Having loosely followed the band since the release of their 2017 single “Down” I jumped at the chance to see Blackwaters live when they played my city. However sadly my dumbass brain decided to have a complete mental health episode at the time so I’m afraid I couldn’t make the gig. I was super hyped to see them and I wanted to review the gig for Needs More Cowbell, but instead at high demand (literally one person, but this ones for you Rita!) I decided to review their latest single.

“Two Time Lover” is definitely an interesting track, that potentially says a lot about the industry today. I’ve had a look through their entire discography and they’ve undergone quite the development. It’s still upbeat punk tunes all the way through, however it’s clear the boys have been trying to move in a slightly more accessible direction. Taking hints from the early 2000’s rock music scene. And you know what? There’s nothing wrong with that. This is a cut throat business. With the success of indie pop rockers Blossoms recently, with their second number one album. It’s really no surprise that bands are starting to take notice of that and want a taste of that success.

These days its damn near impossible to get attention from both mainstream audiences and most importantly, the major record labels as a dirty underground punk band. You have a few bands in that stream of consciousness that have achieved a modicum of success like idles with a top ten hit. But it’s clear that Blackwaters were never going to be huge stars with their old sound, as much as I would love them to be.

They’ve certainly dropped most of the rage and angst heard in tracks like “Let The Good Times Roll” in favour for a cleaner guitar sound and lyrical themes that, while I’m not a fan of, I can understand that they are more approachable now. I’m also really missing the dirty bass that was a key reason why I loved those early singles so much. However the intended audience seems to be loving it! Blackwaters are getting more and more talked about and the fact that they are currently on a headline UK tour shows that the new ideas are working.

While I feel as though they’ve lost some of their edge, these past few singles aren’t bad songs. They do exactly what they set out to do. Catchy, fun, romantic, charming. These things “Two Time Lover” has plenty of. It’s worth a listen and the tunes can easily worm their way into your head. There’s not much more I can say as I’m personally not a fan of the new sound, and I’m sure I’m not the only fan who feels slightly alienated. But as I said these songs are fun and I’d happily see them live the next time I get the chance and probably dance my ass off to them. I wish all the success and happiness for the band. Good luck lads, you’ll need it!

Peace, Love and Cowbells,

Oscar

I genuinely discovered Dashing Marbles by a random link up with Russ Forster on facebook and I can’t stop listening to their album ‘Complete’. Russ is/was/is a key member of the band Dashing Marbles and he kindly sent me a soundcloud link to their recently released album that began in 1989. You can never rush a good thing and this release has been well worth the wait.
The story-as I understand it- is that Dashing Marbles part recorded the album in 1989 at Steve Albini’s home studio (tracks 1-6) and completed it in 1995 at King Size Studio, Chicago (tracks 7-13). The key musicians are/were/are Russ Forster on bass, guitar and backing vocals and Joey Aspect on lead vocals and several guest musicians have contributed along the way including Erika Hoffmann vocals/violin, Dion Fischer ring modulator/guitar/Moog synthesizer, Wade Kergan Farfisa organ/clarinet.

Moving onto the tuuuunes.
Track 1′ In The Name Of The Lord’ at just over 1 min 30 secs reminded me of the Buzzcocks song ‘Oh Shit’ which is about the same length in time and both just want to cut out the fancy garnish and simply give us the meat. Fantastic bass sound, raw vocals and power chord guitar-rock n roll as it should be.
Track 2-‘Words’ has that growling bass again and I can hear many influences that have helped shape this sound and considering it was recorded in 1989 it is remarkably fresh sounding.
Track 3-‘In My Car’, I really loved the backing vocals and it reminded me of B 52’s for some reason.
Track 4-‘On My Couch’ is a fantastic song and the bass line made me think of the song Itchycoo Park by the Small Faces which is not a bad thing. A growling, prowling bass line that keeps you guessing where it will go next. Vocals almost naive sounding but just right for the song.
Track 5-‘MTV Girls’ hits you with a great guitar sound that is lovely in it’s rawness and vocals very similar to The Slits at their best. I like the almost shallow subject of this song and probably a reminder that life was more simple back in the 1980’s!
Track 6-‘Dancing Queen’. Yes that classic ABBA song but not like you’ve ever heard it before. WHY was this not played extensively in the early 1990’s? It’s a serious must listen for any ABBA fan! Slow. moody, raw and slightly grungy and the backing vocals put a big smile on my face.

