Interview// The King Blues

The link below is an interview that I conducted with The King Blues prior to their performance at Camden's Roundhouse on 2-11-11.

http://thewhiteboardproject.tumblr.com/post/13122209067/5-minutes-with-the-king-blues

Single// S.C.U.M, Faith Unfolds,

2011 has been an excellent year for East-End Psychedelic-punk-shoegazers; S.C.U.M, seeing the band release their stunning debut album; "Amber Hands" and embark on colossal tours of the UK and Europe.

As far as the single goes; it opens with a dreamy synthesizer, splitting into a mild wall of sound built by Webb’s bass and Rigby’s pounding drum beat. However, the highlight has to be Thomas Cohen’s vocals, sounding like Richard Butler of The Psychedelic Furs, blended with a pinch of Robert Smith over a backing track of The Horrors’ Primary Colours at its gentlest.

Another great single from a band that can do no wrong at this moment in time, breaking their way onto the surface of the current UK music scene, whilst remaining at the top of East London’s. Expect a single launch party in London, in the very near future.

Jonathan Hatchman.

Live// Sex Beet, Beyond Retro, 26-11-11.

What better way to spend a cold Saturday afternoon than finding Sex Beet crammed into the Knitwear aisle of your local vintage shop, lashing through a set of surf-punk treasures?

Evidently not the band’s typical scene, lacking the rebellious rowdiness of a punk rock gig. Perhaps due to the lack of punters (most of which had blatantly just popped along in their lunch break to buy an ugly Christmas jumper) or maybe due to the lack of booze on the premises, but then again, what do you expect for nothing?

Going on to thrash out a short but sweet performance, opening with first official release; “Alone,” also incorporating fan-favourite – “She Don’t Surf” and “Sugar Water,” an injection of guitar fuzz and 1980’s videogame synthesizers dripping in sleaze.

Not taking themselves or the gig too seriously, blaming what most see as shoddiness on the lack of a bassist, and frequently conferring which songs they actually know how to play.

An impressive show from Sex Beet, hopefully they’ll have a debut album under their belts next time, if they ever get the cash to record it that is.

Jonathan Hatchman.

Single// Hurts, All I Want for Christmas Is New Year’s Day,

The latest single from Synth-pop duo; Hurts, conforms agreeably to their set of previous hits. 2011 has been a grand year for the band thus far, their debut album "Happiness" has reached a top 10 chart placing all over Europe, selling hundreds of thousands of copies and over one million singles worldwide.

Beginning with festive church bells, welcoming Theo Hutchcraft’s proficient, pop singing voice. Decorated with the band’s typical sullenness, not so typical of classic Christmas pop songs that we all secretly adore, yet matches the style of recent Christmas number one singles (apart from "Killing In The Name Of").

Either way, a fine modern festive hit, including the sort of pop that gains colossal commercial success, maintaining undertones of Mancunian indie melancholia. Atop a homage to the greatest time of the year.

Jonathan Hatchman.

Single// The Maccabees, Pelican.

After a year in the dark, applying the finishing touches to their third album; Given to the Wild, the follow up to two glorious predecessors, the Maccabees are back. Providing their first official single release since Empty Vessels way back in 2009.

Pelican, sees a distinctive change from the band’s previous material, disregarding overtones of childhood nostalgia and indie pop twee, replaced with bulky guitar riffs containing smooth edges, positioned under Orlando Weeks’ heart-melting, whimsical vocal fashion. Above all, the track gives a direct insight into the melodic maturation apparent upon their upcoming album; notably purveying an omnipotent chorus, adopting a catchy pop manner yet retaining significance. Draining out with a heavenly lead guitar, into a remote haze of indie pop perfection.

Another triumph from one of Britain’s best current bands, a marvellous insight into what will surely be a groundbreaking album.

Jonathan Hatchman.

Up-&-Coming// Sex Beet.

Over the past year or so Sex Beet have landed on the face of the underground alternative music scene and achieved a somewhat cult status. Their songs provide a variety of sounds and styles a notably raucous punk rock attitude.

Having a selection of songs to their name, including cover versions of The Beach Boys’ “I Get Around” and Sonic Youth’s “Dirty Boots”, indeed, the band absolutely desecrate both tracks, yet the latter is absolutely incredible. Fair enough, it’s extremely different to the original recording, understandably causing controversy with Sonic Youth fans, yet on the other hand Sex Beet have stamped their mark all over it, thus making it their own, sped up with an overpowering punk rock guitar line that soars above Luke Lust’s typical gritty vocals.

