquired a bass guitar and was crushing Seven Nation Army in my small poster riddled bedroom. It was here I was introduced to classic rock and metal. Metallica, Misfits and W.A.S.P were the direct influences of Black Veil Brides and I embraced the school of thrash metal wholeheartedly. Cliff Burton of Metallica quickly became my very first bass hero, the first proper musical challenge I ever had was figuring out how to play For Whom The Bell Tolls.

 Looking back now these bands are so far removed from anything I can relate to now, but as an angry, rejected by the system teenager these songs became the soundtrack of my youth. However, in late 2015 through an introduction to the Smiths by an old girlfriend and a random viewing of the film Sing Street on a plane back off holiday, the healing process had begun. The film had a definitive impact on me, telling the story of a young musician in 1980’s Ireland obsessed with bands like the Cure and Duran Duran. Sing Street remains my favourite film, even if now I realise it’s hardly Oscar worthy (eh? Get it?). The soundtrack is superb, and I quickly went down the rabbit hole that is 80’s indie. Around the same time my bandmates and I all went to see the punk duo Slaves live, and initially my thrash metal roots had made me naively dismiss punk. But when I saw the sheer primal force that is a live punk show, I completely changed my perspective. Through a combination of punk bands old and new, with the ever-present indie influence, my musical vocabulary was beginning to expand.

It’s here where I finally got Spotify, and let me tell you, 2016 is such a mash of really terrible emo music and some actually fairly decent stuff. The worst band by far is Rev theory, a cringey papa roach style act where the lyrical themes are terribly typical for a teenage boy; sex and cars. But where there is dark, there is always light, The Smiths, Hole and even Bob Dylan make an appearance in my top songs. It should also be mentioned that this is when I started studying music full time both in and out of college and I had begun to get a rudimentary understanding of my instrument. Maybe I would have a chance in this industry after all.

The next few years for me are a sense of duality.  On one hand, I had become proficient enough at bass to take my very first steps in the Cambridge music scene. My band Psycho Candy was getting semi-regular gigs, I was going to see live music often and I had even attempted some session work. These are the years that were so formative for me as a musician and as you’ll soon understand, a person. You see, while all these achievements were going on, I was stuck in the deepest darkest depression I have ever experienced. I was living in a YMCA, alone, poor, trapped in a toxic relationship with a girl I hadn’t even met and through my own actions had ruined my relationship with my family. I admit I got low. I was a total mess. My music was my only escape from the realities of adulthood. However, I’m still alive, able to write for you lovely people and that is thanks to a titanic effort from myself, the constant support from my parents and finally an end to the afore mentioned toxic influence. I was eventually able to move back in with my family, and together we moved to Derby where I now study Music full time. By mid 2019 I had started Needs More Cowbell and I could see the light at the end of a very long, very dark tunnel.

It’s now 2020 in the midst of the corona virus pandemic and despite how horrid the world is right now I feel as though I’ve finally settled into my own skin and musically, I’m growing every day. My playlists now include classic rock, folk, Motown and ska, with my staples of punk and indie maturing into a musical sensibility that I can be proud of. I’m writing an album, I’m just about to finish my first year at Uni with flying colours and while I still have bad days, things can only go up from here. Not bad for only 20 eh?

PEACE LOVE AND MOTHERFUCKING COWBELLS,

Oscar