OK halfway through the album and the recording now jumps to 1995.
Track 7-‘Think About It’, synthesizers/keys are now more prominent and the singing sounds more nuanced and subtle. Musicianship has definitely moved up a notch or two since the 1989 recordings.
Track 8-‘Nice Time’ has a really catchy melody and deserves several plays-DO NOT MOVE ON FROM THIS TOO QUICKLY
Track 9-‘Mya’ I loved from start to very quick finish and again a really menacing bass that would sound great live.
Track 10-‘Traffic’ has a great drum beat and works well with the bass to give a solid rhythm that holds the songs together, power pop, power punk, power grunge…….take your pick it’s power just the same
Track 11-‘Je Pense A Toi’ which means I think or I care about you (I think) has a more complex sound and is a great track, fragile guitar sounds that you think will fall apart at times but whatever the era this is a beautiful song that deserves your time……and ears for a little while.
Track 12-‘Shopping’ fantastic bass, guitar and drums sound. The opening bass line and sound reminded me of ‘Borstal Breakout’ by Sham 69 from 1979 but that’s probably just me showing my age…….great sound just the same.
Track 13-‘Capetown’ all of the above, all of the above, all of the above. really catchy and only lasting 1 min 5 secs. Bands these days seem to lack the confidence to write short songs but this track shows it can be done successfully.

I heard so many influences in The Dashing Marbles and after a chat with Russ he mentioned many more influences that I have not included above. Perhaps that’s the magic of this album and the songs make everyone think they have heard this sound before-only you haven’t. Give it a listen and listen to something you have definitely not heard before.

Peace, Love and Cowbells

Bassey

My thoughts are thus: it’s everything I expected following Revolution Radio. Green Day reached their peak over a decade ago, their only job now is to continue to put out catchy, fun sing along punk tunes to justify further touring and to stop them fading into obscurity. They have clearly tried out some different things will BJA’s vocals and general tone, but it’s still a regular modern Green Day record.

It’s a good album, but it’s nowhere near as revolutionary as Dookie or American Idiot. Maybe asking for a record of that scale again is a bit much, but they’ve done it twice before, maybe they can do it again?

Don’t get me wrong I like Green Day’s modern stuff too. But I do feel at this point they are just going through the motions. And I feel as though the attempt at imitating Eagles of Death Metal on a couple of tracks, while done well, is a tad cheap.

Also, one of my problems with Green Day is their use of swearing. Now that may seem a bit odd as I swear like a sailor, but I like to think I swear like an educated sailor. Swearing is good when used for good reason. Billie Joe’s throwaway lyric “well you can suck my cock” is a bit crude and isn’t an intelligent use of the phrase for a man nearing 50.

I get that Green Days thing is pop angst with some slightly edgy (but not really edgy) political statements thrown in but these guys have to either do something really drastic in order to remain musically relevant, or in a couple of albums time the modern Green Day sound will become boring, an album will bomb and they will go on a long hiatus to then eventually do a farewell tour with a farewell album that will most likely just be a rehash of the old school GD sound in order to play on nostalgia.

Still, for now, a quality if expected record from the pop punk trio. Worth a listen once and maybe save a couple of your favourites to your Spotify playlist, but I won’t be buying this one.

Peace, Love and Cowbells,

Oscar

Desenser are a hardcore punk band from Sheffield and they are brilliant. There I’ve said it and I guess the rest of this review will simply support my first sentence. They are Tyler Shield (vocals), Daniel Hudson (guitar), Daniel Law (Bass) and Luke Smith (drums) and I had the privilege of a private early stream to the 4 track E.P. and I immediately loved the sound, feel, taste and smell of it. I hate to sound geeky but the minute I heard this E.P. I contacted the band and asked them to hold back a copy of their cd for me-if you read this guys can you sign it as well for me, cheers. They have been a band for around 4 years, with Daniel Law joining last Summer and they rely on chunky sounding riffs rather than complex melodies…….basic sounds and a fast, high energy pace that waits for no man. I can hear punk, post punk, metal, industrial and so many other fast paced sounds that want to hurt your ears!
Track 1-Normality hits you hard from the moment you press play and I dare you to keep still while it’s on. Hold on, don’t relax cos Track 2-Black Hole Eyes is now hitting you just as hard and I loved the dirty bass sound that worked hard with the drums to keep everything in order while the guitar and vocals ripped everything up. Track 3-Someone Who’s Not There fools you into thinking ahhhh a slower number to ease up a bit…..but no, the guys tear into this song with the same energy and the vocals are amazing. Finally Track 4-Curtains, which is also their debut single is absolutely massive in sound.
I don’t normally give scores on a review but for this release I give it 11 out of 10