Other tracks include “Sugar Water,” a short, sharp injection of extensive guitar fuzz alongside reverbed morose vocals, with a pleasant 1980’s videogame sounding verse synth hook. A Psychobilly element is also apparent within the band’s music, taking “Scarecrow,” for instance, putting across a stuttering guitar line reminiscent of The Cramps, accompanied by a synthesizer fit for a circus or fun fair. Again, The Cramps influence is apparent throughout “I’m In Love With You,” with an additional memorandum of The Ramones, if they lived in East London and formed in the 21^st Century.

Not to forget, perhaps the best known and loved Sex Beet tracks; “She Don’t Surf” and “Nice Hair, Nice Titties.” The former was released as a 7” single, furnished with typical gritty vocals, drained out by the surf punk guitar, suspiciously similar to The Surfaris’ “Wipeout.” Whereas the latter similarly abides to the surf punk vibe but includes a surprisingly exciting organ scattered into the instrumentation.

Overall, Sex Beet are a fantastic new band, evidently not in the commercial-chart topping-X Factor-disposable pop sense that seems to be brainwashing the masses of the UK, but in the sense of updating the music that made Britain a musical institute and resisting the temptation to take themselves seriously.

For Fans Of: Wavves, The Cramps.

Listen To: “She Don't Surf,” “Alone,” "I'm In Love With You."

Jonathan Hatchman.

Single// SULK, Back In Bloom.

SULK have done it again! Subsequent to the release and success of their debut single “Wishes,” the band have gone on to release another phenomenal single to add to their small but by no means substandard back catalogue. Kicking in with a pounding drumbeat soon followed by whirring, haunting guitars drenched in reverb to match Jon Sutcliffe’s heedless verse vocals with melancholic, morose undertones contrasting the radiant chorus vocals, building to a climax of 1990’s Britpop ecstasy.

An incredible single from one of Britain’s best new bands, containing hooks in all the right places and all of the elements needed for a perfect Britpop track. SULK are certainly a band to keep our eyes on in the lead up to 2012, the year of the anticipated return of Britpop.

Jonathan Hatchman.

Album// Summer Camp, Welcome to Condale.

Nostalgia is the name of the game for Summer Camp’s debut; “Welcome to Condale,” being released a couple of months too late to present it’s summery euphoria. Yet is, indeed, a very good album.

Containing singles such as opener; “Better Off Without You,” seeing Elizabeth Sankey manage lead vocals, harmonized by Jeremy Warmsley’s through the chorus, under computer processed, danceable hand clap drums which are apparent through most of the album. Other singles include “I Want You” containing introductory sampling and perfect pop vocals, as well as “Nobody Knows You,” which is in itself is very different, substituting the percussive euphoria for gritty synthesizers and a lo-fi guitar element.

Yet other high points are “Brian Krakow,” which alternatively sees lead vocals from Jeremy Warmsley and synthesizers that would fit perfectly on a rerelease of Prince’s “Controversy” LP. Also, “1988” is notably one of the most exciting tracks, sounding like a smash hit from the charts of, well… 1988. Purveying a highly infectious vocal pattern.

In fact, all of the songs are magnificent in their own way, combining the Lo-fi elements of say; Best Coast, with the pop sensibility of the 1960’s. An album that must be heard and could even be a strong contender for the 2012 Barclaycard Mercury Prize.

Jonathan Hatchman.

Live// The Horrors, Chinnerys, Southend. 27,10,11.

It’s understandable why there would have been a glimour of worry from tonight’s ticket holders, being the final performance of The Horrors’ UK tour. Seeing as front-man Faris Badwan has been experiencing throat problems; resulting in the band being forced to pull out of some shows previous to tonight.

Slinking onto the stage of a packed out, 220 capacity venue for their homecoming show, playing to a vast amount of family members with a handful of fans scattered here and there. Thus needless to say the atmosphere wasn’t as electric as expected at a show from The Horrors. However that was certainly made up for by the quality of the performance, after over coming the technical issues through opener; “Changing The Rain,” the sound quality was perfect. Incorporating latest single – “I Can See Through You,” into the set list as well as “Skiing” lead single; “Still Life,” “Dive In” and perhaps the best performed new album track-“Endless Blue,” starting with an insouciant instrumental build up into the storming punk riff, manifesting a psychedelic shoegaze effect. Although highlights were; without a doubt, the “Primary Colours” tracks such as “Mirrors Image,” fan favorite; “Sea Within a Sea” boasting extraordinary songwriting skills, with the addition of a cheeky “Three Decades” thrown into the encore.

Bringing the tour to an ending of epic proportions, unleashing “Moving Further Away” unto the crowd. Another certain highlight, and a fantastic end to The Horrors’ most significant UK tour to date.

Jonathan Hatchman.