Peace, Love and Cowbells,

Bassey

Curtis Simmons has been around a long time now, he was previously a session musician and has shared the stage with some very grown up artists including Robert Plant, Tracey Chapman, Eric Clapton, Damien Marley and Sheryl Crow. His band members include Joel Arnaud, Maria Negre and Romain Delettre and collectively they make very grown up music. The ‘Lost and Found Again’ 7 track E.P. lasts just under 30 minutes and takes you on a journey that is influenced by some of the greatest artists you can imagine including Lou Reed and The Velvet Underground, Bowie, The Beatles, Lemmy, and Tom Petty (amongst others). Track 1 -Sweet Child Josephine is just over 4 minutes long and heavy with guitar riffs you think you’ve heard before but cannot recall where, a steady rock tempo that is heavy with a solid beat and a great opening song. Track 2-She Just Likes Champagne has a great swing feel and heavy with riffs again, good bass fuzz and wouldn’t sound out of place on a Bowie album from his Ziggy era. Track 3-Only The Blind Can See has a more gentle approach and some great bass and drums rhythms, vocals are more subtle and help to build the song into a great number. Track 4-Why Don’t I has a great 70’s feel and builds into a powerful rock sound and a riff that reminded me of Marc Bolan’s work. Track 5-Cocaine has a classic Motorhead feel and a subject that Lemmy would have been happy to sing about. Track 6-How Long has a rock/reggae fusion influenced song and mellows the mood. Finally Track 7-Lost and Found Again leaves the E.P. with the heaviest sound on the E.P. and I can imagine this track sounds awesome played live. Grown up musicians with grown up songs and a grown up E.P.-strictly for Grown ups.

Peace, Love and Cowbells,

Bassey

Momentary Bliss, an apt title for Gorillaz latest track featuring slowthai and Slaves. A wonderfully strange blend of catchy hip hop beats and hypnotic indie guitar work, this track is both danceable and moshable. But then again, who else but Gorillaz could pull off such a feat? (on a side note, I’m both amused and impressed by the fact that Gorillaz is a name so legendary that even Microsoft Word considers it a real word)

Now I know Gorillaz and slowthai purely by reputation (beyond, of course, the experience that is Feel Good Inc) but I’ve heard many good things about both, I know slowthai is very popular amongst Idles’ fan base. However, when it comes to punk duo Slaves? They are the band that defined my later teenage years. I first saw them live aged 17 at the Corn Exchange in Cambridge, and that single performance changed my life. I’d already gotten into rock and heavy metal a couple of years prior, but Slaves both got me into punk music and gave me the identity I’d always craved. Punk is not just a genre of music, it is a way of life, a creed and an ethos. I am a massive hardcore Slaves fan and I have followed the band very closely for a long time now. So of course, when I found out that Slaves featured on this single, I instantly stuck the tune on, jumped on my laptop and began writing this very review.

I’ve got to say, I can barely contain the urge to dance round my room to this absolute bop. But you wouldn’t consider it very danceable for the first thirty seconds. The track starts with almost shoegaze-esque guitar work and a rather subdued vocal line from Isaac, but before long a synth swell leads to a very groovy bassline and slowthai precedes to dominate the next section by, as the kids say, spitting absolute bars. Some upbeat clean guitar punkage comes in for the chorus, and this is where I’m properly having to resist jumping up and down with excitement. A verse and bridge section follow, and do a brilliant job of building up to the massive crescendo that is the second chorus, where the background vocals become ever louder and more intense and I’ve just had to take a quick break to jump around my bedroom for thirty seconds, I just can’t help it. Fortunately, the boys have thought of this, and allow the track to quieten down for an outro very much akin to what you hear at the start of this track. If it didn’t, I don’t think I would’ve been able to pull myself away.

I feel as though I’m now a disciple of some cult and am out spreading the good word about this amazing collaboration. It’s so hypnotic, so different. I must have listened to it twenty times now. Momentary Bliss might be my contender for single of the year, but it’s only the end of January, we will see. 

Peace, Love and Cowbells,

Oscar

1. Sunlight For Honey: So Much For The Harmony Of The Day

2. Slaves: Take Control

3. Metallica: Ride The Lightning

4. Death From Above 1979: The Physical World

5. Nirvana: Incesticide

6. Dinosaur Jr. Dinosaur

7. Sing Street: Official Movie Soundtrack

8. Joy Division: Unknown Pleasures

9. Queens of the Stone Age: Like Clockwork

10. Neil Young: Harvest

You can tell I’m a bass player right? If you haven’t heard these albums, what are you even doing?

Peace, Love and Cowbells,

Oscar

Listening to the 4 track ep release ‘In The Kings House’ by the 5 piece indie band The Gulps my head was rushing with ideas on who they reminded me of. I could hear a rocky/punky sound of many decades ago and bands like The Clash, Kinks, and Rolling Stones came to mind along with Bowie’s Ziggy Stardust era added with unusual/interesting inflections on the words by the lead vocalists.
I must confess that I had not heard of The Gulps before and a quick Google search showed that this Camden based indie band are currently a favourite in the London music scene and they are supported by the record label Youth Sounds which was set up by one of my all time favourite bassists Martin Glover ‘Youth’ of Killing Joke-if ever you read this Youth, I saw you live in 1978 or 1979-I really cannot remember the exact year but I sure remember the gig!

Anyway back to The Gulps-the members of the band consist of Harry All lead vocals, Franco Buffone guitar, Charlie Green guitar, Simon Mouchard bass, Raoul Khayat drums and they have brought together a sound of the best 60’s/70’s rock, punk and pop and mixed it with a truly European and Middle Eastern influence. In fact I think this band could develop in any direction they choose and make it sound polished.

Track 1-THE Kings House has a bass and guitar riff similar to Blur’s Song 2 but pulling more on a 70’s New Wave feel. It has a classic verse 1, chorus, verse 2, chorus, instrumental, verse 3, chorus, instrumental, end composition and I can imagine these guys go down well in small venues and a packed room.

Track 2-My Girl From Liverpool has a catchy melody that keeps you guessing on the journey it’s taking you on and a solid Kinks style pop song sound. Lots of swagger and enthusiasm dominate this track and they are confident of the performance they deliver.

Track 3-Lola Cola made me think of European Rock and I was reminded of holidays in France many years ago when I would listen to their version of the Punk Rock/New Wave sounds. Power pop rock at it’s best.
Track 4-Let Me Say I’m The One is a really catchy song that has a great Clash/Rolling Stones sound. I’m sure this song will get the crowd jumping around with great guitar licks and a solid bass and drums holding the rhythm.

With every song on this ep coming in between 3 minutes 15 seconds and 3 minutes 30 seconds they have the perfect length of time for interested radio stations to play and I’m confident they will not be disappointed. Go Go The Gulps!

Peace, Love and Cowbells,

Bassey

“Mate, how good are Sallow Pillow?” is a statement I read on my Facebook feed the other day. So, I decided to check them out, and upon being thoroughly impressed with the raw force that assaulted my eardrums, I thought I would like to review them. But I have so many requests coming in right now, I decided to focus on the bands that had actually asked for a review, but by sheer bloody luck, the next band on my list was in fact Sallow Pillow! They had asked for a review some weeks prior, but I had forgotten! I must not have listened to them at the time otherwise I definitely would have remembered. Thoroughly enthused, I immediately began my preparations for this review (which for those who don’t know, simply means I have this band on repeat for a day or two and do some basic research into the artist) and as I sit down to write this, I’m still just as excited to talk about this band even after listening to their latest EP, Wince Meat, multiple times now. So, lie back into your Sallow Pillow and enjoy. 

The first single off of Wince Meat is a track called The Architect and could definitely be called a slightly trippy Heavy Lungs song. It’s got the fast basslines and riffs that you might hear in such a track, but the guitar work is very different. Lots of crazy effects and distortion that I would place on a shoegaze tune, not a punk record, but the change is very welcome, and isn’t the last use of heavy effects you hear on this EP. The vocals are powerfully manic, reminiscent of many other underground punk acts around at the moment, throwing them in with the likes of Toronto Blessings (another great band I’ve reviewed), Shame, and Fontaines DC. The drum work is extremely dynamic, with that all-important use of cowbell in the drum break that I just love. This has to be my favourite song in Sallow Pillow’s entire discography and is a strong intro to an outstanding record.

Right – I try to keep my posts under five hundred words as otherwise they can get a bit boring, but I’m quickly going to mention another track off of this awesome EP, and that track is the epic Cbdbs. I was literally drumming the air on this one. Only forty-six seconds long it packs so much emotion into such a short piece. The centrepiece of this absolute banger has to be the drum/vocal combination, with only feedback and the occasional chord to back it up. This song is like if Slaves and Idles wrote a song together. With the raging vocals and punk as fuck drumming, I absolutely love it. It’s as much an art piece as a musical experience….

…What are you still doing here? I’ve given you my opinion. Go listen to them, or better yet, see them live, I know I’m going to. It’s almost like you’re waiting for me to say something…

Oh wait.

Peace, Love and Cowbells,

Oscar

Oh what a great day

Now I’ve spent all my pay

A new bass for epic tone

Thanks to this I’m alone

Please Karen come back I miss the kids

Peace, Love and Cowbells,

Oscar